<i>Zorn in America</i> (review)

Abstract

* William Hagans and Willow Hagans. in America. Chicago: The Swedish-American Historical Society, 2009. This book's primary impetus is seven trips to made by Swedish artist Anders between 1893 and 1911. Instead of focusing on this briefspan, however, authors expand scope of their chronological narrative to his entire life and legacy, beginning with his birth in 1860 and concluding in 1920 with his death. A more appropriate title would be Zorn and America since his to consisted in large part of contacts with Americans living abroad in Paris, Venice, Berlin, London, and St. Ives. interest in and his friendships with Americans were important long before he ever planned or made his first trip to United States, as authors convincingly demonstrate. fluency in English also played a significant role in establishing and strengthening his network of American patrons as Birgitta Sandstrom, former director of Collections, underscores in her foreword. In short, and his extensive circle of American friends, supporters and patrons played a pivotal role in his career. American commissions provided extraordinary financial and critical success, as as celebrity and notoriety. The authors claim that their book is result of two decades of work and that it provides the first comprehensive study of artist's seven trips to United States (xiii). They are enthusiastic collectors of etchings and majority of book's illustrations are from their private collection. peripatetic lifestyle came at a cost. Physical and emotional exhaustion appear to have plagued him throughout his career, as authors almost constantly note. Chronic health issues marked last two decades of his life, yet even while on his honeymoon in 1885 he contracted typhoid fever and, according to Hagans, he hovered near (28). In each of this book's twenty chapters there is scarcely a paragraph in which artist is described as overworked tired fatigued exhausted weary depressed seriously ill showing signs of physical decline or not feeling well There is something tragic about this, and accomplishments struck this reviewer as all more noteworthy in light of these difficulties. The artist's complex marriage is another recurring theme. According to authors, Zorn's appetite for life was prodigious, and his various escapades with models and chamber maids became an unhappy feature of relationship (132). The Hagans especially note his wife's jealousy of American Emily Bartlett, whom they describe as a real threat, since she was refined and cultivated, unlike majority of his models, who were mostly peasants or from lower class. The Hagans produce no smoking gun nor do they uncover any surprising new revelations. Their actual descriptions, interpretations, and analyses of specific works of art are very scant, and they rarely move beyond a simple, straightforward hagiography. Enthusiasm aside, formidable character and prodigious artistic career largely eludes them. In several instances, and his imagery are almost eclipsed by ample descriptions and biographical details of his many subjects and personal contacts. Their writing is prosaic, formulaic, repetitive, and, all too frequently, uninspired. Poor copy-editing mars much of text and such problems are even more rampant and egregious in notes, bibliography, and indices. There are also a number of factual errors. Charles Deering's marriage to Marion Denison Whipple in 1883 occurred seven years after death of his first wife, and five as they state (70). was included in famous 1912-1913 touring exhibition organized by Christian Brinton under auspices of newly established American Scandinavian Foundation. The catalogue lists seven paintings by Zorn. …