The Other Swedes"
~ Honoring Them and Their Works ~
Dr. Emory K. Lindquist
1993
“Birger Sandzén” "Endings" ~ The Words of Dr. Lindquist
~ Concluding Observations
~ Honoring Them and Their Works ~
Dr. Emory K. Lindquist
1993
“Birger Sandzén” "Endings" ~ The Words of Dr. Lindquist
~ Concluding Observations
An attempt to describe the physical appearance of Birger Sandzén is really not difficult because a collection of fine photographs and a sensitive portrait by his daughter convey a remarkably accurate impression of him. In his mature years, he was a rather robust, well-proportioned man of average height with a kindly face and pale blue eyes. His person suggested confidence combined with a delightful tentativeness that eliminated any trace of an aggressive element. With a voice level of medium to high, the normal quality of a tenor soloist, his accent reflected his Scandinavian antecedents, his use of several languages since youthful years, and his cosmopolitan culture. His bodily movements were deliberate, although quite precise, and his bearing showed a good coordination of physical resources. He had marvelous pose and calmness, which suggested that he had mastered the fine art of living, a quality soon conveyed to a stranger and cherished by those who knew him well.
There was nothing ostentatious or pretentious about Birger Sandzén; he loved the simple things of life. In one letter to his brother Gustaf, he wrote, “I am glad that the Christmas gifts arrived in time. Children should have Christmas gifts but also older people. When everything is taken into consideration there is not much difference between elders and children in some aspects of life.” Then he listed the many small events that he hoped would live long: Pleasant conversation, the exchange of ideas and thoughts with friends, coffee parties, small trips, family festivities. “They keep the spirit healthy, vital and useful." He often reminisced about the wonderful hospitality of his wife's parents and their friends during his and Frida’s “unsophisticated days” of visiting in western Kansas. 1
In later years the Sandzéns would often take a short automobile ride toward the end of the day to relax. A common route was the road north and west of Lindsborg, known to the World War II generation as the "Burma Road," to the twin-towered Salemsborg Lutheran Church in the area of the former village. Sandzén said about those little trips, “Just a little ride in this simple Kansas landscape, which has so many suggestions of color and form. Where else can you see such refreshing beauty?” 2
Sandzén cherished an attitude of understanding and reconciliation in human affairs, on one occasion remarking,"Only one thing is importan--that we have a life together of love and understanding." His was a spirit of goodwill, and he often said to Margaret, "above all go ahead cheerfully, regardless of the circumstances. "He shunned friction and arguments, saying, "Life is too short, it is not worth it." 3
Religious values and worship were important Sandzén. Young Berger had received thorough instruction in the Bible, church history, and Martin Luther’s catechism. He became a member of the Bethany Lutheran Church in Lindsborg during his first year there and remained an active member throughout his life. He loved the old hymns and chorales of the Lutheran Church as well as some of the famous songs of the immigrant evangelical movement, including Lena Sandell Berg's "Blot en dag, Ett ogonblick i sander" (Day by Day Thy Mercies, Lord, Attend Me. ). Although he was religious, as his life and correspondence indicated clearly, there was no dogmatism in his views. On one occasion he wrote to a friend, "There are unfortunately too many small and narrow-minded ministers and influential layman who have a perfectly pitiful conception of Christian culture. Life is short. Why make it narrow, sad and hard, instead of beautiful, clean, joyful and forgiving. You remember the great Victor Rydberg's words; "Manniskors uppgift ar att dromma och tanka' [Mankind's mission is to dream and think]. He was not able to understand the narrow-minded views of some people and wrote to Gustaf in October 1935: “I occasionally have people in my studio who call my magnificent Chinese figures "idols." To classify works of art as "idols" testifies to ignorance and crudeness of mind that is shocking. It takes not so little self-control to avoid throwing such people out of the studio. 5
Sandzén was sensitive to the needs of people. In an era when many men were forced for lack of money to catch rides on freight trains in search of work, especially during the wheat harvest, many transients came to Lindsborg. It was customary for them to go to homes seeking food when they we're short of money, and they were never turned down at the Sandzéns. One elderly transient told Sandzén that he had walked from the river, where he had camped, and had sought help in vain at several residences. When describing the episode, Sandzén observed, "It is strange how some of our church members don't understand the first principle of Christianity--love and mercy." One cold December day, Freda and Margaret were walking home after shopping downtown when they met a man coming from the opposite direction. When he had moved on, Mrs. Sandzén asked Margaret, “Isn't that man wearing your father's new overcoat?” The question was soon answered with Birger's calm explanation: "I think he needs it more than I do." 6
