the windows reflecting the burning gas jets, are rendered in
a light and with a technique that excite a sense of a ferment-
ing social discontent; yet this impression is conveyed simply
by the method of painting, for the use of figures as acces-
sories to guide the spectator finds no place in the work of
this artist, who despises all catering to the public. In Eugen
Jansson there is much of that searching spirit which char-
acterizes our best painters. He is never satisfied with what
he can do. This eminent artist--one of the most personal
interpreters of the beauty of nature that our age has pro-
duced--has achieved, perhaps, his greatest success in the
large picture of Riddarholm Bay bathed in golden light.

Eugen Jansson worked with admirable energy within a
field new to him when he painted the nude men in our cold
water bathhouses in Stockholm, all in bright sunlight and
with strong, blue shadows; yet these figure paintings from
his later period can by no means be compared to his wonder-
fully personal and creative landscapes.

An artist who has made valuable contributions to Swedish
landscape painting is Herman Norrman, born in Småland.
Norrman painted landscapes and portraits in light tones
learned from the impressionists and with unusual freshness.
Among his portraits is Fröken Bäckman in a black dress
against red, painted in 1887, now in Thorsten Laurin's col-
lection. In his later style Norrman is impassioned, imbued
with a strong personal touch. A reddish-brown tone per-
vades his larger pictures, which are executed with a broad
brush and thick layers of paint. He is most interested in
clouds and their shadows upon woods and fields. Examples
of his work are found in Prince Eugen's collection, in the
Thiel gallery, and in the Gothenburg Museum, and he is also
well represented in the National Museum. Norrman was
originally a cabinet-maker in Tranås, but despite that, this
gifted man developed into an artist in the true sense of the
word.

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