.jpg?w=1)
拍品專文
The authenticity of this work has been confirmed by Birgitta Sandström, Museum Director, Zornsamlingarna, Sweden.
Towards the end of the nineteenth century and at the begining of the twentieth century, Anders Zorn became increasingly interested in the history and ancient traditions of his native town Mora and its wider cultural territories which at the time, as a result of industrialisation and urbanisation, were begining to disappear. In 1904, Anders Zorn purchased an ancient farmhouse which he moved to the parish of Gopsmor, situated by the river Dal, North-West of Mora. The simple ritualistic lifestyle of its people, with whom he felt affinity, and Gopsmor's geographical isolation, became for Zorn, a place of refuge for the cosmopolitan artist.
The present work was painted in 1906 when Zorn spent an idyllic winter at Gospmor in the wilderness. In the last days of March Zorn left to go to Stockholm and then onto Paris.
Towards the end of the nineteenth century and at the begining of the twentieth century, Anders Zorn became increasingly interested in the history and ancient traditions of his native town Mora and its wider cultural territories which at the time, as a result of industrialisation and urbanisation, were begining to disappear. In 1904, Anders Zorn purchased an ancient farmhouse which he moved to the parish of Gopsmor, situated by the river Dal, North-West of Mora. The simple ritualistic lifestyle of its people, with whom he felt affinity, and Gopsmor's geographical isolation, became for Zorn, a place of refuge for the cosmopolitan artist.
The present work was painted in 1906 when Zorn spent an idyllic winter at Gospmor in the wilderness. In the last days of March Zorn left to go to Stockholm and then onto Paris.