start here--
Birger Sandzén had a keen sense of humor. He especially liked the drawings and stories of Albert Engstrom (1869-1940), a native of Småland and a member of the Swedish Academy, and often retold the story about a man who met an old friend he had not seen for a long time. His friend now had identical twin sons. When the sons were introduced, the man responded, "It's wonderful how much you two look alike, you, Carl and you Erik--especially you, Carl." Sandzén enjoyed the ridiculous in humor. One favorite story was about two men whom some might have called transients looking at a fancy funeral procession with a black shiny hearse, carriages with fringes, and so forth. One of the men said to his companion, "Just look at that. We'll probably have to walk to ours." Friends also recall Sandzén's story about an elderly couple at home seemingly quite discouraged about life and the future, when the husband broke the silence by saying, "When the Lord takes one of us home to Himself, I'm going to California." 7
START here
Sandzén, in the midst of a busy life, found time to do much reading. He kept abreast of contemporary literature, but he liked best the older French writers, observing, "Daudet's writing is absolutely effortless, never forced, and has such charm. He is marvelous, and then there is Balzac, a giant, and of course, Maupassant." He loved the storeis of Hans Christian Andersoen, and one of his favorite books was Ernst Josephson's Svarta rosor och gula (Black and yellow roses]. Sandzén subscribed to and read regularly the New Republic, a liberial economic and social journal, the Forum, and the Kansas City Star. The response of the Lindsborg painter to literature and cultural values is reflected in a letter to Gustaf in 1924: "It is enlightening to encounter the noblest aret, literature and life. These great experiences and values become what Dostoevsky calls 'eternal contemporaries.' " 8
The great personal qualities and professional achievements of Birger Sandzén wre shared generously for six decades in Lindsborg and elsewhere. His name was known far and wide in art circles, and many people admired him greatly. In June 1946, after fifty-two years of distinguished service to Bethany College, he chose to retire although he maintained a close relationship with the college as artist-in-residence and professor emeritus of art. He still painted and exhibited his works, but on a more modest scale than previously, and he continued to be an inspiration personally and professionally.
In February 1946, his seventy-fifth birthday was celebrated by friends and admirers. A portfolio of works by Kansas artist, planned by Sandzén's good friend, Prof. John F. Helm, Jr., of Kanas State University, was presented to him with esteem and affection. Bethany Collee are students sponsored a festive birthday party for the beloved professor, and colleagues, students, and friends expressed their appreciation for his many years of distinguished service.
Birger Sandzén worked hard and long across the decades and from time to time under the stress of precarious health. Even from early adult years he was troubled with what was described as a nervous heart, bet he disciplined himself well and paced his life accordingly. In the 1940s he was afflicted with an inflamed nerve in his righ cheek. On August 11, 1953, while showing a painting in his studio to two ladies from McPherson, he had a light stroke. He was taken to the Lindsborg Hospital where he stayed two days and then lived with Margaret and Pelham for two weeks before returning to his own home.
117
During those last days Birger Sandzén spoke of many things. He would say to Frida, "Oh, if I could only show my gratitude in some way. I love you in French, Spanish, Italian, German, Swedish and English." He shared with those closest to him hi plans for the next painting: "It's up in the highest mountains. The Sky is in clear pattern. The mountains are wild and far enough away to be blue and red. Then there is a region of pine forest—and d to the left a wedge of aspen, and then rocks--and water and rocks. I'll admit the compositor sounds simple,, but the colors are very sensitive." After a brief silence the thoughtful artist said, "I realize that I am getting Old and shouldn’t expect much--but if I could just paint a few more paintings. I would be happy. Maybe I could paint two more years--not, ten more, or fifteen," and then he laughed softly to himself. All of his thoughts were about those he loved--Frida, Margaret, Pelham--and about the weather, the coming of spring, warth, and the end of bare trees. 9
Fortunately, Birger Sandzén was able to be in his home during his last illness, were he was surrounded by familiar things--his favorite paintings and prints, his own and those of othrs; his precious books; and the Steinway piano on which Frida had played his fovorite compositions. Not only was he surrounded by loved ones close to him but his temple of memory was full of portraits--portraits from childhood days in Blidsberg and Jarpas, school years at Skar, Lund, Stockholm, and Paris, his decades at Bethany College, travel in Mexico, Europe, and the United States, visits to great museums and galleries. And there were great processions passing in review--friends on two continents, special friends at Lindsborg and elsewhere, colleagues, painters, printmakers, and a surging, almost endless procession of students and admirers, people glad to have known him.
