Anders Zorn
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"Flottar Maja"
Signed Zorn and dated 1917. Canvas 120 x 90 cm.
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Provenance
Consul Erik Brodin Collection, Stockholm.
Bukowski Auktioner AB, auction 410, Vårauktionen, 25 - 28 April, 1979, cat. no. 234.
Nordén Auktioner, Stockholm, auction no. 31, "Internationella Höstauktionen", 25 November, 1999, cat. no.162.
Exhibitions
Röda Stjärnan, Stockholm, 1918.
Literature
Gerda Boëthius, "ZORN -Tecknaren, Målaren, Etsaren, Skulptören", 1949, listed in the list of works under the year 1917, p. 554.
Ernst Malmberg, 'Brodinska hemmet. Villagatan 6, Stockholm', (ed) Albin Roosval, "Svenska hem i ord och bilder", 1935, mentioned p. 229 and illustrated p. 228.
Gerda Boëthius, "Zorn och konstnären", Stockholm, 1977, illustrated full page fig. 60.
More information
In the sensual composition "Flottar Maja," Anders Zorn focuses on the model while demonstrating his masterful technique in depicting how natural light reflects on the different surfaces in the motif.
The sun's rays envelop the model's soft body, while reflecting off the swirls of the water's surface, the hard stone and the rough barked logs. As a counterbalance to the dancing movement of the water, "Flottar Maja" stands firmly on the boulder with the red headband of the traditional Mora dress shining in her hair. With her arms at her sides, she watches the lively journey of the timber along the Dalälven river.
The location is carefully chosen. Already in the early 1900s, Zorn had started to long for his own fishing cottage, and he chose the spot opposite the majestic Gopsberget in Dalarna. Here, Gopsmorsstugan was built among towering firs and spruces, a lovely spring-fed brook, and on the other side, the flowing Dalälven.
Zorn often returned to Gopsmor, and at times he also received visitors there: the member of the Swedish Academy Karlfeldt stayed overnight on one occasion, and Bruno Liljefors traveled there to have his portrait painted in the winter-white forest. Life at Gopsmor was primitive, and the simple diet consisted mainly of herring, potatoes, and porridge. Although some of Zorn's guests found the conditions a bit too Spartan, there is no mistaking how the stays positively influenced Zorn's creativity and inspiration. Zorn always worked diligently at Gopsmor; it was as if an extra enthusiasm and joy of work came over him as soon as he managed to make his way to the secluded studio. In winter, he mostly worked in January, and in summer, just before Midsummer. His models were depicted in the glow of the studio's fire or engaged in some outdoor activity.
Zorn's biographer Gerda Boëthius writes the following in "ZORN. The Draughtsman, Painter, Etcher, Sculptor," 1949:
"When it came to nudes in the forest and, in general, greenery and inland nature, Gopsmor dominated. The large outdoor studio offered unexpected possibilities. Painters who visited Gopsmor often marveled at the ingenious choice of location. It is not only that nature offers such rich variation within a relatively limited area, but its entire composition is such that it provides an infinite variation of lighting, dawns, and colors. The surface of the river can have all colors from golden brown to clear blue, and the reflections from the water's surface affect the colors and light in the forest and meadows. Motifs were truly everywhere, as well as material for new ideas about light and color."
"Flottar Maja" was executed in this inspiring location in 1917. It is an exquisite example of Anders Zorn's finest painting, where models in the open air are combined with refined depictions of the surrounding landscape.
The composition bears similarities to other well-known works by Zorn from this period, such as "Gopsberget" (oil on canvas, 120 x 90 cm, 1915) and "Timret går" (oil on canvas, 120 x 98 cm, 1916), where Zorn also portrays the models in the foreground alongside advanced interpretations of flowing water.
Image captions:
Zorn as an outdoor painter, circa 1908. Photographer unknown, Zornmuseet ZFO0567.
Interior image, lower floor, The Brodin family home, Villagatan 6, Stockholm, "Svenska hem i ord och bilder", 1935.
Artist
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.
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