Английская Википедия:Decorative painting in Hälsingland

Wall painting at the Kristofers farmhouse in Järvsö, by artist Anders Ädel (1854).

Decorative painting in Hälsingland (Шаблон:Lang-sv, "Helsingian painting") has been practiced as a folk art tradition in the region since the 16th century. Employed as a means of interior decoration in Hälsingland farmhouses, the tradition has been practiced by mostly self-taught and now forgotten artists. Wall paintings were usually performed with distemper after covering the hard wooden surface with coarse linen. Decorative painting of furniture was also a ubiquitous manifestation of the art style. Religious themes were predominant until the 18th century, after which the selection of motifs became more diverse. The first reliable attributions of preserved interiors to named artists concern works from that time period. During the early 19th century classically trained artists started participating in and influencing the art style, while an influx of folk artists skilled in the Dalcarlian tradition made their mark in the region. The practice of decorating walls with the assistance of stencils was also introduced as a more economical alternative to fashionable, but still very expensive printed wallpaper. By the end of the 19th century the folk art tradition had degenerated and went into decline.

Hälsingland is considered one of the premier areas for Swedish folk art due to the substantial number of preserved works.Шаблон:Sfn Most of the preserved decorations from the period have been found near the Dellen lakes, as well as the river valleys of Ljusnan and Voxnan.Шаблон:Sfn The golden era of decorative painting in Hälsingland between 1800 and 1870 was vital to the designation of the Decorated Farmhouses of Hälsingland as a World heritage.Шаблон:Sfn

History

Background

Hälsingland has an abundance of arable land and economic opportunities stemming from flax cultivation, linen production and woodlands providing quality timber. These economic factors have commonly been given as reasons for the corresponding abundance of richly decorated Hälsingland farmhouses.Шаблон:Sfn Шаблон:Sfn Шаблон:Sfn In contrast, studies of folk art traditions in other areas of Sweden have shown that an affluence of decorative painting is not necessarily dependent on the accumulation of wealth.Шаблон:Sfn The oft cited importance of flax and linen as economic enablers of the art style has also been questioned and toned down.^[1]

The early period

Several fragments of 16th century works painted on linen weave have been preserved.Шаблон:Sfn In fact a dis-proportionally large part of all Nordic painted tapestries stemming from the 16th century have been discovered in Hälsingland. This is mainly because of the Alfta find unearthed in 1964, after the floor boards at the Hans-Ers farmstead was removed for renovation purposes. The find consists of a number of tapestries of different make and unknown origin.Шаблон:Sfn One of the more exquisite pieces retells the story of the Book of Esther with the characters in contemporary 16th century vestments. On the back side the tapestry displays an older pattern, possibly from the 15th century.Шаблон:Sfn Another weave from the middle 16th century depicts women as allegorical representations of mercy, prudence and justice.Шаблон:Sfn

The farmers of Hälsingland would by the end of the 16th century furnish their homes with decoratively painted furniture. During the period few Swedish farmers had any painted furniture at all.Шаблон:Sfn Archival documents from 1500 to 1601 reveal at least 20 people titled "painter", indicating that their services were in high demand.Шаблон:Sfn

Decorative painting during the 17th and 18th century

The bulk of traditional painting performed during the 17th century has been lost, but a few bits and pieces have been preserved. These fragments display a breadth both in choice of motif and style.Шаблон:Sfn Colors like grey, black and red dominate the period.^[2] On a farm in Ljusdal parish another biblical motif was discovered, in this instance painted with distemper on linen weave. According to fragments of text on the tapestry it is the story of king Solomon, but the characters are once again dressed in accordance with 16th century Swedish fashion.Шаблон:Sfn Wall painters at the time would apply paint directly onto the wooden surface. Although some preparations including filling the crevasses between the logs with a specific species of moss, and then covering it with scraps of linen were common. The preparations were completed by covering the wall with a layer of white distemper. After the underpainting had dried, the artist could begin working.Шаблон:Sfn Several clergy houses in the province still used traditional tapestries to dress the walls as a means of decoration.Шаблон:Sfn

Файл:Erik Ersson - ryttare.jpg

Horseman by Erik Ersson (1768).

