"The Other Swedes"
~ Celebrating Them ~
~ The Lindsborg Swedes, Their Neighbors & Friends ~
<> Their Legacy Art Community <>
Artist Dr. Birger Sandzén
~ Remembering him for "sharing his art with the world,"
starting "first" at
Lindsborg's Bethany College
~ Celebrating Them ~
~ The Lindsborg Swedes, Their Neighbors & Friends ~
<> Their Legacy Art Community <>
Artist Dr. Birger Sandzén
~ Remembering him for "sharing his art with the world,"
starting "first" at
Lindsborg's Bethany College
Dr. Birger Sandzén*
1871-1954
1871-1954
Courtesy of the Birger Sandzén Memorial Gallery.
* Sandzén at 32 by high society photographer
Richard Gordon Matzene (c1875-1950) of Chicago and New York City.
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Honored by the King of Sweden, 1940
Richard Gordon Matzene (c1875-1950) of Chicago and New York City.
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Honored by the King of Sweden, 1940
Dr. Birger Sandzén was born in Blidsberg, Sweden. There he began his study of art which would include his becoming a student of the Swedish master artist Anders Zorn. In Paris, studying art found him meeting Americans that gave him a longing to travel there to paint the American West. His employment at Bethany College where he was first to teach courses in Swedish, German and French were the first steps of this young professor's dream when he arrived on campus in 1894 at the age of 23.
There, he was to meet in that same year Swede Alfrida Leksell who was a piano student and was from McPherson, Kansas, 14 miles south of Lindsborg. They married in 1900 and in 1909 had a daughter, Margarita (Margaret) Elisabeth. The family lived in Lindsborg and worshiped at Bethany Lutheran Church, a church that belonged to the 1860 Augustana Swedish Lutheran Synod.
Margaret would marry the Bostonian Pelham Charles Greenough, 3rd. on Thanksgiving Day, 1942 in her father's Lindsborg studio. Together this couple would be responsible for the Lindsborg, Kansas, establishment of the Birger Sandzén Memorial Gallery located on the Bethany College campus in 1957.
There, he was to meet in that same year Swede Alfrida Leksell who was a piano student and was from McPherson, Kansas, 14 miles south of Lindsborg. They married in 1900 and in 1909 had a daughter, Margarita (Margaret) Elisabeth. The family lived in Lindsborg and worshiped at Bethany Lutheran Church, a church that belonged to the 1860 Augustana Swedish Lutheran Synod.
Margaret would marry the Bostonian Pelham Charles Greenough, 3rd. on Thanksgiving Day, 1942 in her father's Lindsborg studio. Together this couple would be responsible for the Lindsborg, Kansas, establishment of the Birger Sandzén Memorial Gallery located on the Bethany College campus in 1957.
The Handout -- Telling the Story of Birger Sandzén
A handout was brought home by my Great-granduncle Dr. Emil O. Deere and Grandmother Nina Sohlberg Fry from the Birger Sandzén Memorial Gallery soon after it was opened in 1957. This would be the best, the freshest, information on Sandzén and his art, since the words most likely came directly from his daughter Margaret who with her husband Pelham Charles Greenough, 3rd. were responsible for the building of the Gallery. Below is the transcription of the handout including its various images.
- The Handout -
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THE BIRGER SANDZEN MEMORIAL GALLERY
BETHANY COLLEGE . . LINDSBORG, KANSAS
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THE BIRGER SANDZEN MEMORIAL GALLERY
BETHANY COLLEGE . . LINDSBORG, KANSAS
Source: Handout from Deere Papers
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Page 1
"The little gallery was built in memory of a man who lived three lives in one.: a painter, teacher, and crusader for art. His name was Birger Sandzén, born in Blidsberg, Sweden, in 1871. Intending to make a two years' sojourn in this country and Mexico, he came to Lindsborg, Kansas, at the age of 23, to join the Bethany College staff after having read a book by the founder, Dr. Carl A. Swensson. Sandzén liked his new home so much, that except for two trips to Mexico and three to Europe, he remained in the United States the rest of his life, most of these sixty years being spent at Lindsborg, fifty-two as a teacher at Bethany College. He died June 19, 1954.
"Birger Sandzén had grown up in a home where music, art, and literature were loved and respected. When he was 10 years old, he was sent off to a boys school in the town of Skara. While there, he studied drawing and painting privately with Olaf Erlandson, a graduate of the Royal Academy at Stockholm. After graduating from Skara College in 1890, Sandzén continued his studies in French and esthetics at Lund University. Soon, however, Sandzén decided to become a professional painter and went to Stockholm, where he joined a group of young art students who became the first students of "The Artist League" under the well-known painter, Andrew Zorn. Richard Bergh, art scholar and portrait painter, as well as Per Hasselquist, sculptor, were also teachers at the school. After two years in Stockholm, Sandzén continued drawing and painting at the studio of Aman-Jean in Paris. While there, he met many Americans who were influential in his decision to come to the United States.
