Artist Lydia Sohlberg Deere
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‘Here at last is a true interpreter of the majesty and stupendous grandeur of the Rocky Mountains.
-- January 1921, Effie Seachrest of the American Magazine of Art
-- Lindquist's Birger Sandzén, An Illustrated Biography
Lydia's Art Professor Birger Sandzén's "Art Exhibitions" and "Reviews"
documented here from
1893 - 1940
documented here from
1893 - 1940
The years in which Sandzén was Lydia's art professor were from 1919 to 1923. Before, during and after those years as a lifetime art professor at Bethany College dedicated to his students, Sandzén was, as well, engaged in showing his art work beyond the College and Lindsborg.
Just listing the years and some of the newspapers, magazines, and periodicals discussing Sandzén's exhibitions gives one a good idea of where he was exhibiting, and of his determination to share his art and to establish himself as a serious artist within the United States and in Sweden while he was teaching at Bethany College.
The Press Reviewing Sandzén's Work
The following dates and the press reviewing Sandzén's work were compiled from fourth Swedish American Bethany College president Dr. Emory Lindquist's 1993 book, Birger Sandzén, An Illustrated Biography. This information was collected from pages 79 to 90 and is noted as below:
In 1913, the Chicago Sunday Record-Hearld; in 1916, the American-Scandinavian Review; in 1918, the Santa Fe Daily New Mexican and the Chicago Herald-Examiner; in 1920, the Oakland Tribune, the Washington Star, and the Pennsylvania Academy of Art Philadelphia’s Revue du vrai et du beau arts et letters.
In 1922, it was mostly New York: including the American Scandinavian Foundation Forum; the New York Herald and American Art News, the New York American, the Christian Science Monitor, the New York Times; the Brooklyn Eagle; and the New York Tribune.
In 1924, it was mostly Sweden, including Skåra Posten, Skanska Dagbladet, Social Demokraten, Stockholms Tidning, Dagens Nyheter, Swedish Art Enclyclopedai, Svensk konstnarslexikon, Ulricehamns Tidning, Borås Tidning, Stockholm Dagens Nyheter and Skaraborgs Läns Tidning.
In 1927, the Philadelphia Record and the American Magazine of Art; in 1931, the Detroit Sunday News; in 1932, the Kansas City Times, and the Kansas City Journal, and in 1936, the Kansas City Star.
In the early 1940s, it was the Philadelphia Inquirer, and in 1947, the Washington Star and the Kansas City Star.
In 1913, the Chicago Sunday Record-Hearld; in 1916, the American-Scandinavian Review; in 1918, the Santa Fe Daily New Mexican and the Chicago Herald-Examiner; in 1920, the Oakland Tribune, the Washington Star, and the Pennsylvania Academy of Art Philadelphia’s Revue du vrai et du beau arts et letters.
In 1922, it was mostly New York: including the American Scandinavian Foundation Forum; the New York Herald and American Art News, the New York American, the Christian Science Monitor, the New York Times; the Brooklyn Eagle; and the New York Tribune.
In 1924, it was mostly Sweden, including Skåra Posten, Skanska Dagbladet, Social Demokraten, Stockholms Tidning, Dagens Nyheter, Swedish Art Enclyclopedai, Svensk konstnarslexikon, Ulricehamns Tidning, Borås Tidning, Stockholm Dagens Nyheter and Skaraborgs Läns Tidning.
In 1927, the Philadelphia Record and the American Magazine of Art; in 1931, the Detroit Sunday News; in 1932, the Kansas City Times, and the Kansas City Journal, and in 1936, the Kansas City Star.
In the early 1940s, it was the Philadelphia Inquirer, and in 1947, the Washington Star and the Kansas City Star.