The biblical theme was still going strong during the 18th century. Alongside people, horses became a ubiquitous component of the composition.Шаблон:Sfn In the decorated rooms of the homestead it was customary to paint all surfaces including walls and ceilings. For both, white distemper was still used for the base layer.Шаблон:Sfn Wall painters would separate the surface into sections with borders of painted grape wines and columns. Apart from horsemen and other characters the sections boasted flowers and fruit in grand urns.Шаблон:Sfn Ceilings were adorned with grape wines, laurel leaves and bountiful flower rosettes.Шаблон:Sfn

For most of the 18th century the color palette was limited to pigments that could be sourced naturally. Soot or coal for black, chalk or lime for white, ferrous earth for red and from rare local earth deposits a yellow tint was manufactured. Шаблон:Sfn By the middle of the 18th century exclusive Prussian blue was introduced and remained popular throughout the 19th century.Шаблон:Sfn The earliest proper attributions connecting various local artists with their works are from the early and middle 18th century. Among these are Gustaf Reuter, a corporal serving in Delsbo company and Erik Ersson from Källeräng in Delsbo parish.Шаблон:Sfn

The golden age of Helsingian painting during the 19th century

During the 19th century, for the first time the folk art style came under the influence of classically trained artists that had undergone formal training. Both Jonas Wallström and Olof Hofrén were educated artists proficient in landscape painting who drew columns, where especially Hofren's were true to the classical style.Шаблон:Sfn In figurative painting there was a migration in the choice of motif away from the omnipresent biblical scenes. Another novelty was the popularization of distemper-based marble imitations in the foyers of the homesteads.Шаблон:Sfn Шаблон:Sfn

Файл:Jon-Lars2.jpg

Typically blue wall art at Jon-Lars in Alfta (mid 19th century).

During the early 1770s Dalarna suffered bad harvests, causing painters from the province to journey eastward in search for work in prospering regions.Шаблон:Sfn Several Dalcarlian painters were active in Gästrikland province from the 1770s onward and during the 19th century their colorful style came in high demand among the rich peasants of Hälsingland. As paper became increasingly available in the 19th century the painters could work from home in Dalarna and have the works transported to their buyers, which facilitated the spread of their style.Шаблон:Sfn The Dalcarlian painters who were active in Hälsingland would adjust their choices of both motifs and color palette to some extent, in order to meet the expectations of their new customers.Шаблон:Sfn Dalcarlians usually signed their work. Due to this practice their presence in the province has historically been overplayed, compared to the local Helsingians who often would forgo adding an explicit signature to their art.Шаблон:Sfn

At the turn of the century printed wallpaper started competing with and complementing the folk art tradition.Шаблон:Sfn These wallpapers were mostly block printed.Шаблон:Sfn Initially Helsingian farmers were content to confine the use of wallpaper to a single room, usually the small chamber of the "parstuga" and in the beginning of the century even this custom was a rare one.Шаблон:Sfn Printed wallpapers are considered to have inspired stencil based wall-painting, which was introduced during the 1830s by Jonas Wallström. Contracting a stencil painter was at the time considerably cheaper than purchasing actual printed wallpaper.Шаблон:Sfn The Helsingian tradition was relatively advanced in terms of both stencil based patterns and its combination with figurative motifs, in comparison to other Swedish folk art traditions.Шаблон:Sfn

Файл:Fågelsjö Gammelgård Interiör.JPG

Dalcarlian artist Bäck Anders Hanssons works at Fågelsjö Gammelgård (1856).