Birger Sandzén's desire for the "coming of spring, warmth and the end of bare trees" was granted as his earthly pilgrimage came to an end at Lindsborg on June 22, 1954. A large congregation of friends assembled shortly thereafter at the Bethany Lutheran Church to pay their respects. To say that Birger Sandzén has gone to accept the promises of God about life and death is true but not the whole truth; as long as men, women, and children can see and respond to beauty, he will be alive through his paintings and prints. Others will also have their own special treasures--memories of his kindness, humility, generosity, patience, optimism. Some people say that great as Birger Sandzén was as an artist, he was still greater as a person.
The official proclamation of "Birger Sandzén Week, May 4-10, 1985," by Gov. John Carlin, three decades after the artist's death, is an interesting example of the continuing appreciation for the Lindsborg artist. In the proclamation, the governor declares, "Birger Sandzén has been seen by generations of Kansans as their ideal of an artist and teacher and has beyond a doubt had the greatest influence upon the art of Kansas of any artist, and through his art and life work has left a legacy that is an artistic treasure and an immeasurable cultural resource for the State of Kansas." 10
A generous oral tradition about Birger Sandzén will continue even after the lives of those who knew him most intimately have come to an end. Yet that will diminish with the passing of time, and then proclamations and memorials to his greatness may remain largely in archives. But Sandzén will live through his paintings and prints in many places--in the permanent collection of the Birger Sandzén Memorial Gallery, in museums and galleries, especially in the United States and Sweden, and in literally hundreds of churches, schools, public buildings, private collections, and homes. It is quite likely that people will continue to exclaim with pleasure,, "That's a Sandzén!"
Of the many tributes to Birger Sandzén, only two are cited here. A Kansas columnist wrote in 1939 with deep love for the Kansas landscape and with high esteem for Birger Sandzén: "We are being treated to a rare privilege this season, as if nature is attempting to make up for the lack of rainfall with beauty. It's been a long time since the trees have been such a riot of color. And what a background the glorious sunsets are! To bad we haven’t more Birger Sandzén’s to have this beauty always near us." !!11
When Carl Milles wrote the introduction to the catalog describing Sandzén's works in the Stockholm exhibition in 1937, he expressed his felling about the Lindsborg artist, his friend: Sandzén himself. A fine Swedish type, seems to be calm--but is the opposite, a great humorist--human to the greatest degree, loves to be helpful--and is helpful . . . A brilliant mind with a heart too large for a man. The collaboration between heart and mind is brilliant, always full of hope for himself and for others, every second of his life revolving about the problem of art . . . .One loves to listen to him since his marvelous view of life always sees light for both art and mankind." 12
There was nothing ostentatious or pretentious about Birger Sandzén; he loved the simple things of life. In one letter to his brother Gustaf, he wrote, “I am glad that the Christmas gifts arrived in time. Children should have Christmas gifts but also older people. When everything is taken into consideration there is not much difference between elders and children in some aspects of life.” Then he listed the many small events that he hoped would live long: Pleasant conversation, the exchange of ideas and thoughts with friends, coffee parties, small trips, family festivities. “They keep the spirit healthy, vital and useful." He often reminisced about the wonderful hospitality of his wife's parents and their friends during his and Frida’s “unsophisticated days” of visiting in western Kansas. 1
In later years the Sandzéns would often take a short automobile ride toward the end of the day to relax. A common route was the road north and west of Lindsborg, known to the World War II generation as the "Burma Road," to the twin-towered Salemsborg Lutheran Church in the area of the former village. Sandzén said about those little trips, “Just a little ride in this simple Kansas landscape, which has so many suggestions of color and form. Where else can you see such refreshing beauty?” 2
Sandzén cherished an attitude of understanding and reconciliation in human affairs, on one occasion remarking,"Only one thing is importan--that we have a life together of love and understanding." His was a spirit of goodwill, and he often said to Margaret, "above all go ahead cheerfully, regardless of the circumstances. "He shunned friction and arguments, saying, "Life is too short, it is not worth it." 3
