Caroline Hebbe Explained

Caroline Hebbe (3 February 1930 – 2018) was a Swedish art photographer active in the 1950s-1970s and working in a subjective style in affinity with the Fotoform movement. She later became an international curator of Swedish arts, crafts and design.

Career

Caroline Hebbe, born 3 February 1930 in Uppsala, Sweden, was a daughter of Per Magnus Hebbe and Brita Hebbe (Benedicks), sister of Agneta Hebbe and half-sister of Marianne Wändell. She had a brief career as a photographer; nevertheless, from 1949, she gained international attention for her ‘subjective’ photography.

After winning some contests she participated in Young Photographers II, where she exhibited nineteen photographs with a mixture of surrealistically inspired motifs, abstract compositions, portraits and documentary imagery, including a black-and-white composition entitled Venini, depicting wire mesh and a twig on an otherwise completely empty beach; an image of a haunting surrealist quality. The exhibition was the starting point for a heated debate in Sweden, as in the rest of Europe, around "the new image”. When an edited second edition of the exhibition toured New York and Paris in 1951, Caroline Hebbe was the remaining female participant.

That year Hebbe married Hans Hammarskiöld (1925–2012), one of the leading names in Swedish photography. In 1952 they undertook a month-long trip to New York to study the new American photography and to meet famous photographers, including Irving Penn, Edward Steichen and W. Eugene Smith. Steichen was the head of the photography department at the Museum of Modern Art. The short meeting led to a lifelong friendship. Both took portraits of Steichen, and Steichen eventually became godfather of the couple's first child, their daughter Suzanne Caroline Hammarskiold, born in 1955. Their other children were Viveca Madeleine Hammarskiold, born 1956 and Richard Hebbe-Hammarskiold (1961).

Recognition

From 1947, during Alfred Westholm’s directorship of the Gothenburg Art Museum the institution had started to collect work in a new category: art photography. Made by contemporary Swedish photographers the acquisitions were first shown in 1953 in the exhibition Swedish Photo Art 1948-1951. In the catalogue, twenty-four artists’ works are illustrated, three of which were by women and one was Fish-net (1951) by Caroline Hebbe. This work was featured in a publication by Otto Steinert, a leader of the subjective photography movement, Fotoform.[1] [2] [3] [4]

Edward Steichen selected work by both Caroline and Hans for The Museum of Modern Art's world-touring The Family of Man exhibition, which was seen by 9 million visitors. In the foreword to the catalogue is portrait of him taken by Caroline Hebbe-Hammarskiöld.[5]

Later life

A letter from March 1977 held in the Grace M. Mayer Collection (Curator of Photography 1964-1968 and Curator of the Edward Steichen Archive 1968-1996 at The Museum of Modern Art) of MoMA, was written by Caroline to Edward Steichen and mentions a visit to New York and her divorce from Hans Hammarskiöld. She later married Jacob Palmstierna and in 1983 became the Exhibition Manager for the Swedish Society of Crafts and Design,[6] and Coordinator Excellence in Swedish Form until 1999,[7] staging exhibitions both in Sweden and in 29 countries internationally,[8] including Faces of Swedish Design at the I.B.M. Gallery of Science and Art in New York,[9] and the Cranbrook Academy of Art in September 1988.[10] [11] [12] She died in 2018 and was buried in Danderyd Municipality, Stockholm County, Sweden.[13] [14]

Exhibitions

Collections

An untitled dye transfer print by Caroline Hebbe-Hammarskiold of 1948-53 is in the collection of MoMA.[15]

Notes and References

  1. Otto Steinert (1952) Subjective Photography: An Illustrated Book of Modern European Photography. Bonn: Auer, 1952.
  2. Swedish photo art 1948-1951 in Gothenburg Art Museum, Gothenburg 1951, unpaginated
  3. Eva Zetterman ‘Mellan Nordisk Profil och Platsbunden Identitet: Göteborgs Konstmuseum’’. In Anna Tellgren and Jeff Werner (eds.) Representation och regionalitet. Genusstrukturer i fyra svenska konstmuseisamlingar. Davidsons Tryckeri AB, Sweden, Statens kulturråd
  4. Anna Tellgren, Ten Photographers. Self-image and vision. Swedish photography in the 1950s in an international perspective, (diss.), Stockholm, 1997, pp. 247-252.
  5. Tellgren, Anna Svenska. ‘Förnyelse av formen i femtiotalets fotografi.’ In: Kvinnovetenskaplig tidskrift. - Stockholm : Kvinnovetenskaplig tidskrift, 1980-. - ISSN 0348-8365; 1993 (14:3/4), s. 55-67.
  6. Boman, M., Bergström, P., Varcoe, G., & Föreningen Svensk form. (1988). Faces of Swedish design: An exhibition about design in Sweden in the eighties from industrial design to applied arts. Stockholm: Swedish Society of Crafts and Design
  7. Web site: Levande Design 2008. Svensk Form. sv-SE. 2020-04-21.
  8. Book: Eskildsen, Ute. Subjektive fotografie : images of the 50's. Essen. Museum Folkwang. Art. San Francisco Museum of Modern. Gallery. Sarah Campbell Blaffer. 1984. Essen : Fotografische Sammlung im Museum Folkwang Essen. English.
  9. 'Swedish design still clean-cut but now has a splash of color,' The Vancouver Sun (Vancouver, British Columbia, Canada) Saturday 01 Oct 1988, p.71
  10. Lisa Hammel, 'An Old Friend, Swedish Design,' The New York Times September 29, 1988, Section C, Page 7
  11. Marsha Miro, 'New Scandanavian design stays true,' Detroit Free Press, Sunday 10 Apr 1988, p.59
  12. Lisa Hammel, 'Swedish design shows constancy,' Leader-Telegram (Eau Claire, Wisconsin), Thursday 29 Sep 1988, p.15
  13. Hedvig Hedqvist, Kerstin Wickman, 'Caroline Palmstierna: Remembering Caroline,' Form, 518, 16 October 2018
  14. Web site: Caroline Palmstierna. geni_family_tree. en-US. 2020-04-21.
  15. Web site: Caroline Hebbe-Hammarskiold. Untitled. 1948-53 MoMA. www.moma.org. en. 2018-07-03.

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