- SUNSET IN THE MOUNTAINS -
by
Birger Sandzén
1917
by
Birger Sandzén
1917
Courtesy of the Birger Sandzén Memorial Gallery, Lindsborg, Kansas
In Chapter 10 on Exhibitions and the Response of Art Critics, Lindquist begins on page 79 with the following:
"Although Birger Sandzén lived and painted in Lindsborg, Kansas, his works were exhibited at several major galleries and museums in the United States and in Europe. Art critics and other people in a wide area thus had an opportunity to view his paintings and prints, and their response is recorded fully and clearly in many newspapers and periodicals. Records indicate that Sandzén sent his paintings, water colors, and prints to more than 600 exhibitions, ranging from one or two items shown in a collective exhibition to one-man shows.
"In the United States his works were shown in at least thirty (30) States and the District of Columbia; they were also exhibited on several occasions in Sweden [i.e. in Göteborg in 1893, 1896, and 1923; in Malmö in 1920; in Skara in 1924; in Uppsala in 1934; in Lidköping 1937; and in Stockholm in 1897, 1911, 1931, 1937, 1948, and 1957] and at times in Italy, England and France [i.e, in 1924 and 1926 at the Palace of Fine Arts in Rome; in 1927 at the Uffizi in Florence; and in 1923 at the American Pavilion in Venice; also in Paris at the Bibliotheque National in 1928, the Salon des Tuileries in 1933, and the Salon des Artistes Francais in 1937].
"Sandzén’s works were presented in well known museums and galleries that sponsored annually and special exhibitions involving longstanding traditions of excellence in art. His great and continuous interest in bringing art to the people where no such traditions and facilities existed, however, resulted in his works also being shown in a variety of other places -- assembly halls, classrooms, churches, and commercial and public buildings. Improvised arrangements were made in a multitude of places in Kansas and elsewhere.
"The first public exhibition of Sandzén's paintings occurred in 1893 when six of his canvases were sent to Göteborgs Konstforening (Gothenburg Art Society) at the urging of his former teacher Richard Bergh. Although Sandzén exhibited on a modest scale at Bethany College shortly after his arrival there in 1894, 1899 is a landmark date because in spring of that year, Carl Lotavé, G.N. Malm, and Sandzén organized a formal art exhibition at the college in association with the annual Messiah festival during Holy Week. The exhibition became an annual event; later known as the Midwest Art Exhibition, it is the oldest continuous art show in Kansas and the surrounding area. The works of past and contemporary artists were hung on these occasions, but Sandzén's paintings and prints were always featured."
On page 80, Lindquist continues:
"Sandzén’s earliest participation in metropolitan exhibitions was sponsored by Swedish American organizations. In 1905 he was represented by five paintings in the exhibition of the Swedish-American Art Association at Anderson’s Gallery in Chicago, and, in 1910, the Swedish Club of Chicago sponsored the first of a series of exhibitions by Swedish-American artists; the Lindsborg artist generally sent works to these shows. An important result of Sandzén’s association with these exhibitions was that he became known outside of Kansas. In 1914 and 1915 his works were hung in shows of the Chicago Artists Guild, in 1917 his work was shown for the first time at the Art Institute of Chicago, and in 1919 his prints were included in the exhibition of the Chicago Society of Etchers. He exhibited in Chicago intermittently for almost three decades [30 years], including one-man shows in 1918 and 1926, and he has been represented in about fifty [50] exhibitions in the Chicago area. In addition, Sandzén participated in many exhibitions in Kansas City, Missouri, and the Kansas City Art Institute played an important role in his professional career. He first took part in an exhibition there in 1915; by 1940 he had been involved in twenty-five [25], including two joint events. He often lectured in Kansas City on art subjects, and he held a master class in painting under the auspices of the Art Institute in 1921. Sandzén’s works were shown a number of times in Washington, D. C. beginning with a one man show at the Washington Art Club in 1920. West Coast exhibitions included several shows in Los Angeles, Oakland, and San Francisco."
