Editing Per Hasselberg (section)

=== Snöklockan (Snowdrop, Paris 1881) ===
{{Main|Snowdrop (sculpture)}}
The original French name was ''La Perce-Neige'' (snow breaker) and it was first made in plaster cast for the 1881 [[Salon (Paris)|Salon]] in Paris. Hasselberg's model was a 16-year-old Italian. At her feet shows a small snowdrop, and the statue was understood as a symbol of new life breaking through the snow in springtime.

''Snöklocka'' actually is not the ordinary Swedish name for the flower, which is ''snödroppe''. It is a rare poetic name that historically was derived from a literal translation of the ordinary German name ''Schneeglöckchen'' (little snowbell).<ref>Lennart Waern: ''Natursymboliken hos Per Hasselberg'', Tidskrift för konstventenskap 29, Uppsala 1952, p. 71-91, here 72-73.</ref> Thus a musical connotation was added by using it for the statue, and her right hand is close to her right ear.

The Snowdrop was not only accepted at the 1881 Salon, but even received an honorable mention, which no other Swedish work achieved that year. This success meant that Hasselberg suddenly was a famous artist in Sweden, where the [[Nationalmuseum]] in Stockholm soon ordered a copy in marble. It was finished in 1883 and received a gold medal at the Salon in Paris the same year. In 1885, also the [[Gothenburg Museum of Art]] had its marble copy. The [[Ny Carlsberg Glyptotek]] in [[Copenhagen]]/Denmark has one since 1889. Copies in bronze at public places are on Maria Square ([[Mariatorget]])/Stockholm, in [[Falun]], [[Ronneby]], and near [[Sunne, Sweden|Sunne]] (Rottneros park).

1,700 pieces in [[parian ware]] (marble imitation) with a height of 50&nbsp;cm and 625 pieces in 60&nbsp;cm were produced in 1887-1926 by [[Gustavsberg porcelain]].

The more recent reception of the Snowdrop in Sweden in the 21st century presented a new additive in the form of certain [[feminist]] views. One author of the catalogue of the large Hasselberg [[Retrospective#Arts and popular culture|retrospective]] in Stockholm 2010 claimed that the closed eyes of the statue were not a sign of just waking up but rather showed that Hasselberg had ''“forced”'' the ''“body of the young woman”'' into a ''“state of unconsciousness”''.<ref name="Hasselberg 2010 p. ">Jessica Sjöholm Skrubbe: ''Gränsfall: estetik och obcenitet i Per Hasselbergs skulpturer'', in: {{cite book | last=Gunnarsson | first=Annika, et al (Eds) | title=Per Hasselberg: Waldemarsuddes utställningskatalog | publisher=Arena/Åmells Artbooks Prins Eugens Waldemarsudde | publication-place=Malmö Stockholm | year=2010 | isbn=978-91-7843-325-4 | oclc=656365821 }}, p.63-81, here p. 67.</ref>

[[File:Farfadern av Per Hasselberg.jpg|thumb|Farfadern (father's father = grandfather) at the [[National Library of Sweden]] in Stockholm; plaster cast 1886 in Paris; here cast in bronze 1896 by Gruet Jeune in Paris.]]