Current and upcoming exhibitions

The sitting room in the common areas of Prince Eugen’s home. Photograph: Anders E Skånberg

The Prince´s Private Apartments

Permanent exhibition

In 1905 Prince Eugen’s home at Waldemarsudde was ready for him to move in to. The ground floor, was the more official part of the home and included the public rooms consisting of a hall,dining room, drawing room, flower room, library and study. In these rooms Prince Eugen’s own paintings are displayed alongside art from his collection. Together with the room furnishings, which saw the Prince mixing old and new with inherited and bought pieces, an individual home with an individual style was created. The prince’s Private Apartment remain largely as it was during the prince’s lifetime and are today open to the public.


 

Picture cropped. Photograph: © Yanan Li

Prins Eugens Waldemarsudde – A total work of art
Photographs by Yanan Li

December 4, 2018–October 6, 2019

For several years, the photographer Yanan Li has interpreted what characterizes Prins Eugens Waldemarsudde as A total Work of Art. With artistic eyes he has photographed nature, sculptures, cultural-historical buildings, our beautiful interiors, attentive art exhibitions and other public activities. His atmospheric photographs depict the place during different seasons, times of the day, in varying light and weather. The exhibition is displayed in the Bernadotte-room and shows photographs which features nature, the park and the garden at Waldemarsudde. The images are a part of the magnificent book Prins Eugens Waldemarsudde – A total Work of Art, which is published in May in collaboration with Arvinius + Orfeus Publishing.


 

Björn Wessman, Pangea, 2017. Bild beskuren.

Björn Wessman, Pangea, 2017. Picture cropped. Photography: Björn Wessman

Björn Wessman – The Path of a Painter

March 9–May 26, 2019

Björn Wessman became fascinated by nature and vegetation early in life, and this has characterized his artistic practice. Scenes from his walks all over the world, from botanical gardens and the virgin forests around his studio in the Stockholm archipelago provide the subject matter for his colourful paintings. Nature glows in his sensual landscapes, which capture the drama of the expanse and the mystery of parks. This exhibition covers his practice from the early 1980s to today, focusing on his output in recent years. Most of these large and striking paintings have not been exhibited before.

“Nature is the source of our perception, and light forms the contours of reality. My intention is to find the way, through colour,to a deeper understanding of nature’s processes,” says the artist Björn Wessman.


 

Julia Beck, By the Canal, Grez. 1883. Photo: Stockholms Auktionsverk.

Grez-sur-Loing – Art and Relations

February 16– August 18, 2019

February 16– August 25, 2019 Grez-sur-Loing is a legendary village in Swedish art history, and this exhibition is the first to present this international artist colony and its mainly Scandinavian and Anglo-Saxon artists, writers and musicians. In the late 19th century, many relationships and connections were forged between artists of different nationalities who created fascinating works there. This exhibition features more than 80 works by famous and lesser-known names, including Karin and Carl Larsson, Karl and Tekla Nordström, Julia Beck and August Strindberg, but also by Canada’s most renowned Impressionist, William Blair Bruce, and his Swedish wife, the sculptor Carolina Benedicks.


 

Heinrich Vogeler, Spring, 1897. Niedersächsische Sparkassenstiftung und Waldemar Koch Stiftung. Deposit at the Heinrich Vogeler Stiftung Haus im Schluh.

Paula Modersohn-Becker and the Worpswede Artists’ Colony

15 September, 2018 – 27 January, 2019

Worpswede just outside Bremen is the place of Germany’s most famous artist colony. In 1889, the small village cradled by open fields, birch arbours and gentle brooks became the home of several German artists and writers seeking solitude and artistic community. Several famous artists belonged to the colony, including the internationally acclaimed painter Paula Modersohn-Becker, but also Otto Modersohn, Heinrich Vogeler, Ottilie Reylaender, Hans am Ende, Fritz Overbeck, Hermine Overbeck- Rohte, Fritz Mackensen and Clara Westhoff. The latter, a sculptor, eventually married the poet Rainer Maria Rilke, who also periodically lived and worked in Worpswede before moving on to other places, including Paris and Borgeby Castle in southern Sweden.

This is the first extensive Swedish exhibition to focus on the expressive paintings by the members of the artist colony in Worpswede around 1900, comprising, soulful landscapes, sensitive renderings of the impoverished north-German peasant population, portraits, and evocative scenes from stories and myths. The exhibition, which features some 60 paintings, drawings and prints, is a unique opportunity for the public to discover a hitherto little known but exceedingly fascinating world of images.


 

Helene Schmitz, Thinking Like A Mountain, 2017.

Helene Schmitz – Thinking Like a Mountain

6 October, 2018 –17 February, 2019

Helene Schmitz is one of Sweden’s most successful art photographers. In numerous projects she explores the relationship between man and nature. Her works often portray states of imbalance, or out-of-control situations. The exhibition Thinking Like a Mountain  presents a series of recent works on the theme of exploiting natural resources in Sweden and Iceland. The photographs are often at once both beautiful and menacing. Thinking Like a Mountain  can be seen as a meditation on man’s relation to nature – a global, highly industrialised and automated transformation of landscapes.

“This project is about our contemporary violent transformation of nature of the northern European hinterland. The exhibition reflects on the idea of the North as the ultimate frontier – and the dream of a wilderness untouched by man. I have chosen four kinds of exploitation of natural resources: the bedrock, the river, the forest, and the hot spring. The exploitation of these resources exemplifies the growing manifestation of human presence in the landscape. The extraction sites are often far away from the major cities, in what we call the periphery,” says Helene Schmitz.

The title, Thinking Like a Mountain, is a reference to the influential American natural philosopher Aldo Leopold (1887-1948). One of his ideas was that when man extracts one single element from nature, this has enormous consequences on the entire ecosystem.


 

Prince Eugen, Early Morning, Waldemarsudde, ca 1907.

The Painter as a Photographer

6 October, 2018 –17 February, 2019

For various reasons, many artists were avid photographers around 1900, using their photographs in their artistic practice, or for private purposes. This exhibition features photographs by artists such as Prince Eugen, Georg Pauli, Wilhelmina Lagerholm, Wilhelm von Gegerfelt, August Strindberg and Anders Zorn. Most of these pictures have never before been shown. Views from Stockholm, Italy and the Swedish countryside are juxtaposed with pictures of fishermen and upper-class life in the archipelago. Some 100 photographs, ranging from the lyrical to the humorous, are included in the exhibition, which also features a selection of Prince Eugen’s private pictures of the royal family.