portratt
HILDING LINNQVIST
Collection

The Hilding Linnqvist Art Foundation has its art collection deposited at Marabouparken. The exhibition Hilding Linnqvist Archive shown in 2011, included many pieces from the collection as well as borrowed works from private and institutional collections. Today we make minor exhibitions describing Hilding Linnqvist’s life as an artist through different periods and themes.

Hilding Linnqvist (1891-1984) was a key figure in Swedish naivism in the 1910s. Along with Axel Nilsson and others, he left the Swedish Art Academy in 1912 in protest against what they considered to be old-fashioned teaching methods. Linnqvists free way of painting was inspired by the work of Ernst Josephson. Another source of inspiration was the writing of Carl Jonas Love Almqvist, and his view that style should be subordinated to and grow out of the subject matter. Hilding Linnqvist himself became an inspiration to several generations of Swedish painters. Sven X: et is said to have exclaimed: “Are you ALLOWED to paint like that?”

Linnqvist has a connection to Marabouparken because of the many pieces that Marabou and its owner Henning Throne Holst commissioned, including the fresco Comedy and Idyll that adorned the wall of Marabou’s large dining hall.

HILDING LINNQVIST ARCHIVE
Current exhibition: City-hermit and Cosmopolitan

Opens 15 June 2019

Hilding Linnqvist, Stängningsdags [Closing Time]

In the exhibition City-hermit and Cosmopolitan new inquiries into artistic conditions and prerequisites are awoken. The later painting style of Hilding Linnqvist that has often been seen as an abandonment of the naive radicality, is now faced with reinterpretation. City-hermit and Cosmopolitan is a move away from questions of aesthetics and stylistics, towards an examination of the works’ motifs and their meaning.

As a man during the beginning of the 20th century, Hilding Linnqvist had greater access than his female colleagues to the public sphere and had the opportunity to travel, both within Sweden and in other countries. This is visible in his art. However, what is missing is a closeness to what is being depicted, which can be due to the fact Linnqvist often finalised his works at home in his artist studio, and not in-situ. There is a distance to the public life and to nature in his painting, a certain feeling of standing outside the unraveling scene as though one is looking through a window.

When the gaze instead is turned towards the own home a greater sense of intimacy emerges. The home, which traditionally has been viewed as a space denoted by femininity, appears as a more comfortable milieu for Linnqvist to create within. Here we are let in on the inside, and are put in close contact with the motifs.