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Possibly the southern part of Stockholm. Strindberg had visited Italy, and had seen Venice from a distance; he may have used this memory to create a tribute to Stockholm, another city on the water. Certainly the dark, stormy sky is typical of Strindberg's Nordic landscapes. The city, glowing invitingly in the distance, poignantly conveys Strindberg's own feelings of longing during his far-flung wanderings, and his characteristic sense of isolation. The Town August Strindberg, Unsigned,1904. |
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| Ruskprick Sea-mark, 1892 Oil on canvas 31x19,5 cm n National Museum Stockholm In his novel By the Open Sea, Strindberg's protagonist comes upon a white sea-mark on a dark cliff. 'This example of man's handiwork, out here, where no man could be seen; this reminder of the gallows, shipwreck and coal; this crude contrast between the unblended colourless colours black and white...seemed shocking, disturbing and brutal.' |
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August Strindberg, The Lonely One, 1892. Private Collection, Sweden The Lonely One, with its single tree set against a backdrop of Strindberg's beloved Archipelago, is regarded as symbolic self-portrait. Strindberg often regarded isolation as a strength. Strindberg wrote in By the Open Sea: “ 'The single rowan stood on a few square feet of greensward, so solitary yet, in the absence of competitors, so unusually strong, as if it was better able to defy storm, salt and cold than the scramble of envious equals for the bits of earth.' ” |
| August Strindberg, Sunset over the Sea done 1903. A flat calm , perhaps happy image, like a stage for the theather. During this period Strindberg was doing well in the theatre biz with great plays such as A Dream Play, the third part of To Damascus and some historical dramas.
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| English: Coastal Landscape II |
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August Strindberg art video, paitings appear after 2 min ...
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