Religious values and worship were important Sandzén. Young Berger had received thorough instruction in the Bible, church history, and Martin Luther’s catechism. He became a member of the Bethany Lutheran Church in Lindsborg during his first year there and remained an active member throughout his life. He loved the old hymns and chorales of the Lutheran Church as well as some of the famous songs of the immigrant evangelical movement, including Lena Sandell Berg's "Blot en dag, Ett ogonblick i sander" (Day by Day Thy Mercies, Lord, Attend Me. ). Although he was religious, as his life and correspondence indicated clearly, there was no dogmatism in his views. On one occasion he wrote to a friend, "There are unfortunately too many small and narrow-minded ministers and influential layman who have a perfectly pitiful conception of Christian culture. Life is short. Why make it narrow, sad and hard, instead of beautiful, clean, joyful and forgiving. You remember the great Victor Rydberg's words; "Manniskors uppgift ar att dromma och tanka' [Mankind's mission is to dream and think]. He was not able to understand the narrow-minded views of some people and wrote to Gustaf in October 1935: “I occasionally have people in my studio who call my magnificent Chinese figures "idols." To classify works of art as "idols" testifies to ignorance and crudeness of mind that is shocking. It takes not so little self-control to avoid throwing such people out of the studio. 5
Sandzén was sensitive to the needs of people. In an era when many men were forced for lack of money to catch rides on freight trains in search of work, especially during the wheat harvest, many transients came to Lindsborg. It was customary for them to go to homes seeking food when they we're short of money, and they were never turned down at the Sandzéns. One elderly transient told Sandzén that he had walked from the river, where he had camped, and had sought help in vain at several residences. When describing the episode, Sandzén observed, "It is strange how some of our church members don't understand the first principle of Christianity--love and mercy." One cold December day, Freda and Margaret were walking home after shopping downtown when they met a man coming from the opposite direction. When he had moved on, Mrs. Sandzén asked Margaret, “Isn't that man wearing your father's new overcoat?” The question was soon answered with Birger's calm explanation: "I think he needs it more than I do." 6
start here--
Birger Sandzén had a keen sense of humor. He especially liked the drawings and stories of Albert Engstrom (1869-1940), a native of Småland and a member of the Swedish Academy, and often retold the story about a man who met an old friend he had not seen for a long time. His friend now had identical twin sons. When the sons were introduced, the man responded, "It's wonderful how much you two look alike, you, Carl and you Erik--especially you, Carl." Sandzén enjoyed the ridiculous in humor. One favorite story was about two men whom some might have called transients looking at a fancy funeral procession with a black shiny hearse, carriages with fringes, and so forth. One of the men said to his companion, "Just look at that. We'll probably have to walk to ours." Friends also recall Sandzén's story about an elderly couple at home seemingly quite discouraged about life and the future, when the husband broke the silence by saying, "When the Lord takes one of us home to Himself, I'm going to California." 7
START here
Sandzén, in the midst of a busy life, found time to do much reading. He kept abreast of contemporary literature, but he liked best the older French writers, observing, "Daudet's writing is absolutely effortless, never forced, and has such charm. He is marvelous, and then there is Balzac, a giant, and of course, Maupassant." He loved the storeis of Hans Christian Andersoen, and one of his favorite books was Ernst Josephson's Svarta rosor och gula (Black and yellow roses]. Sandzén subscribed to and read regularly the New Republic, a liberial economic and social journal, the Forum, and the Kansas City Star. The response of the Lindsborg painter to literature and cultural values is reflected in a letter to Gustaf in 1924: "It is enlightening to encounter the noblest aret, literature and life. These great experiences and values become what Dostoevsky calls 'eternal contemporaries.' " 8
The great personal qualities and professional achievements of Birger Sandzén wre shared generously for six decades in Lindsborg and elsewhere. His name was known far and wide in art circles, and many people admired him greatly. In June 1946, after fifty-two years of distinguished service to Bethany College, he chose to retire although he maintained a close relationship with the college as artist-in-residence and professor emeritus of art. He still painted and exhibited his works, but on a more modest scale than previously, and he continued to be an inspiration personally and professionally.
In February 1946, his seventy-fifth birthday was celebrated by friends and admirers. A portfolio of works by Kansas artist, planned by Sandzén's good friend, Prof. John F. Helm, Jr., of Kanas State University, was presented to him with esteem and affection. Bethany Collee are students sponsored a festive birthday party for the beloved professor, and colleagues, students, and friends expressed their appreciation for his many years of distinguished service.
Birger Sandzén worked hard and long across the decades and from time to time under the stress of precarious health. Even from early adult years he was troubled with what was described as a nervous heart, bet he disciplined himself well and paced his life accordingly. In the 1940s he was afflicted with an inflamed nerve in his righ cheek. On August 11, 1953, while showing a painting in his studio to two ladies from McPherson, he had a light stroke. He was taken to the Lindsborg Hospital where he stayed two days and then lived with Margaret and Pelham for two weeks before returning to his own home.