As access to wallpaper improved during the 1840s and 50s, its use became widespread and more than one room was commonly decorated with printed wallpaper. At the same time there was an increase in demand for decorative painting.Шаблон:Sfn It was not until the latter half of the 19th century that printed wallpaper would supplant painted decorations. The use of framed paintings would also become more usual.Шаблон:Sfn Replacements of the open fire with cast iron stoves during the 1860s enabled the use of wallpaper also in the farmhouse kitchens.Шаблон:Sfn Falling prices enabled even the lower classes to afford wallpaper from the 1870s onward.Шаблон:Sfn From a broader perspective increasing industrialization and influences from modernism were eroding local traditional customs.Шаблон:Sfn At the end of the 19th century the tradition of Helsingian painting had degenerated and went into decline.Шаблон:Sfn

The artists

The names of most painters as well as the creators of most preserved interiors have been lost to history, as a result of the tradition of not signing their work. Still, a number of artists from the 18th and 19th centuries are known by name.^[3] The lack of signatures has led to many of the earlier attributions coming into question, due to dubious analysis and having favored already named and well-known painters.Шаблон:Sfn Scientific investigations have demonstrated that cooperation between artists was exceedingly common, which further complicates later attributions.Шаблон:Sfn

Several known painters were soldiers or at least fathered by soldiers.Шаблон:Sfn Until 1846 guild membership was mandatory, but only for painters active in towns and cities. In the countryside the Шаблон:Ill was authorized to approve local craftsmen.Шаблон:Sfn Church records indicate that many painters were poor and died with hardly a penny to their name. Most known painters are men, but there are documented examples of women participating, such as Gustaf Reuter's wife and son working in Delsbo church, while he was away on campaign.^[3] Some of the Dalcarlian painters' wives came along and took part, among them Anna Hansdotter, wife to Bäck Anders Hansson.Шаблон:Sfn

Decorative painting as a trade was frequently inherited down family lines, but the know-how could also be acquired by marrying into a family of artists.Шаблон:Sfn Some recurring patterns such as acanthus ornaments and techniques for marbleizing seem to have been informed by the tastes of the nobility and the sacral ornaments of church interiors. Many a church painter had in turn adapted their style to the decorations of churches on the European continent, where they had travelled in search of employment.Шаблон:Sfn Painters fraternized, cooperated and learned from each other as they plied their trade,Шаблон:Sfn and in conjunction with their customers' expectations local styles and variations of the painting style arose and prevailed.^[4] These styles have in modern times been described using common art history terms, the Karl Johan-style of Arbrå parish, the Gustavian style of Ljusdal parish and the Baroque of Forsa and Delsbo parishes.^[5] Prominent individuals or groups of painters would influence the local style over prolonged periods.Шаблон:Sfn Traveling painters could in turn be inspired by these features and peculiarities, bringing them along as they wandered the countryside in search of employment.Шаблон:Sfn

Gustaf Reuter (1699–1783)

Файл:Karl XII till häst av Gustaf Reuter 1746.jpg

Charles XII by Gustaf Reuter (1746).

Шаблон:Main article Reuter was the man behind the stylized decorative painting that became popular in the Dellen area during the 18th century. As a soldier of the Hälsinge Regiment he was frequently away on military campaigns.Шаблон:Sfn The style has been characterized as Baroque with elements of renaissance.Шаблон:Sfn He would depict both biblical characters and military leaders on horseback.Шаблон:Sfn His usual method for composing wall sections use painted frames of vines, draperies, flowers and fruits. Yellow, red and brown dominate the palette and the contours of his characters are sharply demarcated with black.Шаблон:Sfn Throughout his career, Reuter would associate with a number of younger painters, who retroactively would be dubbed the "Delsbo School", for safeguarding the stylistic choices of their local tradition.Шаблон:Sfn In contrast to many others, Reuter would regularly sign his production, significantly facilitating discernment between the works of the master and his students.Шаблон:Sfn Preserved interiors by Reuter are kept at Delsbo Forngård, Bjuråker Forngård, the Hälsingland Museum in Hudiksvall, the Ljusdal museum and in the Delsbo homestead at the Skansen open air museum in Stockholm.^[6]Шаблон:Sfn

Paul Hallberg (1734–1789)

