In “Trollbunden—John Bauer och den magiska naturen” (Spellbound—John Bauer and the Magic of Nature), we are led into the dark heart of the Swedish artist’s style as it reflects a fin de siècle gothic revival in its levitating perspectives, processional poses, and tenebrous palette folded into the melancholic atmospheres of Nordic folklore. Equally committed to wandering through the mythic as a forest of symbols were Bauer’s belle epoque contemporaries such as his fellow Swede Agnes de Frumerie, Finland’s Akseli Gallen-Kallela and Hugo Simberg, Denmark’s Louis Moe, and Norway’s Theodor Kittelsen,