Nationalmuseum is excited to present Ernst Billgren – New Memories, an exhibition with multiple new pieces by one of Sweden’s most renowned artists. Billgren challenges the art world’s unwritten laws and unspoken expectations with work that combines traditional art historical motifs with pop culture references and kitsch.
The exhibition will feature about two dozen artworks by Billgren, in whic
Pierre Bonnard was one of the twentieth century’s most influential artists. In iridescent images, the Frenchman captured the world around him: his home, family, garden, bustling streets, and the view on the ocean from his window. In recent years, crowds around the world have flocked to exhibitions of Bonnard’s paintings. Nationalmuseum’s exhibition is the first one in Sweden in more than seven dec
Design for Life – How design changes thinking and improves living standards showcases examples of design products from 1960 to the present day. Opening on 16 April, the exhibition features around 200 objects from Nationalmuseum’s collections.
This coming year, Nationalmuseum will continue to deepen visitors’ understanding of popular artists in its collections, collaborate with other Nordic and European museums, and feature contemporary artists in its temporary exhibitions.
The 2024 Portrait of Honour depicts songwriter and music producer extraordinaire Max Martin, and was taken by photographer Mikael Jansson. The Portrait of Honour will be unveiled at Gripsholm Castle on 13 October, where it will become part of the collection in the Swedish National Portrait Gallery.
This autumn, Nationalmuseum is presenting a major exhibition entitled The Romantic Eye. Visitors will enjoy a full-on experience of the revolutionary artworks that appeared in the years around 1800, when art itself and the role of the artist evolved to reflect emerging ideas about independent thinking, individual experience and the creative mind. The exhibition runs from 26 September 2024.
New research at the Nationalmuseum has shown that a painting in the collections, earlier ascribed to an anonymous artist, can now be attributed to Carel Fabritius, one of Rembrandt’s pupils. The attribution and dating of the painting are based on stylistic analysis combined with technical examination of painting technique and materials.