Lindquist continues on pages 81 and finishes on page 82:
"The decade of the 1920s was a great era in the growing appreciation of the excellence of Sandzén’s works. Laura Bride Powers, in the Oakland Tribune, was enthusiastic about an exhibition in San Francisco. After referring to it as 'one of the big shows in the winter of 1920,' she wrote, 'It is glorified with color presentations of nature in her noblest aspect -- the great planes of mountains rising from an enchanted valley-floor; strong-limbed tree lines against a brilliant sky that comes to gladden the earth in the fall and spring; sweeps of swirling water; mountain and plain in the purpling garments of lowering day -- all tales of the West, told in strong sweeping strokes that never misfire . . . . How nobly he handles his color, fresh as dew.' At the same time, the art critic of the Washington Star described the Sandzén exhibition at the [Washington] Art Club as being 'out of the ordinary and exceedingly worthy of attention.'
“In January 1921 Effie Seachrest reported in the American Magazine of Art about her delightful visit to the Sandzén exhibition in McPherson, Kansas. In describing one room of his paintings of the Rocky Mountains she wrote: 'His big overpowering, structural treatment of rocks and mountains bathed in sunlight or flooded with moonshine, his glowing colors dashed on with an impetuosity that reminds one of his master, Zorn, arouse the critic’s wonder and admiration and cause him to cry:
‘Here at last is a true interpreter of the majesty and stupendous grandeur of the Rocky Mountains.’ "
"Although Birger Sandzén lived and painted in Lindsborg, Kansas, his works were exhibited at several major galleries and museums in the United States and in Europe. Art critics and other people in a wide area thus had an opportunity to view his paintings and prints, and their response is recorded fully and clearly in many newspapers and periodicals. Records indicate that Sandzén sent his paintings, water colors, and prints to more than 600 exhibitions, ranging from one or two items shown in a collective exhibition to one-man shows.
"In the United States his works were shown in at least thirty (30) States and the District of Columbia; they were also exhibited on several occasions in Sweden [i.e. in Göteborg in 1893, 1896, and 1923; in Malmö in 1920; in Skara in 1924; in Uppsala in 1934; in Lidköping 1937; and in Stockholm in 1897, 1911, 1931, 1937, 1948, and 1957] and at times in Italy, England and France [i.e, in 1924 and 1926 at the Palace of Fine Arts in Rome; in 1927 at the Uffizi in Florence; and in 1923 at the American Pavilion in Venice; also in Paris at the Bibliotheque National in 1928, the Salon des Tuileries in 1933, and the Salon des Artistes Francais in 1937].
"Sandzén’s works were presented in well known museums and galleries that sponsored annually and special exhibitions involving longstanding traditions of excellence in art. His great and continuous interest in bringing art to the people where no such traditions and facilities existed, however, resulted in his works also being shown in a variety of other places -- assembly halls, classrooms, churches, and commercial and public buildings. Improvised arrangements were made in a multitude of places in Kansas and elsewhere.
"The first public exhibition of Sandzén's paintings occurred in 1893 when six of his canvases were sent to Göteborgs Konstforening (Gothenburg Art Society) at the urging of his former teacher Richard Bergh. Although Sandzén exhibited on a modest scale at Bethany College shortly after his arrival there in 1894, 1899 is a landmark date because in spring of that year, Carl Lotavé, G.N. Malm, and Sandzén organized a formal art exhibition at the college in association with the annual Messiah festival during Holy Week. The exhibition became an annual event; later known as the Midwest Art Exhibition, it is the oldest continuous art show in Kansas and the surrounding area. The works of past and contemporary artists were hung on these occasions, but Sandzén's paintings and prints were always featured."
