0259 Reconsidering Anders Zorn’s Omnibus Paintings

Emma Jansson

doi:10.11588/riha.2021.0.85605

Authors

Emma Jansson

Emma Jansson completed her postgraduate training in easel paintings conservation at the Courtauld Institute of Art in London in 2016, followed by a two-year fellowship at the Hamilton Kerr Institute, University of Cambridge. During her years training as a conservator, Emma also undertook several internships, including placements at the Victoria & Albert Museum, the National Maritime Museum and the Houses of Parliament in London. She also holds a BA in Japanese Studies and History of Art/Archaeology from the School of Oriental and African Studies, University of London (2010–2013). Since 2018, Emma has been pursuing her PhD in Art History at the Institute of Culture and Aesthetics, Stockholm University, where her research focuses on the materials and techniques of the late nineteenth-century Swedish painter Anders Zorn (1860–1920). In addition, Emma is a cofounder and editor of the peer reviewed journal Materia: Journal of Technical Art History, established during the spring of 2020.

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Abstract

This article reconsiders the relationship between Anders Zorn’s (1860–1920) Omnibus paintings. Two largescale versions exist for the Omnibus motif (Omnibus I and Omnibus II), both of which have historically been viewed as official works that were exhibited by Zorn during the years 1892–1893. Drawing upon recent technical analyses of the artist’s oil paintings, together with relevant archival sources, a discussion is put forward with the aim of reconfiguring the earlier Omnibus I (1891) version as an initial sketch (esquisse) to the later Omnibus II (1892).

Published in 2021: RIHA Journal

Date

2022-01-21

DOI

https://doi.org/10.11588/riha.2021.0.85605

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