Anders Zorn: Sweden's Master Painter

I ordered this book seven months ago and it was well worth the wait. This is a beautifully produced volume. All the ingredients are there - sturdy binding, heavy pages, gorgeous dust jacket and most importantly, the image resolution is perfect. Up until now there has been very little available on this noted Swedish artist. Earlier this year another volume by Oliver Tostmann, "A European Artist Seduces America" was released. This is a worthwhile work as well but not nearly as thorough as Johan Cederlund's new book."Sweden's Master Painter" contains a well-rounded and thoughtful selection of Zorn's paintings & etchings, with a heavy emphasis on his portraiture work. The landscapes are amazing and Zorn is particularly adept at capturing the qualities in any given body of water. His portraits will remind one of Sargent's style and his subjects were generally of that same social strata. The text is very informative but, thankfully, does not monopolize the overall content of the book.This book was designed to accompany an exhibit of Zorn's work at the Legion of Honor in San Francisco. By chance, I am fortunate to live within driving distance of this amazing museum. For anyone who hasn't been, this venue is a must see. The permanent collection is quite impressive and coupled with this current exhibit affords a rare opportunity indeed. The museum is located on a promontory overlooking the Pacific Ocean, and the surrounding area and museum grounds are absolutely breathtaking.This is a must have book for any one who appreciates the fine arts. I wouldn't pass up Tostmann's book either. Both are very reasonably priced and will not disappoint. If budget or space is an issue get this title. Again, it is a much more extensive work and, wisely, hardbound. It should provide years of enjoyable viewing.

Zorn was a great talent, a magnificent painter in watercolors, the most difficult medium. This volume, published as a catalogue for an exhibition of his work, first in San Francisco, next this winter (2014) in NYC at the National Academy of Design. A special feature of this rather large and heavy volume is that four different art "enthusiasts" have authored four different texts. In one of them the text is extremely well coordinated with the reproductions of the work. Zorn's portrait of Isabella Stewart Gardner (according to my memory, based on the original in Boston) is a truly great painting, unfortunately the reproduction in my copy of this book is terrible, probably due to the "enhancement" built into digital cameras. While Zorn was a master at portrait likenesses and his earliest watercolor ones are wonderful, he eventually became preoccupied with the great financial opportunities that America's wealthy individuals presented. Around age 25 he started using oils. Tragically he lost his focus. The oil portraits, while good for likenesses (it must be assumed from context clues) probably are terrible paintings. I write "probably" because I will not see them until they are at New york's N.A.D. It is through these "bad" portraits that the forthcoming exhibition and this book are extremely useful guides of what not to do... especially to America's current generation of revivaled Realists... Don't make Zorn's mistake. Don't sell out. Don't go for the money. Stay true to yourself. Stay true to art.Zorn was also a superb etcher.Having seen the lessened exhibition at N.A.D. I add that the oil portraits were weak as feared, no comparison to Sargent, as erroneously stated by another.

I've wanted to find a definitive overview on Zorn. This book was just that. Engaging articles from each of the authors. Taken together, they presented the most important aspects of Zorn's work. Well illustrated with crisp, clear reproductions of Zorn's paintings and those of other artists who influenced him, as well as the work of artists he influenced.I recommend it.

This a a beautiful book with large color plates. I love it. I bought a used edition and it is in excellent condition. What a great deal. And what a fantastic painter.