"Although Mr. Sandzén had arduous teaching schedules, which included the Romance languages, four art history classes, a class in esthetics for liberal arts students, and all the drawing and painting classes, he was also the tenor soloist with the Bethany Oratorial Society for ten years and gave many recitals with his wife, Alfrida, a talented pianist. He wrote Swedish unusually well, and for years contributed to Swedish-American newspapers.
"Birger Sandzén had grown up in a home where music, art, and literature were loved and respected. When he was 10 years old, he was sent off to a boys school in the town of Skara. While there, he studied drawing and painting privately with Olaf Erlandson, a graduate of the Royal Academy at Stockholm. After graduating from Skara College in 1890, Sandzén continued his studies in French and esthetics at Lund University. Soon, however, Sandzén decided to become a professional painter and went to Stockholm, where he joined a group of young art students who became the first students of "The Artist League" under the well-known painter, Andrew Zorn. Richard Bergh, art scholar and portrait painter, as well as Per Hasselquist, sculptor, were also teachers at the school. After two years in Stockholm, Sandzén continued drawing and painting at the studio of Aman-Jean in Paris. While there, he met many Americans who were influential in his decision to come to the United States.
"Although Mr. Sandzén had arduous teaching schedules, which included the Romance languages, four art history classes, a class in esthetics for liberal arts students, and all the drawing and painting classes, he was also the tenor soloist with the Bethany Oratorial Society for ten years and gave many recitals with his wife, Alfrida, a talented pianist. He wrote Swedish unusually well, and for years contributed to Swedish-American newspapers.
Page 2
"Birger Sandzén was in demand as a guest artist teaching at Broadmoor Art Academy (later the Colorado Springs Fine Arts Center), the Denver Chappell House School of Art, Stevens College, the Kansas City Art Institute, Utah State College, and the University of Michigan. He refused many permanent positions which offered temptingly higher salaries because he loved Kansas, "little Lindsborg," and was devoted to Bethany College.
"Mr. Sandzén believed it was essential to try to create a better climate for art out here in the Midwest. He gave talks on art in high schools, universities, colleges, churches, grade schools, women's clubs, and was tirelessly in sending out big and little exhibitions. More than one school in Kansas was exposed to its first contact with art exhibitions and lectures on art through the combined efforts of Mr. Carl J. Smalley** of McPherson, Kansas, who assembled the shows, Birger Sandzén who gave the lectures, and high school principals who co-operated enthusiastically.
"Mr. Sandzén's happiest hour was on the day it was possible to hang a large exhibition of Chinese paintings in the Swedish pavilion, sharing his love for Chinese art and poetry with students and townpeople. Other favorite subjects of discussion dealt with modern French painting, modern Scandinavian painting, art in the everyday life, and, strangely enough, the stories of Hans Christian Andersen.
"Miss Leila Mechlin, former secretary of the American Federation of Art, said "Birger Sandzén has lit little candles of art appreciation throughout the Midwest."
"Mr. Sandzén believed it was essential to try to create a better climate for art out here in the Midwest. He gave talks on art in high schools, universities, colleges, churches, grade schools, women's clubs, and was tirelessly in sending out big and little exhibitions. More than one school in Kansas was exposed to its first contact with art exhibitions and lectures on art through the combined efforts of Mr. Carl J. Smalley** of McPherson, Kansas, who assembled the shows, Birger Sandzén who gave the lectures, and high school principals who co-operated enthusiastically.
"Mr. Sandzén's happiest hour was on the day it was possible to hang a large exhibition of Chinese paintings in the Swedish pavilion, sharing his love for Chinese art and poetry with students and townpeople. Other favorite subjects of discussion dealt with modern French painting, modern Scandinavian painting, art in the everyday life, and, strangely enough, the stories of Hans Christian Andersen.
"Miss Leila Mechlin, former secretary of the American Federation of Art, said "Birger Sandzén has lit little candles of art appreciation throughout the Midwest."
