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Tattare pa Oland
new18/Nils Kreuger-248272.jpg
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Tattare_pa_Oland
mk187
1885
Oil slick pa tra
32x41.5cm
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Laugh finicky caporal
new17/Nils Kreuger-423258.jpg
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Laugh_finicky_caporal
mk198
1893
Nationalmuseum,Stockholm
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Grpsy on Oland
new19/Nils Kreuger-579895.jpg
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Grpsy_on_Oland
mk235
1885
Oil on canvas
32x41.5cm
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Snowy Weather
new19/Nils Kreuger-758942.jpg
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Snowy_Weather
mk235
Paris
1885
Oil on canvas
127x184cm
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varplojning
new23/Nils Kreuger-444988.jpg
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varplojning
1884
se
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Nils_Kreuger
Swedish, 1858-1930,Swedish painter, draughtsman and illustrator. From 1874 he studied at the Konstakademi in Stockholm, where he soon became a friend of Richard Bergh and Karl Nordstrem, both of whom were later prominent exponents of the more advanced Swedish painting of the 1880s and 1890s. After being forced to interrupt his studies because of illness, Kreuger trained from 1878 at the art school of Edvard Perseus (1841-90) in Stockholm before he travelled to Paris, where he stayed for the most part until 1887. He made his d?but at the Paris Salon in 1882, and he also resided in the artists' colony in Grez-sur-Loing. During this period he painted such works as Old Country House (1887; Stockholm, Nmus.) with a free brushwork and sense of light that owed much to Jules Bastien-Lepage. In 1885 Kreuger was active in organizing the Opponenterna, a protest movement led by Ernst Josephson against the conservative establishment of the Konstakademi in Stockholm, and the following year he helped to found the Konstn?rsf?rbund (Artists' Union). Like the majority of the Konstnersferbund's members, Kreuger abandoned the French-inspired plein-air realism of the 1880s for symbolically coloured National Romanticism in the 1890s. For Kreuger this change took place between 1893 and 1896 in Varberg on the west coast of Sweden, where, together with Bergh and Nordstrem, he founded the Varberg Group. Drawing on Paul Gauguin's Synthetism, the group contributed to the formation of the National Romantic style of the 1890s in Sweden. Kreuger's encounter with van Gogh's drawings at an exhibition in Copenhagen in 1893 also played a decisive role in his development. He devised an intensely personal style in which the landscape was composed in large blocks that were then covered by a pattern of directional lines and dots in India ink (somewhat in the manner of van Gogh's late landscape drawings) to bring out the painting's colour values and create an effect of decoratively stylized forms: for example Spring in Halland (1894; Stockholm, Nmus.). Kreuger was also a prolific draughtsman and illustrator.
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