The Colorists
Explore the Exhibition
Over the past hundred years, each artist at the Märta Måås-Fjetterström studio has brought a unique sense of colour to the loom. This legacy is preserved in our yarn cellar, which holds nearly 2,000 yarns in an extraordinary range of shades.
This summer, we are highlighting the bold and expressive colour era that began with Barbro Nilsson’s appointment as Artistic Director in 1942. At a time when the world outside was marked by uncertainty and hardship, the studio became a place of creative energy and hope. Within its walls, vivid, carefully composed designs were woven—offering a vision of beauty, resilience, and optimism through textile art.
The Bee Hive
Ann-Mari Forsberg joined the Märta Måås-Fjetterström studio in 1943 alongside fellow artist Marianne Richter. While she is known for several beloved rug designs, her most enduring legacy lies in her monumental tapestries—remarkable works distinguished by their scale, bold use of colour, and expressive character.
One of her most iconic pieces is Bikupan (The Beehive), created in 1959. This vibrant tapestry captures a joyful energy that continues to resonate. Individual sections from Bikupan are still woven today and remain popular for their lively spirit and sense of movement.
Gobeläng flatweave
The gobeläng flatweave technique was developed by Barbro Nilsson and introduced at the Märta Måås-Fjetterström studio in 1942. Unlike traditional flatweaves, gobeläng allows for greater freedom in form and expression, making it ideal for more painterly, organic compositions.
A full-scale working drawing—showing the contours of the design—is placed beneath the warp on the loom. The weft yarns are picked by hand and follow the drawn lines. Unlike other weaving techniques, the loom’s batten is not used; instead, the wefts are packed by hand with a gobeläng pod, allowing the weft to fully cover the warp and creating smooth, flowing shapes without sharp angles.
The studio has been producing gobeläng flatweaves since 1943, beginning with Barbro Nilsson’s pioneering composition Snäckorna. Drawing on her experience with large wall-hung tapestries, she adapted the gobeläng technique to suit durable floor rugs while maintaining the expressive potential of the medium.
Since then, the technique has continued to evolve through the work of other artists in the studio, including Marianne Richter and Ann-Mari Forsberg, who each brought their own distinct voice to the gobeläng flatweave tradition.
The Artists
When Barbro Nilsson became artistic director of the Märta Måås-Fjetterström studio in 1942, she brought with her a profound understanding of weaving techniques, colour, and composition. Over nearly three decades, she guided the studio into a new era, balancing the preservation of Märta Måås-Fjetterström’s legacy with the development of new artistic expressions.
Nilsson introduced the gobeläng flat weave as a floor rug technique and continued to explore its possibilities throughout her time at the studio. She also opened the door to a new generation of artists. In 1943, she invited Marianne Richter and Ann-Mari Forsberg—both former students from her department at Konstfack—to join the studio.
Together, the three women shaped a rich and varied output. Nilsson’s compositions often drew from nature and the Nordic landscape, while Richter brought a vibrant, graphic clarity to her designs. Forsberg became known for her large-scale, expressive tapestries. Under Nilsson’s leadership, their work—and that of the skilled weavers who interpreted it—formed a dynamic dialogue between tradition and modernism that continues to define the identity of the studio today.
Studio & Showroom
Båstad
Showroom
Stockholm
Buy our award-winning book
A beautiful, bilingual (English and Swedish) book about Märta Måås-Fjetterström's life and work has been published in connection to the studio's centenary celebrations at the Royal Palace in Stockholm. The book is the winner of Svensk bokkonst's yearly award, highlighting the best books published in Sweden
