"The Other Swedes"
~ Honoring Them and Remembering Them ~ The Smoky Valley Writers ~
Dr. Emory K. Lindquist's
1993 “Birger Sandzén”
~ Beginnings ~ The Words of Dr. Lindquist
Following are words of honor and respect from Dr. Emory K. Lindquist on Birger Sandzén as well as gratitude to those who helped him with this wonderful cultural American and Swedish project of art
, producing this one-of-a-kind mixed Swedish American book. The red font will be removed eventually. loss his central vision while working on this book and then went right into the Birger Sandzén book that was published in 1993
~ Honoring Them and Remembering Them ~ The Smoky Valley Writers ~
Dr. Emory K. Lindquist's
1993 “Birger Sandzén”
~ Beginnings ~ The Words of Dr. Lindquist
Following are words of honor and respect from Dr. Emory K. Lindquist on Birger Sandzén as well as gratitude to those who helped him with this wonderful cultural American and Swedish project of art
, producing this one-of-a-kind mixed Swedish American book. The red font will be removed eventually. loss his central vision while working on this book and then went right into the Birger Sandzén book that was published in 1993
INTRODUCTION
Like Dr. Lindquist's other books, Birger Sandzén is characterized by "extensive" research and "extensive" documentation: "Endnotes," "Selected Biography" and "Index."
Like Dr. Lindquist's other books, Birger Sandzén is characterized by "extensive" research and "extensive" documentation: "Endnotes," "Selected Biography" and "Index."
Preface by Lindquist
When twenty-three-year-old Birger Sandzén (1871–1954) left Sweden in 1894 for Lindsborg, Kansas, a whole new world opened up for him, and he was to be part of that world until his earthly pilgrimage came to an end in 1954. In the course of his years in Kansas, he received national recognition as an artist, he gained the esteem of students and colleagues as a teacher, and his avid promotion of art enriched the lives of individuals and communities.
Sandzén, brought to his new world abundant personal resources. A friendly parental home was always a source of great strength, and his early studies with Olof Erlandsson, a fine art teacher, had given him a good background in the basic principles of drawing and painting. Three years in Stockholm as a student of Anders Zorn and Richard Bergh, famous Swedish painters in the newly founded Konstnärsförbundet (Artists' League), were decisive because of their deep concern for freedom and individuality. His study in Paris with Edmond-François Aman-Jean and other teachers had introduced him to impressionism and a lively new approach to painting; his visits to museums and galleries in Europe had broaden his understanding of the changes and developments in the world of art. In deciding to emigrate to the United States, Sandzén viewed the challenge is there: “A free, new country. It should be heaven for a painter. Out there in the west a painter could develop a style of his own to fit the country. “
Although environmental circumstances do not necessarily determine the future of creative activity, their impact, supported by individual talent and resources, may be substantial. Sandzén, as a landscape painter, soon realize that the prairies with broad horizons and bright light were quite different from the variegated terrain and subdued light of his homeland, and in 1908 he first saw the Rocky Mountains with their great masses of shale and rock, rugged mountain peaks piercing the horizon, and penetrating light and deep shadows. The new milieu of wide prairie and rugged mountains gave Sandzén an insight into beauty that produced a striking repose in his use of color and painting technique. There was adaptation and learning as this sensitive painter conveyed his feeling and perception on canvas, at first, according to some critics, too boldly. He modified and enriched his style with the passing of years.
The life and work of Birger Sandzén are known best by the people whose memories of him continue to be an inspiration and through his paintings and prints, and in this book I trace his story and the development of his work through his own words, those of his associates, and the reviews of art critics. His artistic development is further shown in the reproduction of selected oil paintings, watercolors and prints. The road to success was not easy, but it was attained in gratifying dimensions. Critics generally praised his distinctive technique, use of color, effective drawing, and the decisive form and strength of his paintings and graphic work.
There was something of the Renaissance man in Birger Sandzén. Although his primary occupation was painting and printmaking, he was a competent musician; a literary person who wrote biography and short stories as well as about art and art history; a gifted linguist and a translator of books and articles, especially from Swedish to English; and a student of oriental history and culture with a special competence in Chinese art.