Шаблон:Main article Hallberg was one of the earliest artists with formal training. After attending art school in Stockholm he moved north to Hudiksvall, where he made a name for himself, primarily as a church painter, but he would also do farmhouse interiors, Vallingården in Växbo being a prominent example. Dominated by shades of brown and red, Hallberg's color palette is a somber one. His many church interiors were based on iconic designs by great masters.Шаблон:Sfn His most famous pupil Jonas Åkerström, would begin his career as an interior painter of farmhouses, and end it as a court painter to Gustav III.Шаблон:Sfn Hallberg himself has worked on at least a dozen churches in northern Hälsingland, including the altarpiece in Delsbo church, finished in 1764.Шаблон:Sfn

Jonas Hertman (1755–1804)

Hertman was born and raised in Bollnäs and according to oral tradition an apprentice of local artist Sven Hult in Söderhamn. His wife would come along for Hertman's journeys and contribute to their work.Шаблон:Sfn Hertman's religious motifs include the baptism, the passion and the ascension of Jesus, which according to antiquarian Ingemar Svensson contains elements and influence from cultural shifts that would bring about the 19th century christian revival.Шаблон:Efn Шаблон:Sfn Through the course of his career he would move from Naïve Baroque towards stylized rokoko. Many paintings include details from copper engravings in a Swedish edition of Heinrich Müller's Himmlischer Liebeskuss. Hertman also earned his keep as a watchmaker.Шаблон:Sfn His works have been preserved in farmhouses in the parishes of Alfta, Arbrå, Bollnäs, Mo, Ovanåker and Rengsjö.Шаблон:Sfn Hertmans interpretation of the Lebenstreppe is displayed at Schols farmhouse in Näsbyn and his passion of Jesus is shown on the walls of the Bollnäs cabin at Skansen.Шаблон:Sfn

Jonas Wallström (1798–1862)

Шаблон:Main article

Файл:Väggmålning stora salen Gästgivars.jpg

Gästgivars main hall by Jonas Wallström (1840s).

Wallström was born in Vallsta and took a new surname after his birthplace.Шаблон:Sfn Between 1814 and 1821 he lived in Hudiksvall working as an apprentice of artist Anders Winberg.Шаблон:Sfn He continued as a journeyman at Gustaf Söderberg's workshop in Stockholm 1823–1831 and most likely received tutoring from tapestry painter Carl Fredric Torsselius.Шаблон:Sfn Шаблон:Sfn As he returned to the Vallsta area in the 1830s he quickly became the most distinguished stencil painter of the middle Ljusnan river valley.^[7] He has completed several interiors consisting of free hand motifs and stencil painting. Wallström's typical style includes gilded frames, colonnettes and ornamentation in Karl Johan style, with expertly drawn and rich stencil patterns. The motifs between these ornaments are usually romantic landscapes or pastorals.Шаблон:Sfn Шаблон:Sfn The decorated interiors of Gästgivars in Vallsta completed by Wallström have attained World Heritage status.^[7] Other works by him are kept at the Hälsingland Museum,^[8] Renshammar in Bollnäs, Wallins in Växbo, Lars-Pers in Hov and at Arbrå Fornhem.Шаблон:Sfn

Other prominent Helsingian artists

Erik Ersson (1730–1800) who painted Delsbo Forngård, Forsa Forngård, the Hög church, and whose interiors are on display at the Hälsingland Museum in Hudiksvall,^[6] and the Delsbo homestead at Skansen.Шаблон:Sfn
Jöns Månsson (1769–1867) carpenter and furniture painter active in Forsa parish, with preserved works on display at Ystegårn in Hillsta and in the Hälsingland Museum's collections.Шаблон:Sfn
Björ Anders Hansson (1775–1837) who painted at Ystegårn in Hillsta and at Mårtes in Edsbyn.^[6]
Anders Ädel (1809–1888) on display at the Ljusdal Museum, and the farmhouses of Kristofers in Järvsö and Engbergs in Stavsäter.^[6]
Olof Hofrén (1813–1856) who was mostly active as a church painter in Ångermanland,Шаблон:Sfn but also decorated Hälsingland farmhouses including, most likely, interiors at Renshammar in Bollnäs.Шаблон:Sfn
The Knutes family decorated Erik-Anders in Asta and Västerby in Rengsjö.^[6]
Blåmålarn ("The blue-painter") who painted at Pallars in Långhed.Шаблон:Sfn

