The auction's painting "Den vita hatten" (The White Hat), 1916 is an outstanding example of Sigrid Hjertén's art during one of her most productive and significant periods. The painting depicts a sophisticated woman sitting casually in an armchair, elegantly dressed in a wide-brimmed hat, which gives the work its title. Hjertén uses a harmonious palette of soft pastel tones, contrasted by darker details such as the woman's pronounced eyebrows and the emerald green ring on her hand. The woman's enigmatic expression, with a faint smile and a sidelong glance, creates an atmosphere that invites interpretation. Here, Hjertén's skill in combining subtle elegance with drama, and her ability to convey deep emotions through colour and form, is evident.
The 1910s were a pivotal period in Hjertén's career, when she established herself both in Sweden and internationally. Her exhibition at Galleri Der Sturm in Berlin in 1916 marked her international breakthrough. During this time she was strongly influenced by her teacher Henri Matisse, who emphasised a deeper, intuitive experience through a harmonious unity of colour, form and line. Hjertén embraced this in her painting, as is evident in "Den vita hatten". Her compositions consist of large, continuous fields of colour in bright rainbow tones, where the contrast between warm and cold colours creates a strong dynamic. By breaking with the traditional central perspective and using different angles and contrasting lines, she creates a tension that enhances the emotional effect.
Originally a textile artist with a keen interest in fashion, Hjertén often explored the fluid boundaries between art, fashion and design. This is particularly evident in "Den vita hatten", where the woman's attire not only adds to the elegance of the work, but also adds a deeper commentary on identity and self-representation. By emphasising the woman's attire and style in the painting, Hjertén manages not only to capture her elegance but also to explore issues of identity and self-esteem.
The expressive brushwork and emotional nuances of "Den vita hatten" reflect Hjertén's fascination with human relationships and moods, a theme that recurs in many of her works from this period. Combining technical skill with a strong emotional presence, Hjertén contributed a unique voice to modernism and established herself as one of Sweden's most prominent artists.
In the 1920s, after she and her husband Isaac Grünewald moved to Paris, her subjects came to centre on cityscapes, landscapes and portraits. Her paintings alternated between anxiety and harmony, and in the 1930s her work became more intense, often featuring the yellow colour that dominated many of her late works, reminiscent of van Gogh. Despite an impressive career, with several groundbreaking works, Hjertén stopped painting in 1937 when her mental health deteriorated. After her marriage to Isaac dissolved, she spent her last years in silence until her death in 1948.
Despite personal trials and a society that was often critical of women artists, Sigrid Hjertén today has an obvious place as one of Sweden's most important modernists. "Den vita hatten" remains a masterpiece that highlights her artistic boldness and her ability to combine colour, form and emotion into a deeper artistic experience.