Vera Frisén (1910-1990) was a unique interpreter of the Norrland landscapes. Along with her sensitive depictions of the bog, the meadow and the harness, she made a series of portraits where we can follow the same person through life. The majority of these roughly 50 portraits have never been shown before. Frisén often found her models in the absolute closest circle of acquaintances with Willy Kyrklund, Agneta Swidén, Olle Holmberg, Eva Rundlöf, Märta Silwer and Elisabeth Walderström. But Ann-Marie Rundlöf was one of her most painted models, and we can follow her life from a young girl to an aged lady. We recognize her by her gaze.

Portrait painting is a genre within painting that intends to represent a specific person. But Frisén's portraits contain neither attributes nor symbols that tell something about the subject's personality. They are rather universal. It is said of her painting that she portrayed the landscape and considered the portraits as landscapes. A relaxed face, without emotional expression, does not reveal the depicted person's social status or historical context and does not highlight anything specific about the depicted person. The expression is instead gathered in the eyes because here you are reached by the touch of the gaze - here, a contact is created that gives us access to the interior of the depicted person, or is it the case that the gaze reflects something within the viewer? The depicted eyes become a meeting place of thoughts for both artist and viewer, but also a place for reflection on what a portrait is.

Viewing January 10–13, open 11 am – 5 pm, Berzelii Park 1, Stockholm.

Collection, Västberga Allé 3, from Tuesday January 17