Anders Zorn

Wholesale dealer Edvard Casparsson.
Managing director Axel Jacobsen.
Mrs. Bessie Jacobsen.
The Collection of Bo and Margareta Lindh, Stockholm.

Konstföreningen, Stockholm, 1882.
Kunstpalast, Düsseldorf, no. 1417.
Baltiska utställningen, Malmö, 15 May - 4 October 1914, no. 345.
Liljevalchs Konsthall, Stockholm, "Invigningsutställning. Larsson-Liljefors-Zorn", March - April 1916, no. 3.
Liljevalchs Konsthall, Stockholm, "Anders Zorn. Minnesutställning", 1 March - 6 April 1924, no. 242.
Kungl. Akademien för de fria konsterna, Stockholm, "Mitt bästa konstverk. Utställning anordnad av rädda barnen", 1941, no. 299.
Nationalmuseum, Stockholm, "Opponenterna av 1885. Utställning till sextioårsminnet av det första moderna genombrottet i svensk konst", 16 March - 16 May 1945, no. 536.
Birmingham Museum of Art, Alabama, USA, "Zorn. Paintings, Graphics and Sculpture", 27 March - 6 June 1986, no. 28.
The Dixon Gallery and Gardens, Memphis, Tennessee, USA, "Zorn. Paintings, Graphics and Sculpture", 15 June - 10 August 1986, no. 28.
Museum of Fine Arts, St. Petersburg, Florida, USA, "Zorn. Paintings, Graphics and Sculpture", 14 September - 26 October 1986, no. 28.
Zornsamlingarna, Mora, 1989.
Prins Eugens Waldemarsudde, Stockholm, "Anders Zorn -Till ögats fröjd och nationens förgyllning", 15 September - 11 December 1994, no. 2.
Göteborgs Konstmuseum, "Anders Zorn -Till ögats fröjd och nationens förgyllning", 26 December 1994 - 26 March 1995, no. 2.
Prins Eugens Waldemarsudde, Stockholm, "Ernst Josephson. Målare och diktare", 12 October 2001 - 13 January 2002, no. 175.

Ernst Malmberg, "Larsson-Liljefors-Zorn. En återblick", 1919, mentioned p. 86 and illustrated half page.
Karl Asplund, "Anders Zorn. His life and work", 1921, mentioned p. 15.
Tor Hedberg, "Anders Zorn. Ungdomstiden 1860-1893", SAK 1923, mentioned p. 45 and illustrated full page, p. 44.
Nils Lago-Lengquist, 'En konstälskares hem i Djursholm. Direktör och fru Axel Jacobsen', article in "Svenska hem i ord och bilder", 1930, mentioned p. 50 and illustrated p.48.
Bo G. Wennberg, "Mitt bästa konstverk. En konsthistorisk översikt från utställningen 1941 å Kungl. Akademien för de fria konsterna", 1942, mentioned pp. 129-130 and illustrated p.125.
"Konst i svenska hem", vol. II, N:o 5, catalogued p. 253 under collection 379: "Fru Bessie Jacobsen, Narvavägen 35, Stockholm".
Gerda Boëthius, "ZORN. Tecknaren. Målaren. Etsaren. Skulptören", 1949, mentioned pp. 98, 103 and 506, illustrated full page, Fig. 23 and catalogued p. 538.
Gerda Böethius, "Anders Zorn. An international Swedish artist. His life and work", 1954, mentioned p. 17 and illustrated full page, Pl. 26.
Hans Henrik Brummer, "ZORNMCMLXXXIX", 1989, mentioned pp. 43-44 and illustrated full page in colour, p. 44.
Hans Henrik Brummer, "Till ögats fröjd och nationens förgyllning -Anders Zorn", 1994, mentioned pp. 59-60 and illustrated full page in colour, p. 58.
Johan Cederlund, "Zorn i Spanien", 2009, mentioned p. 43 and illustrated full page in colour, p. 47.

Anders Zorn, born in Mora in 1860, showed artistic talent from a young age. In 1875, he traveled to Stockholm and became a student at the then Slöjdskolan (now Tekniska högskolan) in Stockholm, and shortly after, he joined the Royal Academy of Fine Arts. Initially, Zorn had aspirations of becoming a sculptor, but soon watercolor painting took over, becoming his primary medium until 1887. At the student exhibition in 1880, Zorn had his breakthrough with the watercolor painting "I sorg." The following year, he gained international acclaim as a portrait painter. His watercolor painting reached its pinnacle during this period, and his most famous work from this time is "Vårt dagliga bröd” from 1886. Shortly thereafter, Zorn transitioned to oil painting, which was met with immediate success. Zorn's reputation mainly rested on his portrait art, and he portrayed many notable figures, including presidents. For instance, he created an etching of Theodore Roosevelt. His etchings significantly contributed to his success. In the late 1880s, Zorn began working in the genre that would increasingly become his trademark: nude figures in outdoor settings. He had long been fascinated by the movement of water and the reflections of light on its surface. Now, he added the complexity of placing a model near or in the water, aiming to depict a synthesis between nature and humanity. In 1896, Zorn and his wife moved back to Sweden and settled in Zorngården in Mora. This move sparked a renewed interest in his homeland, which would be reflected in his future paintings. Among the artist's scenes from the Mora region, portraying its local customs and ancient traditions, "Midsommardansen" holds the highest value according to Zorn himself. Today, the painting can be found at the National Museum.