On page 80, Lindquist continues:
"Sandzén’s earliest participation in metropolitan exhibitions was sponsored by Swedish American organizations. In 1905 he was represented by five paintings in the exhibition of the Swedish-American Art Association at Anderson’s Gallery in Chicago, and, in 1910, the Swedish Club of Chicago sponsored the first of a series of exhibitions by Swedish-American artists; the Lindsborg artist generally sent works to these shows. An important result of Sandzén’s association with these exhibitions was that he became known outside of Kansas. In 1914 and 1915 his works were hung in shows of the Chicago Artists Guild, in 1917 his work was shown for the first time at the Art Institute of Chicago, and in 1919 his prints were included in the exhibition of the Chicago Society of Etchers. He exhibited in Chicago intermittently for almost three decades [30 years], including one-man shows in 1918 and 1926, and he has been represented in about fifty [50] exhibitions in the Chicago area. In addition, Sandzén participated in many exhibitions in Kansas City, Missouri, and the Kansas City Art Institute played an important role in his professional career. He first took part in an exhibition there in 1915; by 1940 he had been involved in twenty-five [25], including two joint events. He often lectured in Kansas City on art subjects, and he held a master class in painting under the auspices of the Art Institute in 1921. Sandzén’s works were shown a number of times in Washington, D. C. beginning with a one man show at the Washington Art Club in 1920. West Coast exhibitions included several shows in Los Angeles, Oakland, and San Francisco."
Lindquist continues on pages 81 and finishes on page 82:
"The decade of the 1920s was a great era in the growing appreciation of the excellence of Sandzén’s works. Laura Bride Powers, in the Oakland Tribune, was enthusiastic about an exhibition in San Francisco. After referring to it as 'one of the big shows in the winter of 1920,' she wrote, 'It is glorified with color presentations of nature in her noblest aspect -- the great planes of mountains rising from an enchanted valley-floor; strong-limbed tree lines against a brilliant sky that comes to gladden the earth in the fall and spring; sweeps of swirling water; mountain and plain in the purpling garments of lowering day -- all tales of the West, told in strong sweeping strokes that never misfire . . . . How nobly he handles his color, fresh as dew.' At the same time, the art critic of the Washington Star described the Sandzén exhibition at the [Washington] Art Club as being 'out of the ordinary and exceedingly worthy of attention.'
“In January 1921 Effie Seachrest reported in the American Magazine of Art about her delightful visit to the Sandzén exhibition in McPherson, Kansas. In describing one room of his paintings of the Rocky Mountains she wrote: 'His big overpowering, structural treatment of rocks and mountains bathed in sunlight or flooded with moonshine, his glowing colors dashed on with an impetuosity that reminds one of his master, Zorn, arouse the critic’s wonder and admiration and cause him to cry:
‘Here at last is a true interpreter of the majesty and stupendous grandeur of the Rocky Mountains.’ "
Close friend and confidant to Sandzén since 1924, Swedish sculptor Carl Milles (1875-1955) whose early works were completed in a Paris studio where Auguste Rodin (1840-1917) was working, writes in the 1937 Stockholm, Gummesons konsthall's exhibition catalogue, "Introduction," Birger Sandzéns utstallnings:
"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." **
"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." **
Thus, this was Lydia's Swedish Bethany College art professor and family friend, and this was the Lindsborg Smoky Valley grand master of art, who from the plains of Kansas "shared his art with the world" then, "the sharing" of which continues to this day through the art gallery that bears his name, the "Birger Sandzén Memorial Gallery."
For Lydia's Art Professor Sandzén's Exhibition at the Babcock Gallery in New York, 1922, go HERE.
OR
To go to the Birger Sandzen Memorial Gallery, click on the above painting.
* Courtesy of the Birger Sandzén Memorial Gallery, Lindsborg, Kansas
**Fourth Swedish American Bethany College president Dr. Emory Lindquist's 1993 book, Birger Sandzen, An Illustrated Biography, page 119.
* * *
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.
Copyright © since October 8, 2015 to Current Year
as indicated on main menu sections of
www.swedesthewaytheywere.org. All rights reserved.
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.
Copyright © since October 8, 2015 to Current Year
as indicated on main menu sections of
www.swedesthewaytheywere.org. All rights reserved.
