The Sculptural World of Carl Eldh
When entering Carl Eldh's former workshop in Stockholm, Sweden, you do not only experience the sculptor's impressive work of art, but you instantly study an entire era. This well-preserved museum, Carl Eldh Ateljémuseum has few counterparts in Europe and therefore provides a unique insight into the life and work of an artist during the first half of the 20th century. Stocked from floor to ceiling with statuettes, busts, preliminary sketches, original models in stone and bronze, tools, and other personal belongings, it was the home in which he worked and lived for more than three decades.
Carl Eld (1873—1954) is considered one of Sweden's most prominent sculptors during the first half of the 20th century. He came from a humble background. Born in Uppland, a couple of hours north from Stockholm, his younger years were profoundly affected by the small mining community, where his father was a smith. Determined and filled with dreams, Carl had the ambition to practice as a sculptor in Paris, and with experience as an ornament molder for several years, as well as completing Technical School in Stockholm, he had in 1897 saved enough money to make it possible.
His time in Paris undoubtedly shaped him as an artist and sculptor, primarily influenced by the prevailing French ideal of that period. This elegant idiom is apparent in several works he created, depicting slender and nude or partly dressed women with symbolical titles such as Ariadne or Lady's Mantle. Likewise, he also created sculptures filled with strong social pathos portraying women from the lower ranks of society. The studies at the Académie Colarossi and the inspiration from other contemporary sculptors in Paris, above all Auguste Rodin, formed Carl Eldh into a multifaceted artist with excellent technical skills and a distinctive style. Accompanied by honored prizes at the World Exhibition in 1900 and a gold medal at the Paris Salon, he decided to return to Sweden in 1904, having reached a position that would enable him to make a living as a sculptor.
The French influence is evident in the works of art in the years after his return to Sweden. During the 1910 ́s, Carl Eldh established himself as a recognized portrait sculptor. His artistic accomplishments during this decade confirm the extent of his artistry and ability to adapt expression to the subject matter. Both Eldh's portraits and his monuments show his unique talent to focus attention on the individual. But he also continued sculpting ornaments, as he had done at the beginning of his career.
Carl Eldh's private life also took a new turn. Shortly after returning to Sweden, he met Elise Persson, and their daughter Brita was born in 1907. The couple later lived separated for many years, as Elise and Brita moved to California in 1921. Their daughter Brita came to play an essential role in establishing the future museum after her father's death in 1954. The sheltering environment on Bellevue Hill and its panoramic view were critical factors in Carl Eldh's decision to locate his studio on this spot. Here, Eldh was able to benefit from the northern light, which is so crucial to a sculptor. The light and space of the studio enabled him to work unencumbered with his more imposing monuments and made it possible for him to create full-scale models. Today, the surroundings in and around Eldh's studio evoke the calming sensation that once led the artist to settle here. He left behind him a studio reflecting his unassuming personality filled with sketches and works of art from a long and productive life.
All images by Armin Tehrani @armmmmmmmmmmmmmmin
