Hagerstown Museum Showcases Scandinavian Art and Identity from a Transformative Era

The Washington County Museum of Fine Arts (WCMFA) in Hagerstown, Maryland, is set to unveil “The Scandinavian Home: Art and Identity, 1880–1920,” a significant exhibition that delves into the artistic expressions of Denmark, Finland, Norway, and Sweden during a period of considerable cultural change. This exhibition, which marks the second North American venue for the collection, will be accessible to the public from February 7 to May 17, 2026, offering a comprehensive look at how artists from these northern European nations explored themes of home, national belonging, and individual creativity.

The exhibition draws from both private collections, notably that of Dr. David and Susan Werner, and public institutions to which the couple has contributed. Visitors can expect to encounter a diverse array of objects, including paintings, textiles, ceramics, furniture, and silver, all of which highlight the region’s emphasis on artistic originality, skilled craftsmanship, and national pride. The exhibition utilizes the concept of “home” as a central theme, extending beyond the confines of an individual dwelling to encompass one’s hometown and homeland, thereby illustrating how communities shape personal development and broader cultural identity. During the late 19th and early 20th centuries, artists and artisans in Scandinavia, mirroring trends elsewhere, moved away from the rigid structures of academic instruction in favor of personal expression. This shift allowed for the integration of local landscapes, folklore, and mythological elements into their work. Artistic endeavors became more widespread, with rural families actively participating in creating decorative items for their homes, often preserving and passing down traditional skills through generations. In many areas, the burgeoning industrial revolution and urban growth led to the elevation of specific craft traditions as symbols of national identity. Reform movements and organizations, such as the Swedish Friends of Handicraft, played a role in encouraging women to maintain and enhance these traditions, thereby fostering a shared sense of cultural heritage and social responsibility.

The presentation of “The Scandinavian Home” in Hagerstown holds particular resonance due to the history of the museum’s founders, artist William Henry Singer, Jr., and his wife, Anna Brugh Singer, who established a home in Olden, Norway. William Henry Singer, Jr.’s profound connection to the Norwegian landscape, characterized by its majestic mountains, flowing rivers, and snow-laden villages, was a recurring subject in his paintings. The WCMFA’s exhibition will be enriched with items from its own collection, including examples of Swedish glass and etchings by the internationally recognized Swedish artist Anders Zorn.

The exhibition is thoughtfully organized into thematic sections, presenting over 80 distinct objects. These include: Norwegian Revival, An Artist’s Home/Art Nouveau, Vitalism in Finland and Denmark, Symbolist Experimentation, Rural Craft Traditions, Interiors, and History of Landscape. The introductory gallery immediately immerses visitors in the “Norwegian Revival” theme, featuring works that draw inspiration from medieval history and traditional folk art. The tapestries by Norwegian artist Gerhard Munthe and the furniture designed by Lars Kinsarvik exemplify a style infused with elements of folklore, featuring characters such as princesses, trolls, and dragons. Munthe’s tapestry, “The Suitors,” depicts an original fairytale and demonstrates his unique artistic approach, which combined rural Norwegian craft with Japanese design influences and the Art Nouveau movement. Characterized by bold lines, simplified forms, and vibrant colors, Munthe’s designs gained international recognition after their display at the 1900 Paris World’s Fair.

Similarly, Lars Kinsarvik’s intricately carved armchair, a striking example of the “Dragon Style,” also garnered attention at the Paris World’s Fair. Kinsarvik was a prominent woodcarver in Norway and was known for incorporating colors derived from regional peasant art into his work. Artists, writers, and designers in Norway during this period looked to medieval history and folk traditions to forge a distinct modern national style that extended to both architecture and interior design. They envisioned their homes as models of a new way of living, reflecting personal tastes, social ideals, and a respect for their natural surroundings. This approach aligned with the broader Arts and Crafts Movement, emphasizing handcrafted objects, textiles, and artworks in home interiors to foster a sense of comfort, family life, and democratic principles, based on the belief that one’s environment could positively impact individual well-being and society.

As the 20th century began, some artists embraced “Vitalism,” a movement that championed physical health and well-being through outdoor activities, exercise, and exposure to sunlight and fresh air. The artwork of Danish artist Jens Ferdinand Willumsen, with its depictions of beach scenes, water, and radiant sunlight, exemplifies these Vitalist interests. His painting “Lady Mountaineer” appears to celebrate freedom and empowerment in nature, with a female figure raising her arms in a gesture of triumph against a backdrop of jagged mountains. Renowned artist Edvard Munch, though more widely recognized for his Symbolist works exploring psychological anguish, also participated in the Vitalist movement. His print “Omega’s Flight” in the exhibition reflects this more introspective aspect of his art and is presented alongside works by artists such as Hugo Simberg, representing the experimentation and evolving Symbolist movement of the era.

Artists also dedicated themselves to capturing the unique beauty of their homelands, from the ethereal glow of northern skies and rugged fjords to the serene imagery of snow-covered hills and waterways. Landscapes served not only as aesthetic subjects but also as potent symbols of national identity, reflecting the distinct physical and cultural environments of each country. Many artists pursued formal training abroad in Germany or Paris before returning to their native lands to celebrate their landscapes, contrasting the Nordic natural world with continental Europe and thereby defining a unique regional artistic style.

Swedish artist Otto Hesselbom’s “Sunset in Värmland” exemplifies this, capturing the warm hues of a setting sun casting an orange glow across the landscape. The painting contrasts undulating snowdrifts with the dark verticality of trees, evoking a sense of both solitude and warmth. At these northern latitudes, the low angle of the sun during midwinter creates intensely saturated colors in the sky, a phenomenon rarely experienced by audiences in southern Europe. Hesselbom aimed to depict this atmospheric effect and connect with Swedish viewers by elevating the raw, sometimes challenging, yet undeniably beautiful Nordic natural world. Swedish artists, many of whom studied in Paris, returned with a commitment to public art, social engagement, and national pride, seeking to foster empathy and solidarity through their paintings, public commissions, and decorative works, contributing to the social democratic ideals prevalent in Nordic countries today.

The collaborative spirit and experimental creativity of the period are further illustrated by artist collectives such as Sweden’s Rackstad Colony. Situated near Lake Racken in Värmland, this colony fostered a communal living environment and produced a wide range of artworks, including sculptures, ceramics, furniture, and textiles. Drawing inspiration from National Romantic ideals that embraced nature, folk culture, and history, these artists championed local traditions, egalitarian values, and a profound connection to the natural world. The exhibition offers visitors an opportunity to explore how international developments in Nordic art connect to the museum’s own history, particularly the founders’ deep engagement with Norway’s landscape and culture.

The exhibition tour has been organized by Dawn R. Brean, Chief Curator and Director of Collections at The Frick Pittsburgh. The Hagerstown presentation is made possible through the generous support of Paul Mellott, with additional contributions from the John R. Hershey Jr. and Anna L. Hershey Family Foundation and Dr. and Mrs. Robert K. Hobbs. A fully illustrated color catalogue of the exhibition will be available for purchase in the Museum Store.

A variety of programs are scheduled to complement the exhibition, with details available on the WCMFA website, wcmfa.org, and the museum’s social media pages. The Washington County Museum of Fine Arts, located in Hagerstown, Maryland, has offered free admission to the public since its founding in 1931.

Article by Mel Anara, based upon information from the Washington County Museum of Fine Arts.

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