117
During those last days Birger Sandzén spoke of many things. He would say to Frida, "Oh, if I could only show my gratitude in some way. I love you in French, Spanish, Italian, German, Swedish and English." He shared with those closest to him hi plans for the next painting: "It's up in the highest mountains. The Sky is in clear pattern. The mountains are wild and far enough away to be blue and red. Then there is a region of pine forest—and d to the left a wedge of aspen, and then rocks--and water and rocks. I'll admit the compositor sounds simple,, but the colors are very sensitive." After a brief silence the thoughtful artist said, "I realize that I am getting Old and shouldn’t expect much--but if I could just paint a few more paintings. I would be happy. Maybe I could paint two more years--not, ten more, or fifteen," and then he laughed softly to himself. All of his thoughts were about those he loved--Frida, Margaret, Pelham--and about the weather, the coming of spring, warth, and the end of bare trees. 9
Fortunately, Birger Sandzén was able to be in his home during his last illness, were he was surrounded by familiar things--his favorite paintings and prints, his own and those of othrs; his precious books; and the Steinway piano on which Frida had played his fovorite compositions. Not only was he surrounded by loved ones close to him but his temple of memory was full of portraits--portraits from childhood days in Blidsberg and Jarpas, school years at Skar, Lund, Stockholm, and Paris, his decades at Bethany College, travel in Mexico, Europe, and the United States, visits to great museums and galleries. And there were great processions passing in review--friends on two continents, special friends at Lindsborg and elsewhere, colleagues, painters, printmakers, and a surging, almost endless procession of students and admirers, people glad to have known him.
Birger Sandzén's desire for the "coming of spring, warmth and the end of bare trees" was granted as his earthly pilgrimage came to an end at Lindsborg on June 22, 1954. A large congregation of friends assembled shortly thereafter at the Bethany Lutheran Church to pay their respects. To say that Birger Sandzén has gone to accept the promises of God about life and death is true but not the whole truth; as long as men, women, and children can see and respond to beauty, he will be alive through his paintings and prints. Others will also have their own special treasures--memories of his kindness, humility, generosity, patience, optimism. Some people say that great as Birger Sandzén was as an artist, he was still greater as a person.
The official proclamation of "Birger Sandzén Week, May 4-10, 1985," by Gov. John Carlin, three decades after the artist's death, is an interesting example of the continuing appreciation for the Lindsborg artist. In the proclamation, the governor declares, "Birger Sandzén has been seen by generations of Kansans as their ideal of an artist and teacher and has beyond a doubt had the greatest influence upon the art of Kansas of any artist, and through his art and life work has left a legacy that is an artistic treasure and an immeasurable cultural resource for the State of Kansas." 10
A generous oral tradition about Birger Sandzén will continue even after the lives of those who knew him most intimately have come to an end. Yet that will diminish with the passing of time, and then proclamations and memorials to his greatness may remain largely in archives. But Sandzén will live through his paintings and prints in many places--in the permanent collection of the Birger Sandzén Memorial Gallery, in museums and galleries, especially in the United States and Sweden, and in literally hundreds of churches, schools, public buildings, private collections, and homes. It is quite likely that people will continue to exclaim with pleasure,, "That's a Sandzén!"
Of the many tributes to Birger Sandzén, only two are cited here. A Kansas columnist wrote in 1939 with deep love for the Kansas landscape and with high esteem for Birger Sandzén: "We are being treated to a rare privilege this season, as if nature is attempting to make up for the lack of rainfall with beauty. It's been a long time since the trees have been such a riot of color. And what a background the glorious sunsets are! To bad we haven’t more Birger Sandzén’s to have this beauty always near us." !!11
When Carl Milles wrote the introduction to the catalog describing Sandzén's works in the Stockholm exhibition in 1937, he expressed his felling about the Lindsborg artist, his friend: Sandzén himself. A fine Swedish type, seems to be calm--but is the opposite, a great humorist--human to the greatest degree, loves to be helpful--and is helpful . . . A brilliant mind with a heart too large for a man. The collaboration between heart and mind is brilliant, always full of hope for himself and for others, every second of his life revolving about the problem of art . . . .One loves to listen to him since his marvelous view of life always sees light for both art and mankind." 12
* * *
~ 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.
