sketched our people--especially the lower classes--in a style
that is equally amusing and masterly. Engström's drawings
of Swedish nature and Swedish types have contributed much
to the artistic education of the general public, and have
taught many how to grasp the beauty and value of even
the most rapid sketches.

Ivar Arosenius became known and recognized all at once
through an exhibition arranged after his death, which oc-
curred in 1909. A succulent, full-blooded humor charac-
terizes his jocular sketches and paintings. Their brutality,
however, proves offensive to many. They have the same
orgiastic touch that distinguishes Bellman's songs, and in
many of Arosenius's paintings the strain of pathos is also
very marked. The wealth of his imagination is inexhaust-
ible, and his intuitive psychology is seen in, for example, the
initial awakening of a child's mind in that charming little
girl who stands alone watching the flame, The Girl and the
Candle, in the Gothenburg Museum. Arosenius succeeds
best perhaps in his fairy-tale motifs, born as they are of a
spirit that understands better than any one else in our coun-
try the soul of the fairy-tale in all its mysticism, humor, and
richness of color. Yngve Berg, of Stockholm, has a peculiar
gift of catching physical motion with his drawing-pencil.
His adroit toreadors, his dancers, and his Bellman illus-
trations, executed with amazing skill and taste in the spirit
of the eighteenth century, live and move in a way that place
him in the very front rank among European draughtsmen.

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