Page 3
"As a professional painter, Birger Sandzén produced an astonishing number of oils, watercolors, and prints that found their way into literally thousands of homes and schools not only regionally but in most of the states. In the early twenties and thirties he exhibited extensively and was invited to become a member of such organizations as the Philadelphia Watercolor Society, the Senefelder Club, the original Taos Society of Artists, and the Society of American Graphic Artists, Incorporated. He had two successful exhibitions (from the critics' point-of-view) at the Babcock Galleries in New York, and exhibited with "the American Watercolor Society" and "The California Society." Occasionally one of his oils would be invited to a European traveling show of American art or to an international exhibition in Rome, and some of his prints were exhibited in the Spring and Autumn Salons of Paris in 1933 and 1934. His work was shown at many of this country's museums and art galleries. While not many museums own paintings by Sandzén (with the exception of the Brooklyn Museum, the Santa Fe Museum, the National Museum at Stockholm, and the Nelson Gallery in Kansas City) his prints, always popular, can be found in such important collections as the British Museum, the Metropolitan, the Library of Congress, the Chicago Art Institute, etc. Mr. Sandzén gave the entire income from his small prints to the "Smoky Hill Art Club" which, in turn, used it to buy material for the art department, prints for the college collection, a prize for the best water color in the Prairie Water Color Show or an occasional gift to a needy student.
"During Mr. Sandzén's years of renown in the 20s, many fine tributes were written about his work. There is no room to record them all here. However, we shall choose a few for reprinting: Peyton Boswell once wrote, "He surpasses all expectations -- by the vigor of his technique, the rightness of his compositions, and the gorgeousness of his color schemes that burn as brightly as the face of those many-hued lands. But that his nature is not averse to portraying less dramatic features of the West is evident in 'Moonlight' and in 'The Old Homestead,' the melancholy atmosphere being as much a part of it as a brilliant sunshine."
"During Mr. Sandzén's years of renown in the 20s, many fine tributes were written about his work. There is no room to record them all here. However, we shall choose a few for reprinting: Peyton Boswell once wrote, "He surpasses all expectations -- by the vigor of his technique, the rightness of his compositions, and the gorgeousness of his color schemes that burn as brightly as the face of those many-hued lands. But that his nature is not averse to portraying less dramatic features of the West is evident in 'Moonlight' and in 'The Old Homestead,' the melancholy atmosphere being as much a part of it as a brilliant sunshine."
Page 4
"L. Merrick said, 'He has searched for essentials, disregarding unimportant details and extreme realism, but with direct brushstrokes and a love for brilliant color has adapted nature to express artistic emotion. The exhibition contains oils, watercolors, and lithographs and woodcuts, in all of which mediums he appears perfectly at home, and in which he betrays a knowledge of structural form which express his intentions in a forceful, compelling manner.'
"The Birger Sandzén Memorial Gallery was built almost entirely through the efforts of his son-in-law, Charles Pelham Greenough, 3rd., formally of Boston and Santa Barbara. Friends, clubs and alumni also contributed. Bethany College, which gave the land (by lease), makes maintenance possible by contributing heat, light, and student help.
"The gallery is 64 feet by 149 feet and contains 10 exhibition areas which include two print corridors; two large rooms, one of which contains mountain paintings and is named in honor of Prof. Oscar Torsen, the other which shows either contemporary work or the Sandzén Kansas paintings; four small rooms in which are exhibited alternately the Sandzén water colors, his coast motif paintings, Chinese paintings on loan, prints or photography, paintings by Lester Raymer, and a collection of early Henry Varnum Poors and a Marsden Hartley; a library where most of the modern, changing exhibitions are held; and last but not least, the foyer which contains sculpture and from which one can see the beautiful Carl Milles "Little Triton." fountain, appropriately placed in a specially designed courtyard.
"Admission is 25 cents for adults, 15 cents for high school students, and 10 cents for grade school students. However, gifts, little and big, are very much needed and appreciated. The gallery is open every day, except Mondays, from 1 pm to 5:00 pm. The gallery has been open to the public since November 4, 1957. It is closed the day before Christmas, Christmas Day, New Year's Day, July 4th, and Thanksgiving Day."
"The Birger Sandzén Memorial Gallery was built almost entirely through the efforts of his son-in-law, Charles Pelham Greenough, 3rd., formally of Boston and Santa Barbara. Friends, clubs and alumni also contributed. Bethany College, which gave the land (by lease), makes maintenance possible by contributing heat, light, and student help.
