Revised Scheme for Decoration of the Walls in the Lower Hall of the NM Carl Larsson (1853-1919)

The triptych presents a complex narrative unfolding across three distinct yet interconnected scenes, united by a shared palette and a sense of hurried activity. The overall impression is one of a project in progress, a scheme being realized rather than a finished product.
On the left panel, we observe a group clustered around a table laden with architectural drawings and plans. A central figure, presumably an architect or designer, gestures emphatically towards a large sheet spread across the surface. Several other individuals are engaged in close scrutiny of these documents, their postures suggesting debate and deliberation. The lighting here is subdued, creating a sense of focused intensity within this interior space. Scattered papers and discarded tools contribute to the atmosphere of a workspace actively used.
The central panel shifts the perspective dramatically. Here we see an outdoor scene populated by numerous figures in formal attire – wigs, frock coats, and elaborate gowns are prominent. They appear to be observing or participating in some sort of public event, perhaps a presentation or review of the decorative scheme itself. A tall obelisk dominates the background, rising above a grand staircase that leads upwards towards indistinct architectural elements. The composition is crowded, with figures overlapping and interacting, conveying a sense of bustling social engagement. The artists brushwork becomes looser here, suggesting movement and a less precise focus on individual details.
The right panel returns to an interior setting, depicting the installation or placement of sculptures. Several busts and statues are arranged around a central pedestal, while other figures appear to be directing the positioning of these artworks. A sense of controlled chaos prevails; assistants maneuver pieces with evident effort, while onlookers observe the process. The lighting is again more diffuse than in the left panel, softening the edges of the forms and contributing to an overall feeling of transience.
Subtextually, the triptych seems to explore the collaborative nature of artistic creation and architectural design. It’s not merely a depiction of finished artwork but rather a glimpse into the process itself – the planning, discussion, and execution involved in bringing a decorative scheme to fruition. The inclusion of numerous figures suggests that this is a communal endeavor, reliant on the expertise and participation of various individuals. The hurried brushwork and sense of ongoing activity imply that the project is not static or complete but rather an evolving entity. Theres also a subtle commentary on the social context of art; the central panel highlights the importance of public approval and patronage in shaping artistic endeavors. Ultimately, the work offers a fascinating insight into the behind-the-scenes world of large-scale decorative projects, revealing the complexities and collaborations that underpin their creation.