Artworks

Alma Holsteinson’s portrait of Pierre Louis Alexandre, painted around 1879–1880, represents a rare and remarkable contribution to nineteenth-century European art. It is one of only two known portraits of a Black sitter by a woman artist from this period, the other being Karin Bergöö Larsson’s companion work. Created side by side in the Swedish Royal Academy of Fine Arts studio, these paintings are unique in the history of representation, and Bergöö Larsson’s version is now housed in the National Gallery of Art, Washington. Beyond their rarity, the portraits are invaluable because Pierre Louis Alexandre is among the very few Black sitters in nineteenth-century Europe whose identity is securely known, making the works both artistic and historical testimony. Together, they offer an intimate and dignified portrayal of a man who, over time, became one of the most frequently depicted Black sitters in Europe before the twentieth century.

Holsteinson’s portrait is striking for its avoidance of the eroticising tropes that often shaped depictions of Black subjects in nineteenth-century art. Instead of presenting Alexandre in Orientalist costume or placing him in a fantastical setting, she shows him in plain, everyday clothes: a simple shirt and striped trousers. This unadorned treatment grounds him in his identity as a dockworker, creating an image that is both compelling and authentic. His reflective gaze directed beyond the viewer suggests thoughtfulness and agency—qualities rarely afforded to Black figures in European art of the time.

The significance of this choice is heightened by Holsteinson’s gender. Working in a profession dominated by male artists, she chose to paint a Black sitter with sensitivity and focus rather than reducing him to an exotic stereotype. Her work demonstrates the capacity of women artists to approach social and racial issues with nuance, offering perspectives often overlooked by their male contemporaries.

Stylistically, Holsteinson’s portrait diverges from Bergöö Larsson’s more polished, formally composed rendering. Holsteinson employs looser, more painterly brushwork—at times almost impressionistic—giving Alexandre a strong atmospheric presence. Her approach, distinctly modernist, aligns with the avant-garde tendencies of the period, where expressive gesture and visible brushstrokes carried equal weight with representation. Rather than diminishing her achievement, this contrast enriches the dialogue between the two works: one presents the sitter with academic clarity, the other with a more personal and introspective character. Seen together, they highlight both the individuality of each artist’s vision and the breadth of interpretation possible within a shared moment.

Alexandre’s prominence as a model extended well beyond these portraits. Between 1878 and 1903 he sat for approximately forty-eight known works, including oil paintings, watercolours, drawings, and sculptures by artists such as Anders Zorn, John Bauer, and Oscar Björck. The portraits by Bergöö Larsson and Holsteinson distinguish themselves through a rare sensitivity—outsiders portraying an outsider—resulting in more than a straightforward likeness. Together, they challenge the stereotypical and often dehumanising representations of Black figures common in nineteenth-century European art, and Holsteinson’s painting, in particular, affirms Alexandre’s individuality and humanity in a rare and enduring way.

Pierre Louis Alexandre himself led a transient and challenging life. Born in French Guyana, he arrived in Stockholm in 1863, likely as a stowaway on an American cargo ship. He worked as a harbour labourer, enduring harsh conditions, especially during winters when the port closed. During these periods he found work as a model at the Royal Academy of Fine Arts, where he became a popular subject for students and established artists, known locally as “Negern Petterson.” His personal life was marked by hardship, including the suicide of his first wife in 1889 and difficulties in his second marriage. He died in Stockholm on April 29, 1905, and was buried in the Catholic cemetery just outside the city. His legacy endures through the numerous portraits that captured his likeness, making him the most iconic Black sitter in nineteenth-century European art.

Alma Holsteinson and the role of female artists in the 19th century Sweden

The Swedish Academy, and more specifically its role as a key institution for the training of artists, played a pivotal part in fostering the careers of female artists in late 19th-century Sweden. Although the Academy was initially dominated by male students, it gradually became more inclusive, allowing women to enter the institution in the 1860s. This provided female artists with formal education and an opportunity to compete on equal terms with their male counterparts.

However, while the Academy did offer professional training, the societal norms of the period placed significant limitations on the careers of female artists. The 19th century in Sweden, like much of Europe, had rigid expectations of women’s roles in the family and society. Women were primarily expected to fulfill domestic duties as wives and mothers, and this often led to the curtailment of their artistic careers. Despite their talent and training, many female artists were forced to put their work aside once they married, as the responsibilities of motherhood and managing a household took precedence.

This societal pressure did not reflect the artists’ abilities or potential. Instead, it mirrored a broader cultural belief that women’s work outside the home was secondary to their roles within it. Some women, like Karin Bergöö, who married the prominent artist Carl Larsson, channelled their creativity into the domestic sphere, contributing to the arts and crafts movement but not through the lens of formal public exhibition. For others, such as Alma Holsteinson, marriage and family life led to a discontinuation of their artistic output, even though their skills were widely acknowledged.

While many of these women were not prolific in terms of the volume of their works, this should not be seen as a reflection of their lack of talent or ambition. In fact, the limited body of work that survives from many of these female artists often showcases remarkable skill and innovation. Their careers were tragically cut short by the social expectations of their time, rather than any inherent inability to produce art. This historical context highlights the resilience and talent of these women, who navigated an environment where their artistic achievements were often overshadowed by their familial duties.

The work of female artists trained at the Swedish Academy during the late 19th century remains a testament to their potential, creativity, and contribution to the arts, despite the significant barriers they faced. As societal norms evolved, their legacy has gradually been recognised, and their achievements are increasingly celebrated within the context of art history.

Provenance