"The gallery is 64 feet by 149 feet and contains 10 exhibition areas which include two print corridors; two large rooms, one of which contains mountain paintings and is named in honor of Prof. Oscar Torsen, the other which shows either contemporary work or the Sandzén Kansas paintings; four small rooms in which are exhibited alternately the Sandzén water colors, his coast motif paintings, Chinese paintings on loan, prints or photography, paintings by Lester Raymer, and a collection of early Henry Varnum Poors and a Marsden Hartley; a library where most of the modern, changing exhibitions are held; and last but not least, the foyer which contains sculpture and from which one can see the beautiful Carl Milles "Little Triton." fountain, appropriately placed in a specially designed courtyard.
"Admission is 25 cents for adults, 15 cents for high school students, and 10 cents for grade school students. However, gifts, little and big, are very much needed and appreciated. The gallery is open every day, except Mondays, from 1 pm to 5:00 pm. The gallery has been open to the public since November 4, 1957. It is closed the day before Christmas, Christmas Day, New Year's Day, July 4th, and Thanksgiving Day."
This could be the first handout when visiting the Birger Sandzén Memorial Gallery after its 1957 November opening.
Showing three (3) of Sandzén's Lithographs**
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** Note that Dr. Sandzén's friendship with the noted "greatest art dealer in the world," Carl J. Smalley, of McPherson, in addition to their promoting art to Kansas schools together, it would be the latter who would introduce the former to the study of lithography who would in turn produce thousands of fine and varied pieces in this medium while teaching his Bethany students as well in this art form.
My Great-grandaunt Lydia Sohlberg Deere, who was a family friend and his student, left hundreds of her own pieces behind which we gave away, and today only have just one (1) remaining example.
My Great-grandaunt Lydia Sohlberg Deere, who was a family friend and his student, left hundreds of her own pieces behind which we gave away, and today only have just one (1) remaining example.
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Lydia's Desert Palms
1930
Lithograph
Lydia's Desert Palms
1930
Lithograph
- LITHOGRAPH -
To learn more on this renown Kansas Swedish Artist, go HERE to
Sandzén's introduction to lithography
~ From McPherson, Kansas, Carl J. Smalley, considered greatest art dealer in the world at that time
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Other
LINKS
to
Dr. Sven Birger Sandzén
Much has been written about this master artist in SWEDES profiling parts of Sandzén's life when studying art in Sweden and Paris, and his years as an art professor at Bethany College while he promoted his art throughout the United States and Sweden. The source of this information came from one author primarily, Bethany College fourth President and author Dr. Emory K. Lindquist, found in his 1953 "Smoky Valley People, A History of Lindsborg, Kansas;" his 1975 "Bethany College, the history of a college;" and his 1993 "Birger Sandzén, An Illustrated Biography."
For the LINKS to Dr. Sandzén sections, go
HERE for Their “1899 on . . .” Bethany College “Swedish Artists’ Midwest Art Exhibition” ~ An account by the Birger Sandzén Memorial Gallery (Organized by Lotavé, Malm & Sandzén)
HERE for Lydia's Art Professor Sven Birger Sandzén 1871-1954 ~ Her classes with him from 1919 - 1923
HERE for Lydia's Assignments for Professor Sandzén
HERE for Students of Sandzén 2019 Exhibition
HERE for Bethany Home ~ Celebrating Artist Birger Sandzén through His Students' Paintings
HERE for Lydia's Art Professor Birger Sandzén's "Art Exhibitions" and "Reviews"
HERE for Lydia's Sandzén's Body of Work Reviewed by N.Y.C. 1984 "American Impressionism," author William H. Gerdts
HERE for Lydia's Art Professor Sandzén's Exhibition at the Babcock Gallery in New York, 1922
HERE for Their “1899 on . . .” Bethany College “Swedish Artists’ Midwest Art Exhibition” ~ An account by the Birger Sandzén Memorial Gallery (Organized by Lotavé, Malm & Sandzén)
HERE for Lydia's Art Professor Sven Birger Sandzén 1871-1954 ~ Her classes with him from 1919 - 1923
HERE for Lydia's Assignments for Professor Sandzén
HERE for Students of Sandzén 2019 Exhibition
HERE for Bethany Home ~ Celebrating Artist Birger Sandzén through His Students' Paintings
HERE for Lydia's Art Professor Birger Sandzén's "Art Exhibitions" and "Reviews"
HERE for Lydia's Sandzén's Body of Work Reviewed by N.Y.C. 1984 "American Impressionism," author William H. Gerdts
HERE for Lydia's Art Professor Sandzén's Exhibition at the Babcock Gallery in New York, 1922
