Explore the Third version about the Evolution of the work of this artwork, Midvinterblot.
Some major changes were introduced in a third watercolour painting (No. 238) which he made during the autumn of 1913. This version was given the text "En drömsyn. En konung offras för folket" ("A dream vision, a king sacrificed for his people"), a text which was possibly added in the hope that it would not be considered to be an attempt at a historically faithful reconstruction.The most essential change consisted of a more monumental composition. The temple had been enlarged considerably and given a more stern shape, and the figures had been more closely assembled and they formed an unbroken relief-like row. The sketch was put on exhibition in the museum in November 1913 and in a letter to Ludvig Looström, the director of the museum, Larsson offered the painting for 35,000 Swedish kronor.This version was criticised even before the museum board had had time to present their own view. August Brunius, who had expressed his enthusiasm for the Gustav Vasa painting, reacted against the choice of subject, like most critics. The choice of subject was only aggravated by the way it was presented. Brunius felt the painting to be unreal, unbelievable and not very relevant for the modern Swedes of the early 20th century.On January 17, 1914, the museum's board presented their ambivalent view on the painting. The majority of the board seconded the motion that Larsson was to finish Midvinterblot for the museum wall, but they added the reservation that the main scene with the sacrifice of a king should be excluded or downplayed. The director of the museum, Looström, objected to the board's ruling, and he declared the painting illustrated a "ritual killing" and he would rather the wall remain empty. Carl Larsson received the ruling of the board as a confirmation that the museum accepted his painting, but he declared that he would not make the suggested changes, nor would he accept the suggestion that the painting should be installed in the Stockholm City Hall instead.Even Larsson's good friend and biographer Georg Nordensvan joined the critics, but he could not sway Larsson's determination either, although Larsson probably took his criticism hardest. The archaeologist Bror Schnittger, who was probably the anonymous writer who had initiated the criticism, launched additional criticism in Svenska Dagbladet against the lack of historical authenticity in the painting. The distance in dating among the objects in the painting was given as at least 2000 years and Schnittger thought that the painting was unacceptable in the museum building. Larsson stated that he intentionally included objects that would be from the distant past in relation to the setting of the painting, and that he did not see these as anachronisms, because he imagined the subjects would be antiquarians who kept ancient items as ritual objects.On March 1, 1914, Larsson, who was by then ostracized, wrote a letter to the minister of religious affairs and declared that he resigned from the task of illustrating the museum wall.
watercolour painting Carl Larsson Stockholm Stockholm City Hall No.