David Klöcker Ehrenstråhl – White Squirrel in a Landscape
1696. 61.5×64
Location: National Museum (Nationalmuseum), Stockholm.
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The artist’s handling of light contributes significantly to the paintings atmosphere. A diffuse illumination washes over the scene, softening the edges of the trees and creating a sense of depth within the forest. The squirrel itself is illuminated more directly, drawing immediate attention to its unusual coloration. This starkness emphasizes its otherness, suggesting it exists outside the natural order.
The background reveals a layered perspective, with distant hills fading into a hazy sky. The treatment of these elements is less detailed than that of the foreground, further isolating the squirrel and reinforcing its position as the central focus.
Beneath the scene, an inscription in what appears to be Old Norse or Swedish provides contextual information. It details an event – the appearance of a white squirrel on July 27th, 1696 - which is presented as something noteworthy, even miraculous. The text suggests this occurrence was interpreted as a portentous sign, linked to royal events and potentially carrying symbolic weight within the cultural context of its creation.
The painting’s subtexts are complex. Beyond the straightforward depiction of an unusual animal, it seems to explore themes of rarity, anomaly, and perhaps divine intervention or omen. The squirrels whiteness can be interpreted as a symbol of purity, innocence, or even supernatural presence. Its solitary posture suggests vulnerability and isolation, while its direct gaze creates a sense of unease and invites contemplation about the meaning behind its appearance. The inscription elevates the event from a simple natural occurrence to something imbued with historical and symbolic significance, hinting at a broader narrative beyond what is visually represented.