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ANNA HALLDIN MAULE THE ARTIST IN HER OWN WORDS

I learned to paint at an early age from my grandfather, he was an artist in Sweden who worked mostly in oils but also made wooden sculptures. His studio was a complete mess with stuff everywhere, a strong smell of turpentine and eclectic detritus scattered to every corner. It was all very exciting for a small girl like me. I always wanted to be an artist.

My studio today is much more organised than my grandfather’s ever was, as it is easier for me to work in an orderly environment. It is where I want to be most times. As a photorealist I paint from photographs, but my approach to detailing is completely hyperrealistic to the point where it is easy to get lost in the details and become completely immersed in the act. I lose track of time, but there is nothing more satisfying to me than a day’s work in the studio, listening to music or mystery audiobooks with Elsa, our beloved kitty by my side.

My dad saved everything. When he passed away I ended up with a pair of old brass door handles. These particular door handles might actually have originated from my grandfather, who also was a collector of things. Eventually they will be installed in the door to my studio, and I am so excited about this. It is all very symbolic and cathartic to me. I also have my grandfather’s violin hanging on my wall and sometimes when I am contemplating something on a painting, I tend to hold it while looking at what needs to be done, as though he is with me in my process.

Many Old Masters employed an under-painting technique called grisaille as the first layer of an oil painting. This is something I also incorporate as the starting point of each of my works. After the composition is sketched and the subject blocked-in, I look for patterns of light and dark tones that make up the shadows and render their location in various tones of grey.

Applying color glazes over the muted grey foundation helps achieve a great realistic effect. The “inner light” that plays through the network of colors on the canvas is an integral part of the painting. Natural sunlight filters from the surface through to the final layer of color and the light is reflected back to the viewer, emphasizing luminosity and texture.

Painting materials like metal and fur (faux fur, by the way) calls for different techniques. Painting fur needs a more immediate technique where I apply and blend the paint while it’s wet using different brushes—some which are old and worn, others that I’ve shaped for this occasion to sculpt and even remove paint I’ve just applied on the linen. The fine balance between the softness of the fur and the sharp details make it all look real.

Printemps (detail) 2015, oil on canvas 56 x 38 inches

Most of the young women I work with are not professional models and I prefer it that way. They are all stunningly beautiful, in an unaffected, natural way and there is something unique about their personalities that comes through in my paintings.

HALLDIN + MAULE 18 Ida 1, from the Northern Light series of black and white photographs

As a hyperrealist painter, the realism of my work depends on excellent photography. My husband, Tom Maule, plays an integral part in the production of my paintings. An accomplished photographer, he not only helps me stage and conceptualize the mood of a painting, but photographs the model, capturing the fresh look and luminosity that is inherent to my work. Our marriage is truly a creative collaboration.

Tom and I work very closely together sharing and fine tuning ideas until they become as clear and perfected as possible. When you see those ideas come to life you really feel it; there is the painting. These black and white photos were shot in the Bohuslän region of Sweden, inspired by two of Tom’s main photographic influences: Ingmar Bergman and August Sander. I feel like they perfectly capture the models’ youth and exuberant personalities while also revealing the sublimity of the Scandinavian summer.

HALLDIN + MAULE From the Northern Light series, from left: Linnea K, Linnea S 1, Sasha and Laura 1

The inspiration behind Pärla stemmed from a yearning to use that particular golden-green velvet fabric with the bead work I sewed onto it, and my desire to paint a portrait that captured the mood of an Old Master painting such as Jean Dominique Ingres’ La Grande Odalisque. I wanted to bring the enigmatic sensuality of old European paintings to a new level, to portray an enchantress, this sublimely beautiful woman, but with a fresh contemporary twist.

Pärla 2020, oil on linen 72 x 48 inches

La Grande Odalisque Jean Auguste Dominique Ingres 25

In my workroom, I lay out fabrics and fold them over mannequin heads so I can see how I want to drape them on the model later. Sometimes they sit like that for months and I walk by them daily, shaping and re-shaping the fabric until I am satisfied.

In the spring when the sky is threatening rain, the trees with their early spring leaves contrast beautifully against the grey sky, just like Pärla’s golden green head dress against the grey background. We live in a century-old rectory in the countryside on the east coast of Sweden and the surrounding landscape is a great source of inspiration; the color of the moss on the old stone walls and on the bark of the old oak trees.

I enjoy observing the natural landscape surrounding our home, the changing of the seasons; the long Nordic winters and the seemingly never ending days of summer.

In my recent paintings I have sought to capture the essence of the Scandinavian spirit, but also celebrate my artistic heritage; the skills I have learned from my beloved grandfather.

Midsommar 2020, oil on linen 72 x 48 inches

Rosa Blomma (detail) 2017, oil on linen, 72 x 48 inches

As with Pärla, the styling of the Blomma series came from a desire to align contemporary subjects with Old Master portraiture, such as Jan van Eyck’s Portrait of a Man Wearing a Red Turban. I found the floral motifs of Marimekko textiles perfect for this theme. An iconic symbol of Scandinavian design, the brightly colored fabrics make a very modern fashion statement, one that equates feminine ideals with individuality and confidence.

Portrait of a Man Wearing a Red Turban Jan van Eyck 35

My grandfather taught me to always use the finest quality paints and today I continue his tradition by using many of his favourite brands. The linen canvas I prefer is prepared by hand in a small village in France and its velvety surface gives incredible luminosity and depth. When it comes to brushes I have my favourites that I have been buying for well over a decade. Sometimes a brush actually gets better with age.

The Alchemist portrays a recurring theme in my work, one that subtly refers to our preconceived notions of beauty. There's a mystery and an alchemy to how women have always enhanced their features to appear beautiful. Even though nowadays the ideal of beauty seems to go hand in hand with fashion branding, plastic alterations, and social media make up tutorials, the final result is still astounding; a total transformation.

The Alchemist 2020, oil on linen 72 x 48 inches

Painting the background is the final stage in my process. Shrouding the painted areas for protection, mixing and applying that perfectly nuanced tone of grey become a ritual during which I experience both anxiety and elation. At last, after the tape is removed and the subject comes into focus, I let go and allow the painting to step out into the world on its own.

SELECTED WORKS

Pärla 2020, oil on linen 72 x 48 inches

Ida 2020, oil on linen 72 x 48 inches

Liten Blomma 2019, oil on linen 72 x 48 inches

Grön Blomma 2018, oil on linen 72 x 48 inches

Röd Blomma II 2018, oil on linen 72 x 48 inches

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ARTIST CV