A study of Birger Sandzén must seek to place in perspective his personal qualities. There are many remembrances and evidences of his strong character; his religious commitment; his concern for right and justice; his tolerance of and consideration for others; his keen sense of humor; his congenial spirit, except when prejudice and shabbiness were involved; and his optimism, which did not always reveal his inner concern and discontent – all of these factors and others are identifiable characteristics. So also is his unfailing loyalty to teaching and to Bethany College and Lindsborg.
When twenty-three-year-old Birger Sandzén (1871–1954) left Sweden in 1894 for Lindsborg, Kansas, a whole new world opened up for him, and he was to be part of that world until his earthly pilgrimage came to an end in 1954. In the course of his years in Kansas, he received national recognition as an artist, he gained the esteem of students and colleagues as a teacher, and his avid promotion of art enriched the lives of individuals and communities.
Sandzén, brought to his new world abundant personal resources. A friendly parental home was always a source of great strength, and his early studies with Olof Erlandsson, a fine art teacher, had given him a good background in the basic principles of drawing and painting. Three years in Stockholm as a student of Anders Zorn and Richard Bergh, famous Swedish painters in the newly founded Konstnärsförbundet (Artists' League), were decisive because of their deep concern for freedom and individuality. His study in Paris with Edmond-François Aman-Jean and other teachers had introduced him to impressionism and a lively new approach to painting; his visits to museums and galleries in Europe had broaden his understanding of the changes and developments in the world of art. In deciding to emigrate to the United States, Sandzén viewed the challenge is there: “A free, new country. It should be heaven for a painter. Out there in the west a painter could develop a style of his own to fit the country. “
Although environmental circumstances do not necessarily determine the future of creative activity, their impact, supported by individual talent and resources, may be substantial. Sandzén, as a landscape painter, soon realize that the prairies with broad horizons and bright light were quite different from the variegated terrain and subdued light of his homeland, and in 1908 he first saw the Rocky Mountains with their great masses of shale and rock, rugged mountain peaks piercing the horizon, and penetrating light and deep shadows. The new milieu of wide prairie and rugged mountains gave Sandzén an insight into beauty that produced a striking repose in his use of color and painting technique. There was adaptation and learning as this sensitive painter conveyed his feeling and perception on canvas, at first, according to some critics, too boldly. He modified and enriched his style with the passing of years.
The life and work of Birger Sandzén are known best by the people whose memories of him continue to be an inspiration and through his paintings and prints, and in this book I trace his story and the development of his work through his own words, those of his associates, and the reviews of art critics. His artistic development is further shown in the reproduction of selected oil paintings, watercolors and prints. The road to success was not easy, but it was attained in gratifying dimensions. Critics generally praised his distinctive technique, use of color, effective drawing, and the decisive form and strength of his paintings and graphic work.
There was something of the Renaissance man in Birger Sandzén. Although his primary occupation was painting and printmaking, he was a competent musician; a literary person who wrote biography and short stories as well as about art and art history; a gifted linguist and a translator of books and articles, especially from Swedish to English; and a student of oriental history and culture with a special competence in Chinese art.
A study of Birger Sandzén must seek to place in perspective his personal qualities. There are many remembrances and evidences of his strong character; his religious commitment; his concern for right and justice; his tolerance of and consideration for others; his keen sense of humor; his congenial spirit, except when prejudice and shabbiness were involved; and his optimism, which did not always reveal his inner concern and discontent – all of these factors and others are identifiable characteristics. So also is his unfailing loyalty to teaching and to Bethany College and Lindsborg.
Acknowledgments
My gratitude is great for the assistance and support I have received from many people in preparing this biography of Birger Sandzén. The manuscript owes more to Margaret and Pelham Greenough, Sandzén's daughter and son-in-law, than I am able to express in words. Letters, personal items, interviews, copies of Margaret’s notes and articles on the life of her father constitute basic elements in the study. Pelham Greenough‘s fine book, The Graphic Work of Birger Sandzén (1952), his research on exhibitions in which Sandzén participated, and his unpublished catalog of the paintings of Sandzén furnished invaluable assistance.
The Swedish aspects of the life and career of Birger Sandzén are important, and I am indebted to several people in that country. Birgitta Sjöhlom, Vänersborg, a niece of Sandzén, and Dr. Carl-Gustaf Sandzén, Alingsås, a nephew of the artist, provided both materials from the extensive Sandzén family archives and many constructive suggestions. Rektor Arne Palmqvist, Skara Läroverk; Ola Christensson, Göteborg, University Library; Karin Stenfors, Stockholm; and personnel of the National Museum, Stockholm, made available helpful information. I recall also a rewarding conference with Folke Holmér, a Stockholm art historian and former curator of the National Museum.