Furniture

Шаблон:Multiple image Creation and decorative painting of free standing furniture became customary among the peasantry in Hälsingland at an earlier date than other parts of the country, and became increasingly established during the 17th century.Шаблон:Sfn The origin of individual pieces of furniture is usually evident from both carpentry and painting styles particular to the various parishes of the region.Шаблон:Sfn Far from every piece of furniture was elaborately decorated. Important objects including chests and strongboxes, as well as armories and longcase clocks were prioritized for beautification.Шаблон:Sfn The armoires were status objects not only due to the often intricate ornaments, but because of them containing the homestead's more expensive objects including metalware.^[9] Longcase clocks were popularized among the wealthier peasants by the end of the 18th century. While the style in Hälsingland was unique, the same valued pieces were eventually decoratively painted in many provinces of Sweden.Шаблон:Sfn

Uniquely Helsingian was the tradition of decorating the surface of the tables furnishing the great halls, the oldest examples are from the late 16th century.Шаблон:Sfn The custom was especially common in Delsbo parish, where numerous painted tabletops, chests and cupboards from the 16th and 17th century have been preserved.Шаблон:Sfn Many artists from Dalarna were active as furniture painters in Hälsingland province.Шаблон:Sfn It was not unusual for the artist who decorated walls and ceilings to also take care of the furniture.Шаблон:Sfn But the end result would differ slightly even when the same painter had been contracted. Different materials and the durability requirements concerning furniture demanded different pigments and binding agents, which in term dictated the outcome.Шаблон:Sfn

Colors and techniques

Pigments

A wide selection of colors are used in the Helsingian style.Шаблон:Sfn During the 18th and 19th century the colors were commonly mixed by the painters themselves. There are reports of painters gathering pigments from local earth deposits, but the usual method was to purchase them from merchants.Шаблон:Sfn Pigment analyses from 18th century works have revealed different yellow and red pigments, and presence of indigo dye, chalk, carbon black and Ocher (red and yellow).Шаблон:Sfn Ocher was fashionable during the 19th century and was joined by red and yellow lead oxides, Prussian blue, chrome yellow, cinnabar, verdigris and Paris green.Шаблон:Sfn Availability improved during the early and middle 19th century as trade laws were relaxed, and a number of merchants opened new shops in the province. These improvements in conjunction with the release of industrially produced synthetic pigments during the 1860s, offered new opportunities.Шаблон:Sfn

Paints

Powdered pigments were mixed with water or alcohol, whereupon thickeners like egg, glue or flax oil were added.Шаблон:Sfn These natural products were procured from local farmers.Шаблон:Sfn Glue based distemper was ubiquitous for decorating walls and ceilings. Wax bars made from boiling animal glue were heated and mixed with chalk to create white paint for the base layer.Шаблон:Sfn Distemper covered walls are sensitive to both moisture and wear, but are otherwise resistant to degeneration. Furniture and household items such as chests, armories and doors, that were expected to endure wear and tear were decorated using tempera or oil paint.Шаблон:Sfn Furniture painting was performed on untreated wood, with underpainting of chalk and glue only occasionally utilized.Шаблон:Sfn The egg based tempera in use was a mixture of eggs, flax oil, pigments and water. Pure oil paint based on flax oil was used for exterior walls.Шаблон:Sfn

Techniques

Файл:Bommars - KMB - 16001000291424.jpg

Bommars hall combines printed wallpaper with painted yellow and blue sections with ornate stencil patterns (middle 19th century).

