In the Footsteps of painter Richard Hall

Richard Bergh: Den lille krymplingen / Pojke från Concarneau, 1881 (A Little Crippled / Boy from Concarneau) Oil on canvas, 90 x 70 cm Nationalmuseum Photo: Cecilia Heisser, Nationalmuseum, Sweden As I mentioned in my blog post on Laurens and Benjamin-Constant , Richard Hall's postgraduate studies in Paris remain shrouded in mystery. The Swedish government's travel grant of 3,000 kronor was intended to cover two years of postgraduate studies. Hall moved to Paris in the fall of 1881, so based on that, we can calculate that the grant lasted until the fall of 1883. After that, he had to trade his studies and freer lifestyle for earning a living by selling his paintings. We also know that Hall married his Swiss cousin Julie Cornetz in 1881. In addition, he has said that for a few years he shared a studio with his fellow student from Stockholm, Richard Bergh, who was a good friend of his. In the 1880s, Nordic artists formed a close-knit artist colony in Paris. I have not yet found ...

  Jean-Paul Laurens: La Délivrance des emmurés de Carcassonne, 1879 (The delivery of immured, of Carcassonne) Öljy kankaalle, 430 x 350 cm Musee des Beaux-Arts de Carcassonne Lähde: Wikimedia Commons , CC BY-SA 4.0 I have told about the travel grant Richard Hall received from the Swedish government in my blog post The Royal Medal . It enabled him to continue his studies in Paris, which was the center of European fine arts at the time. The situation regarding state-funded art education in France was similar to that in Sweden: teaching at the École des beaux-arts de Paris was considered old-fashioned, which made private art schools popular. The most famous schools included the Académie Julian and the Académie Colarossi. In addition, many artists took on private students. There was plenty of demand for teaching, as young artists traveled to Paris from many countries. For instance among Finnish artists, Akseli Gallen-Kallela studied at the Académie Julian and Helene Schjerfbeck at the ...

  Peter Paul Rubens / his studio: The Three Graces with a Basket of Roses Oil on canvas, 11 x 64 cm Photo: Anna Danielsson / Nationalmuseum, CC-BY-SA In my blog post of 23 June 2025 , I wrote about the Rubens copy that Richard Hall enquired about in the summer of 1881. Correspondence preserved in the archives of the National Gallery revealed that it was a copy of Peter Paul Rubens's Three Graces, which had been on display at the Finnish Art Society and which the artist had not recovered. At the time, I said that I did not know exactly which painting it was, as Rubens painted several versions of the same subject. The Three Graces at the National Museum of Sweden While reading Maria Görts' doctoral thesis Det sköna i verklighetens värld: akademisk konstsyn i Sverige under senare delen av 1800-talet, 1999 (Beauty and the world of reality: Academic Aesthetic Attitudes in Sweden during the late Ninteeth Century), I came across a passage where she talks about painting copies as part ...

  Jenny Nyström: Gustav Vasa as a child in front of king Hans, 1881 Oil painting Kalmar county museum Photo: Wikimedia Commons In my previous blog post, I told about the royal medal Richard Hall won while studying at the Royal Swedish Academy of Fine Arts. The theme of the history painting competition was Gustav Vasa as a child in front of King Hans (also known as King John), and the first prize was shared between Hall and Jenny Nyström (1854-1946). In this article I discuss the content of the winning works and the role of history painting in Sweden at that time. Jenny Nyström's winning work is discussed in the Konsthistoriepodden podcast in Swedish by Alexandra Fried and Alexandra Herlitz, which is the main source for this article. I have not yet found sources for Hall's version. The Finnish press apparently did not report Hall's victory, as the National Library's digital newspaper archive does not contain any mention of the prize. Maria Görts discusses the role of ...

Photograph of Richard Hall's painting Gustav Vasa as a child in front of King Hans, 1881. Photo: correspondence of Mauri R. Hall, Pori Art Museum archive   I have written about Richard Hall's time as a student in the blog post Studies at the Academy of Fine Arts . In it, he tells of winning the Royal Prize Medal in his final year of study. The medal was the highest state award for a graduating student. On the other hand, by the time the prize was awarded in 1881, there were already signs of protest among young artists against the old-fashioned way of teaching at the Academy of Fine Arts. The main source for this article is Maria Görts' doctoral thesis Det sköna i verklighetens värld: akademisk konstsyn i Sverige under senare delen av 1800-talet , 1999 ( Beauty and the world of reality: Academic Aesthetic Attitudes in Sweden during the late Ninteeth Century). Shared first prize The Royal Swedish Academy of Fine Arts organised the Royal Medal competition in 1881. The theme wa...

  Royal Swedish Academy of Arts, model school in 1874. Engraving by H. Peterson in the Ny Illustrerad Tidning. Studies at the Academy of Fine Arts Richard Hall was admitted to the Royal Swedish Academy of Fine Arts at the age of 15 in 1875. He studied there for six years, graduating in 1881. Hall's fellow students included artists who went on to have distinguished careers, such as Anders Zorn and Richard Bergh . In the mid-1880s, many of them were part of the Opponenterna group, which rose up against what it perceived as old-fashioned teaching at the academy. So far I have found a few records of Hall's time as a student: firstly, he mentions it in the personal interview I quoted earlier in the Uusi Suometar newspaper of 24. October 1909 . The 1902 edition of Nornan: Svensk kalender contains a chapter by Georg Nordensvan on the students of the Art Academy drawn by Anders Zorn.   Teaching at the Academy of Arts The Swedish Academy of Fine Arts has its roots in the Royal Academ...

Peter Paul Rubens: The Three Graces, (1620-1624)     Already in early spring I was in contact with the research services of the Finnish National Gallery, because they were about to move their collection. As a result, the archival material had to be ordered in advance so that it could be viewed in the summer. A lot of material was there, including newspaper clippings, a few letters written by Hall and literature in which the artist is mentioned. Let's start with the letters: they concerned a painting that had been in an exhibition at the Finnish Art Society, and which Hall wanted to find. Rubens' The Three Graces Hall studied at the Stockholm Academy of Fine Arts from 1875 to 1881. During his studies, he probably painted a copy of The Three Graces by Peter Paul Rubens (1577-1640). Copies of paintings by old masters were a common practice in art education at the time. It was a way of familiarising oneself with the masters' painting techniques and treatment of the subject matt...