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Prologue by David Neuman<\/strong>, Director Magasin 3 Stockholm Konsthall Exhibition catalogue no 13 Language: <\/strong>Swedish and English EXCERPT:<\/p>\n\n\n\n Some Notes on The Study of Hill<\/em> <\/em><\/em><\/em><\/em><\/em><\/em><\/em>by Ola Billgren<\/p>\n\n\n\n In the oeuvre<\/em> that Carl Fredrik Hill left at his death in 1911 drawings occupy a prominent position, beginning with a schoolboy\u2019s pencil studies drawn from nature and finishing with a defeated world conqueror\u2019s high-handed visions, at once its given traditional substratum and its eruptive finale.<\/p>\n\n\n\n In between, a period can be distinguished during which the drawings in conjunction with the oil paintings which they were intended to serve form the storm centre of this remarkable artistic output. The years are 1876 and 1877 and the places before whose features Hill\u2019s artistic activity culminates are, among others, Champagne, Fontainebleau, and Luc. From this period of restless work and roving in the landscape between Paris and the Atlantic coast a few sketchbooks have been preserved whose importance was highlighted recently by Sten \u00c5ke Nilsson on the occasion of an exhibition of Hill\u2019s work from 1876 onwards. The contents of the books are primarily sketches for paintings drawn in black crayon on thin paper, a technique which more or less unintentionally resulted in the drawings being copied in reverse on to the back of the page or on the following page, an effect which Hill, always prone to pick up new ideas, seized on when he continued to work on his motif.<\/p>\n<\/div>\n\n\n\n With their stereographically duplicated figures and entangled lines the drawings make an uneasy and almost overwrought impression despite the single-minded concentration on a purposeful composition. There is also every reason to make a closer study of the way in which motifs have been intertwined in these sketches and preliminary drawings. Many of them display a deviation from the genre of landscape painting. The wealth of pictorial or verbal notes may not be surprising in itself, but the function of the notes seems often to have been forgotten in favour of something else which appears on paper or in the artist\u2019s mind. The landscape that is presented is composed of manifold visions and has been provided with inscriptions ranging from technical trivialities and high-flown attributions with no distinction being made between the useful and the panegyric. This relative chaos comes as no surprise to those who are familiar with Hill\u2019s work. Inscribing his own work in a glorious context is one of his most basic impulses and his development \u2013 which had now reached its last but one stage \u2013 is largely about attaining a bardic position which will give him unlimited access to the dimension of the inscription. (\u2026)
Georg Baselitz<\/em>, essay and interview by Donald Kuspit<\/strong>, American Art Critic and Poet
Some Notes on The Study of Hill, <\/em>essay by Ola Billgren<\/strong>, Swedish Artist<\/p>\n\n\n\n
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No of pages: <\/strong>64, color, illustrated
Binding<\/strong>: <\/strong>soft cover
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Year: <\/strong>1995 <\/strong>
Publisher: <\/strong>Magasin 3 Stockholm Konsthall
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