Wall paint was applied directly on the wooden surface, on thin linen weave, or later, from the 19th century onwards, on heavy paper.Шаблон:Sfn Шаблон:Sfn Work was rarely performed on wattle and daub, since this was sparsely used as a means for isolation in Hälsingland province.Шаблон:Sfn Decorations on wood were done on flat wooden panels covering lumber, or on the lumber surface itself.Шаблон:Sfn

Painters were proficient in various techniques, employing spatter painting, marbleizing, stencil painting, and combinations with printed wallpaper to create diverse expressions.Шаблон:Sfn

Marbleizing

Файл:Hälsingegård Erik-Anders - rumsinteriör.jpg

Marbleized sections framed by stencil painting by the Knutes family in the main hall at Erik-Anders (1850s).

Distinct marbleizing and flowing wood imitations were more common in the Helsingian style compared to other Swedish folk art traditions.Шаблон:Sfn The Helsingian level of craftsmanship was also higher, likely through direct inspiration from artisan imitations in local churches.Шаблон:Sfn Since the folk artists had most probably never observed real marble, there was a tendency over time for these imitations to become increasingly stylized.Шаблон:Sfn Gray imitations were prevalent, but marbleizing was also done on red backgrounds.Шаблон:Sfn In the Ljusdal area various styles of blue background marbleizing were popularized.Шаблон:Sfn In Järvsö parish a certain way of painting furniture called "cloud marbleizing" took hold in the late 18th century. The style uses dark blue backgrounds achieved with carbon black and Prussian blue, with cloud lines in white lead.Шаблон:Sfn At the same time, a ligther version of blue marbleizing became favored for furniture painting by Ljusdal's artists. The pattern had previously been used for interior decoration in local churches.Шаблон:Sfn

Spattering

Файл:Arbrå fornhem stänkmålad vägg och schablonmålad bård.jpg

Spattered wall at Arbrå Fornhem.

Spattering was favored by the Swedish elite during the 17th and 18th centuries as a means to imitate expensive stone.Шаблон:Sfn^[10] Increasingly used by common folk during the 18th and 19th centuries,Шаблон:Sfn it became a staple technique of Helsingian painters. Due to its resilient nature it was widely used in the foyers and kitchens of Hälsingland farmhouses.Шаблон:Sfn Stains and wear would disappear in the general clutter of the spotted surface. Many versions of spattering were performed, always on a base layer of distemper. When the distemper had dried spots were scattered onto the wall with birch twigs.Шаблон:Sfn Шаблон:Sfn The artists used contrasting pigments on a red base to imitate exclusive porphyry.Шаблон:Sfn

Stencils

Файл:Schablonmålning på Gästgivars.jpg

Stencil painted wall with flower ornaments by Jonas Wallström at Gästgivars (1840s).

The use of stencils to create complex patterns imitating printed wallpaper was popularized in Hälsingland during the early 19th century. Artists had been using stencils already,Шаблон:Sfn but these were 'positive stencils' and paint was applied around their contours to create characters and various shapes. The novel style used 'negative stencils' and the artists painted in the carved out shapes of these stencils.Шаблон:Sfn Simple geometric shapes and plant structures were combined to create intricate patterns.Шаблон:Sfn The artists worked on paper or paperboard, applied either to a layer of textile or directly on the wall timber.Шаблон:Sfn Similarly, stencils were made from paper and paperboard treated with shellac to improve stiffness and durability.Шаблон:Sfn Other materials used for stencil-making were blackplate, sheet metal, leather and birch bark.Шаблон:Sfn

Stencil painters favoured the use of distemper.Шаблон:Sfn The base layer was left for several hours to dry,Шаблон:Sfn after which the stencils were filled in with either a pig's hair brush or a stippler.Шаблон:Sfn For more complex patterns series of stencils were used in sequence with fiducial markers to achieve synchronization. The artist would proceed step-wise across the surface and create a semblance of depth by varying tints.Шаблон:Sfn Stencils were seemingly popularized by Jonas Wallström, but they were soon adopted by many Helsingian and Dalcarlian artists active in the province.Шаблон:Sfn By the middle 19th century the cost of printed wallpaper decreased, which eventually contributed to the decline of stencil painting.Шаблон:Sfn