Various aspects of the study required the help of personnel in art museums, galleries, and libraries in the United States. Among those for whose help I am especially appreciative are the Art Institute of Chicago; Bethany College Library, Lindsborg, Kansas; the Brooklyn Museum; The Fine Arts Museums of San Francisco; the Franklin Murphy Library of Art and architecture, the University of Kansas, Lawrence; the Kansas City Art Institute, Kansas City, Missouri; the Library of Congress, Washington, D. C.; The Los Angeles County Museum of Art; the Nelson–Atkins Museum of Art, Kansas City, Missouri; the New Mexico Museum of Art, Santa Fe; the New York Public Library; the Pennsylvania Academy of Fine Arts, Philadelphia; the Raymond Johnson Gallery, University of New Mexico, Albuquerque; the Spencer Museum of Art, the University of Kansas, Lawrence; and Wichita State University Library, Wichita, Kansas. Librarians and registrars of other museums and galleries were also helpful.
The research by Nina Stawski on the drawings and notebooks of Birger Sandzén as presented in her master's thesis at the University of Missouri, Columbia, provided valuable new material on this important aspect of Sandzén's career, and the beautifully printed catalog of the "Sandzén Retrospective Exhibition," at the Wichita Art Museum, May 4–June 9, 1985, not only contains representative reproductions of Sandzén's painting but also includes informative annotations by Howard DaLee Spencer, curator of collections and exhibitions. Several individuals also enriched the manuscript by sharing their knowledge and insight during various stages. C. Louis Habermehl, Zona Wheeler, Carl Wm. Peterson, and Ray Stapp had been students of Sandzén at Bethany College, and Ray Stapp read the manuscript at various stages, made helpful suggestions relative to its organization and content, and rendered other important services.
Since reproductions of paintings and prints by Sandzén are a central feature of this volume, I wish to express hearty thanks to Larry Griffis, director, and Carl Wm. Peterson, former co-director, of the Birger Sandzén Memorial Gallery. They devoted much time and thought in selecting the works of Sandzén for reproduction in the volume, assisted by Margaret Greenough, and I am deeply grateful for their contribution. I also greatly appreciate the fine support of Dee Swensson, Naomi Carpenter, and Beth Lindquist for their expertise and cooperation in preparing the manuscript for publication. The final copy profited from careful reading by Emmet and Marion Eklund.
Action by the board of directors of The Birger Sandzén Memorial Foundation initiated this project, and I appreciate the support and encouragement its members gave me; I especially thank Gene Larson, president, for his generous and helpful participation throughout the entire project. The encouragement and support of Bethany College through Dr. Peter Ristuben, president until his death in 1989, of Academic Dean Richard Torgerson, and of Dr. Joel McKean, president since 1990, were most helpful. I am exceedingly grateful to A. John Pearson, Bethany College, for his professional service in the final phase of preparing the manuscript for publication, along with the computer support assistance of Jay Richardson.
The English translations in this volume are the work of the author.
Finally, I acknowledge with deep appreciation the patient and dedicated support of my wife, Irma, and my brother, Ermal, who made possible the completion of this project after I lost my central vision.
[Photographer Tom Jaderborg of the former Jaderborg Photography in Lindsborg was responsible for the wonderful reproductions of Sandzén's work. This significant acknowledgement was made, yet it was omitted in the publication and the oversight was regrettable. Dr. Emory K. Lindquist and Sandzén's daughter and son-in-law, Margaret and Pehlam Greenough, all died before the 1993 publication of this most marvelous masterpiece, Birger Sandzén, An Illustrated Biography.]
The Swedish aspects of the life and career of Birger Sandzén are important, and I am indebted to several people in that country. Birgitta Sjöhlom, Vänersborg, a niece of Sandzén, and Dr. Carl-Gustaf Sandzén, Alingsås, a nephew of the artist, provided both materials from the extensive Sandzén family archives and many constructive suggestions. Rektor Arne Palmqvist, Skara Läroverk; Ola Christensson, Göteborg, University Library; Karin Stenfors, Stockholm; and personnel of the National Museum, Stockholm, made available helpful information. I recall also a rewarding conference with Folke Holmér, a Stockholm art historian and former curator of the National Museum.
