Madonna
artist
Anders Zorn
(Mora, 1860 - 1920, Mora)
Date1900
Place MadeSweden, Europe
MediumEtching on wove paper
DimensionsAdditional Dimension (framed): 20 11/16 x 16 5/16 in. (52.5 x 41.4 cm)
37.9 x 27.9 cm (14 15/16 x 11 in.)
ClassificationsPrints
Credit LineIsabella Stewart Gardner Museum, Boston
Accession number3.3.o.125
eMuseum ID724716
EmbARK ObjectID14059
Original Number4.3.r.167
TMS Source ID2887
Last Updated10/3/24
Status
Not on viewWeb CommentaryThis image of a seated mother holding her child in her arms is unique in Zorn’s oeuvre. It is related to Zorn’s group of rural peasant subjects from Mora; however, its rich religious symbolism makes it stand out.
Zorn painted Madonna after an argument with the Swedish art critic Tor Hedberg (1862–1932). According to the largely anticlerical Zorn, he executed and named the painting “Madonna” because he wanted to demonstrate his religious feelings. The compositional type of a seated mother with her baby, her face idealized, stems back to similar images painted by High Renaissance artists. Read together with the man in the background (hardly discernible at the upper right of the etching), this subject is strongly reminiscent of the Holy Family. But Zorn described the scene as a remorseful mother confronted by her former fiancé. It seems as if he were attempting to reconcile two different pictorial types in Madonna—the naturalistic peasant scene and a religious allegory. As in other cases, Zorn might have chosen this strategy so as to create an ambivalent subject.
Source: Oliver Tostmann, Anders Zorn: A European Artist Seduces America, Paul Holberton Publishing, London, 2013, pp. 116 - 117, cat. 10.
Zorn painted Madonna after an argument with the Swedish art critic Tor Hedberg (1862–1932). According to the largely anticlerical Zorn, he executed and named the painting “Madonna” because he wanted to demonstrate his religious feelings. The compositional type of a seated mother with her baby, her face idealized, stems back to similar images painted by High Renaissance artists. Read together with the man in the background (hardly discernible at the upper right of the etching), this subject is strongly reminiscent of the Holy Family. But Zorn described the scene as a remorseful mother confronted by her former fiancé. It seems as if he were attempting to reconcile two different pictorial types in Madonna—the naturalistic peasant scene and a religious allegory. As in other cases, Zorn might have chosen this strategy so as to create an ambivalent subject.
Source: Oliver Tostmann, Anders Zorn: A European Artist Seduces America, Paul Holberton Publishing, London, 2013, pp. 116 - 117, cat. 10.
BibliographyNotesSven Lidbeck, Anders Zorn Etchings: Catalogue Raisonné (Helsinki, 2007), pp. 192–93, ZG151.
Oliver Tostmann et al. Anders Zorn: A European Artist Seduces America. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 2013), pp. 116-17, no. 10.
Oliver Tostmann et al. Anders Zorn: A European Artist Seduces America. Exh. cat. (Boston: Isabella Stewart Gardner Museum, 2013), pp. 116-17, no. 10.
MarksNotesSigned and dated in plate (lower right): Zorn 1900 Mor[a]
Inscribed in graphite (lower margin): Isabella S. Gardner from her affectionate painter, Zorn
Inscribed in graphite (lower margin): Isabella S. Gardner from her affectionate painter, Zorn
Numbered in graphite (lower left corner): A.151
Numbered in graphite (lower right corner): 167 ProvenanceNotesGift from Anders Zorn to Isabella Stewart Gardner around 1900.
