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The Nordic countries have played only a marginal role in existing historiographic studies of the classical avant-garde. General accounts of the aesthetic avant-garde in the first decades of the twentieth century focus, as a rule, on the manifestations of this avant-garde in the main Western-European cultural capitals of the period (cf. Piotrowski 2009). While metropolises like Paris and Berlin were undoubtedly pivotal to the development of the avant-garde as a whole (cf. Bradbury/McFarlane 1978, Casanova 2004, Hultén 1978), there can be no doubt that the avant-garde was not confined to these cities. The main centres of avant-garde activity were not isolated bulwarks, but rather market places where the transnational avant-garde met–stemming from and giving new impulses to a plethora of smaller and larger pockets of resistance, which constituted an interrelated network of avant-gardists throughout Europe (with …