Graining

Carpentry pieces including doors and panels were sometimes subject to graining techniques imitating nobler species of wood.Шаблон:Sfn Just like marbleizing, Helsingian graining was quite stylized, but in many cases more close to the actual thing than usual in Swedish folk art.Шаблон:Sfn The artists used cloth, fingers and the palm of their hands, or occasionally custom made combs in various materials, often leather.Шаблон:Sfn Шаблон:Sfn The special properties required of graining paint were ensured by using unconventional binding agents, such as beer, syrup or dairy products.Шаблон:Sfn

A World Heritage

Шаблон:Main article Since 1 July 2012 seven Hälsingland farmhouses are inscribed as a World Heritage. The farmhouses have been selected to represent the decorative painting style of the 19th century golden era.Шаблон:Sfn The first nomination included a diverse selection of 15 homesteads and environments, including entire villages and a Шаблон:Ill (a site for transhumance).Шаблон:Sfn The nomination was rejected at the UNESCO conference in Sevilla in June 2009 and deferred asking for a more concentrated selection of sites.Шаблон:Sfn Only five homesteads from the original nomination were kept and two more, recognized for their elaborate interiors, were added.Шаблон:Sfn

Restoration and preservation

Файл:Hälsingegård Erik-Anders - interiör - taket och väggen.jpg

Damage from leakage at Erik-Anders.

A disregard for the traditional style would become a threat to its preservation.^[3] By the end of the 19th century the old designs were derided,Шаблон:Sfn and there are numerous reports from the early 20th century of hundreds of years old tapestries cut into pieces for washcloth, while old richly painted furniture was chopped into firewood. Signs that these artifacts were considered usual and domestic, not important to preserve for future generations.^[3] Many painted interiors would disappear as interest in renovations peaked during the 1940s and 50s.^[11] However, unlike Dalcarlian painting, there was no surge in demand during the late 19th century, which prevented the dissipation of works to willing buyers and museums.Шаблон:Sfn Therefore more works have been preserved in their original location, as compared to the other Swedish folk art traditions. Most of what has been preserved are on fragments of weave, heavy paper and wooden planks.Шаблон:Sfn Complete interiors in their original location are mostly from the golden era during the 19th century.Шаблон:Sfn

Preservation has also been facilitated by inheritance customs that kept farmhouse ownership within the same family for generations.Шаблон:Sfn By tradition the great halls were rarely used and mostly left empty, reducing the risk of and need to undertake renovations.^[11] Most farms consisted of numerous small buildings, which passively aided conservation since only a few of them became subject to renovations over the years. Rooms and buildings that went out of use were left untouched and used for storage.Шаблон:Sfn

Academic interest

There was a surge of interest in folk art traditions at universities and museums at the turn of the century. Helsingian painting was identified as one of the three major traditions, alongside Dalcarlian painting and southern tapestry painting.^[9] Sigurd Erixon at the Nordic Museum in Stockholm authored several articles on Helsingian painting during the 1920s and 1930s.Шаблон:Sfn Шаблон:Sfn As the academic interest mellowed during the latter part of the 20th century, work on collecting and inventorying was continued by local museums and heritage associations.^[9] Ingemar Svensson and Hilding Mickelsson conducted a large investigation during the 1960s, with support from the Gävleborg Regional Museum and the Gästrike-Hälsinge Heritage Association. The results of their efforts was published in the book Hälsingemålningar (1968).Шаблон:Sfn Шаблон:Sfn Additional inventories were conducted during the late 20th century under the supervision of Kerstin Sinha at the Ljusdal Museum, in cooperation with local heritage associations.^[4]Шаблон:Sfn During the decades before and after the year 2000 there was once again an increase in academic interest, on this occasion from art history scholars. Several dissertations and theses on the topic of Helsingian painting were published over a few decades.^[9]

References

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