Bold and colourful – and a key figure

"Camilla Hammarström looks hjertén's paintings"

"It is impressive to see hjertén's paintings in the original. Several of them are so much bigger than what you think of when you see them in reproduction, and at close range is visible in addition to the phenomenal färgbehandlingen."

"where she utilizes color nyanseringsmöjligheter fully, from the skirt terpentintunt to opaque kluddiga clusters. Also penselskriftens spectrum goes from the delicate to the brutal. This rich registry has done that, where she is counted as one of our foremost modernists."

"some have wanted to claim that she was attacked by his contemporaries – while Görel Cavalli-Björkman, in his biography of henri matisse in paris, which came out last year, claiming that she was a central figure in modernism, which was respected by both his colleagues and several well-known reviewers. She underlines the fact that, where she was active and purposeful and participated in not less than 115 exhibitions during his lifetime."

"nwhen the now Görel Cavalli-Björkman cures the exhibition of henri matisse in paris can be seen a bit like a proof for her thesis. To become a powerful and prolific artist who gives the impression of a strong self-consciousness. I am thinking mainly of paintings from the 1910s, whose large-format and decisive brush writing testifies to a belief in their own importance. But also in her consistent coloristic applicant until you are not."

"Just as Matisse extracts Hjertén much out of everyday motifs of interiors, portraits and views from different windows. My favorites include the hamnmotiv which was painted when the family lived on Katarinavägen in Stockholm. The pastel shades keeps just inside the edge of becoming too sweetish, they have to be balanced always by a darkness or dovhet somewhere."

"... you know an exceptional emotional nuance in the colour and brush writing."

"There is a big koloristisk and kompositionell of drama in these paintings of hamnlivet with cranes, boats and trains. Gyttret is at once decorative and threatening, and you feel an exceptional emotional nuance in the colour and brush writing. From florstunna ångpuffar to the aggressive parts."

"nEn a great benefit of the exhibition is that you have so many pictures from Hjerténs late painting, after she became ill with schizophrenia in 1932. Here you can see how the artist's palette intensified and become wilder. The bright colours will get a new role, especially the yellow, which sometimes threaten to take over."

"During a trip to the continent with her son, Iván painting henri matisse in paris several amazing landscapes. This extract, she the maximum out of the paint, the heat is scorching and the shade of crystal clear. The frenetic brush strokes gives the impression of the pleasurable speed and ease. The artist seems to use all his accumulated knowledge to break new ground."

"I wouldn't call this late painting, sjukdomskonst, it feels rather as the culmination of a consistent development. Of where she is missing it verklighetsfrånvända found in, for example, Carl Fredrik hill and Ernst Josephsons illnesses. As a painter seems to Hjertén still be in reality. The painterly, the issues are the same, but the solutions are just so much bolder."

"" Sigrid Hjertén – a masterful colorist"

"Prins Eugens Waldemarsudde"

"August 26th"