racy, who valued the noble bearing he gave to his portraits,
sought the services of the young artist. Besides his powerful
technique, his broad brush, and sense of the picturesque, he
brought from England that feeling for nature which char-
acterized the last years of the eighteenth century. His por-
trait of the actress Teresa Vannoni, painted with warmth
and breadth, reveals, through dress and conception, that the
times of Gustavus were past; now people gave themselves
up to nature-worship in the parks, where at the altars erected
to friendship they consecrated tender sighs to the moon and
stars. Breda has produced the most substantial and valuable
in Swedish painting of the first half of the nineteenth century.
His Portrait of My Father, painted 1797, with Spanish
cane and the tall black hat that came originally from the
Anglo-Saxon lands, indicates the invasion of romanticism,
and produces an almost ghost-like effect with its pale face
and its figure, wrapped in a wide, black, Spanish cloak
against the background of a dark, stormy sky. From an
artistic viewpoint, it is an important work. During his later
period his portraits often received an unpleasantly reddish
tint.

During the decade of 1790, Per Krafft the Younger, the
son of Per Krafft the Elder, painted his best portraits, es-
pecially that of the architect Deprez, now in the Academy
of Arts. He received guidance from the great David.
Krafft adopted a more and more inflexible method of paint-
ing during the last part of his extraordinarily long artistic
career.

-105-