Various aspects of the study required the help of personnel in art museums, galleries, and libraries in the United States. Among those for whose help I am especially appreciative are the Art Institute of Chicago; Bethany College Library, Lindsborg, Kansas; the Brooklyn Museum; The Fine Arts Museums of San Francisco; the Franklin Murphy Library of Art and architecture, the University of Kansas, Lawrence; the Kansas City Art Institute, Kansas City, Missouri; the Library of Congress, Washington, D. C.; The Los Angeles County Museum of Art; the Nelson–Atkins Museum of Art, Kansas City, Missouri; the New Mexico Museum of Art, Santa Fe; the New York Public Library; the Pennsylvania Academy of Fine Arts, Philadelphia; the Raymond Johnson Gallery, University of New Mexico, Albuquerque; the Spencer Museum of Art, the University of Kansas, Lawrence; and Wichita State University Library, Wichita, Kansas. Librarians and registrars of other museums and galleries were also helpful.
The research by Nina Stawski on the drawings and notebooks of Birger Sandzén as presented in her master's thesis at the University of Missouri, Columbia, provided valuable new material on this important aspect of Sandzén's career, and the beautifully printed catalog of the "Sandzén Retrospective Exhibition," at the Wichita Art Museum, May 4–June 9, 1985, not only contains representative reproductions of Sandzén's painting but also includes informative annotations by Howard DaLee Spencer, curator of collections and exhibitions. Several individuals also enriched the manuscript by sharing their knowledge and insight during various stages. C. Louis Habermehl, Zona Wheeler, Carl Wm. Peterson, and Ray Stapp had been students of Sandzén at Bethany College, and Ray Stapp read the manuscript at various stages, made helpful suggestions relative to its organization and content, and rendered other important services.
Since reproductions of paintings and prints by Sandzén are a central feature of this volume, I wish to express hearty thanks to Larry Griffis, director, and Carl Wm. Peterson, former co-director, of the Birger Sandzén Memorial Gallery. They devoted much time and thought in selecting the works of Sandzén for reproduction in the volume, assisted by Margaret Greenough, and I am deeply grateful for their contribution. I also greatly appreciate the fine support of Dee Swensson, Naomi Carpenter, and Beth Lindquist for their expertise and cooperation in preparing the manuscript for publication. The final copy profited from careful reading by Emmet and Marion Eklund.
Action by the board of directors of The Birger Sandzén Memorial Foundation initiated this project, and I appreciate the support and encouragement its members gave me; I especially thank Gene Larson, president, for his generous and helpful participation throughout the entire project. The encouragement and support of Bethany College through Dr. Peter Ristuben, president until his death in 1989, of Academic Dean Richard Torgerson, and of Dr. Joel McKean, president since 1990, were most helpful. I am exceedingly grateful to A. John Pearson, Bethany College, for his professional service in the final phase of preparing the manuscript for publication, along with the computer support assistance of Jay Richardson.
The English translations in this volume are the work of the author.
Finally, I acknowledge with deep appreciation the patient and dedicated support of my wife, Irma, and my brother, Ermal, who made possible the completion of this project after I lost my central vision.
[Photographer Tom Jaderborg of the former Jaderborg Photography in Lindsborg was responsible for the wonderful reproductions of Sandzén's work. This significant acknowledgement was made, yet it was omitted in the publication and the oversight was regrettable. Dr. Emory K. Lindquist and Sandzén's daughter and son-in-law, Margaret and Pehlam Greenough, all died before the 1993 publication of this most marvelous masterpiece, Birger Sandzén, An Illustrated Biography.]
* * *
~ Let Us Remember Them ~
* * *
Swedes: TheWayTheyWere
~ restoring lost local histories ~
reconnecting past to present
* * *
All color photography throughout Swedes: The Way They Were is by Fran Cochran unless otherwise indicated, or obviously concluded it is not.
Copyright © 2022 www.swedesthewaytheywere.org. All rights reserved.
~ Let Us Remember Them ~
* * *
Swedes: TheWayTheyWere
~ restoring lost local histories ~
reconnecting past to present
* * *
All color photography throughout Swedes: The Way They Were is by Fran Cochran unless otherwise indicated, or obviously concluded it is not.
Copyright © 2022 www.swedesthewaytheywere.org. All rights reserved.
