European art from the late 19th Century tends to be characterized by the currents of symbolism,
on the continent often in the form of mysterious and suggestive portraits or depictions of historical events or
legends of saints.
In Sweden, many artist who were interested in symbolism chose subject matter from the landscape.
They withdrew from mordern life to a dream world that was moody, dark and quiet.
The long Swedish dusk, during which the light slowly and gradually wanes was a common motif.
Mood painting from the turn of the century 1900 was a reaction to the realism of en plein air painting
and the creative act was no longer a question of registering reality.
The details are gone, as is the clear of light of day.
The landscape was reduced and transformed to express inner states and emotions.
The images were meant to convey somthing beyond the outwardly visible,
something grand and eternal that lay hidden in nature.
The landscape become an image of life in a holistic perspective,
but also contained a dimention of nationalism.
National romantic mood painting is primarily associated with artists such as
Eugene Jansson and the painters in the Varberg school, who are all richly represented
the collection of the Gorthenburg Museum of Art.