HERE for Dr. Emory K. Lindquist's 1993 "Birger Sandzén, An Illustrated Biography" ~ Introduction from the "Lindsborg News-Record" News Release There are found these 5 LINKS to the rest of that book review that includes:
~ The Words of Dr. Lindquist ~ Contents, Photographs, Figures & Color Paintings
~ With "Foreword" by Dr. William H. Gerdts
~ The Words of Dr. Lindquist ~ Preface and Acknowledgments
~The Words of Dr. Lindquist ~ Concluding Observations
~ The Words of Dr. Lindquist ~ Appendix: Works in Selected Public Collections
HERE for The Greenoughs: Margaret & Pelham ~ Their greatest contribution to the little Swedish city of Lindsborg and to honoring the Swedish Artist ~ Their Birger Sandzén Memorial Gallery
HERE for Artist Dr. Margaret Elisabeth "Greta" Sandzén Greenough
~ Her life of collecting her father's art, promoting it and establishing a gallery in his name
HERE for Dr. Charles Pelham Greenough, 3rd
~ His life of embracing the Sandzén family, establishing and financing the Gallery and supporting the community
~ The Words of Dr. Lindquist ~ Contents, Photographs, Figures & Color Paintings
~ With "Foreword" by Dr. William H. Gerdts
~ The Words of Dr. Lindquist ~ Preface and Acknowledgments
~The Words of Dr. Lindquist ~ Concluding Observations
~ The Words of Dr. Lindquist ~ Appendix: Works in Selected Public Collections
HERE for The Greenoughs: Margaret & Pelham ~ Their greatest contribution to the little Swedish city of Lindsborg and to honoring the Swedish Artist ~ Their Birger Sandzén Memorial Gallery
HERE for Artist Dr. Margaret Elisabeth "Greta" Sandzén Greenough
~ Her life of collecting her father's art, promoting it and establishing a gallery in his name
HERE for Dr. Charles Pelham Greenough, 3rd
~ His life of embracing the Sandzén family, establishing and financing the Gallery and supporting the community
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A Sohlberg - Leksell - Cochran - Sandzén McPherson Family Connection
A Sohlberg - Leksell - Cochran - Sandzén McPherson Family Connection
Sandzén's daughter Margaret's grandparents, Eric Leksell and Charlotta Engstrom Leksell of McPherson, Kansas, were godparents to my grandmother Nina Sohlberg Fry, the granddaughter of A. G. Sohlberg and Ingrid Sohlberg of McPherson, the town of which A. G. and Eric were in business together. It could be that Birger Sandzén was present that Christmas day at the McPherson church service formalities for my grandmother and his in-laws-to-be, as he was their Christmas guest.
The relationships of these two men would create a close family friendship for Margaret, the only child, with five generations of Sohlberg women: My great great-grandmother Ingrid, my great-grandmother Selma, my grandmother Nina, my mother Lois and my sister, Melinda, and me. This worked out very well especially for my mother and Margaret.
As for Lydia Sohlberg Deere, that relationship worked out extremely well for she and Birger Sandzén and their love of art, as it did for Lydia's husband, science professor Dr. Emil O. Deere who also taught classes in geology that included field trips, one of which Sandzén participated in with Dr. Deere as documented by Lydia's photograph of that day that is shown below.
The above McPherson relationship information is documented in this section HERE for Lydia’s Sohlberg Family Connection to Sandzén.
The relationships of these two men would create a close family friendship for Margaret, the only child, with five generations of Sohlberg women: My great great-grandmother Ingrid, my great-grandmother Selma, my grandmother Nina, my mother Lois and my sister, Melinda, and me. This worked out very well especially for my mother and Margaret.
As for Lydia Sohlberg Deere, that relationship worked out extremely well for she and Birger Sandzén and their love of art, as it did for Lydia's husband, science professor Dr. Emil O. Deere who also taught classes in geology that included field trips, one of which Sandzén participated in with Dr. Deere as documented by Lydia's photograph of that day that is shown below.
The above McPherson relationship information is documented in this section HERE for Lydia’s Sohlberg Family Connection to Sandzén.
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Professors Emil O. Deere and Birger Sandzén
on a
Deere Kansas Fieldtrip
Professors Emil O. Deere and Birger Sandzén
on a
Deere Kansas Fieldtrip
Photograph by Lydia Sohlberg Deere
1916
With the Sandzén Family
Little River, Kansas,
In front of the Sohlberg Mansion
Emil O. Deere, Birger Sandzén and his Alfrida and Margaret; Roena and Theodore Sohlberg
Photograph by Lydia Sohlberg Deere
* * *
"Let Us Celebrate 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 © 2021 www.swedesthewaytheywere.org. All rights reserved.
"Let Us Celebrate 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 © 2021 www.swedesthewaytheywere.org. All rights reserved.
