Gösta Adrian-Nilsson

Earlier in the collection of Accountant Holger Fant, Stockholm.
The collection of Secondary School Teacher Folke Holmer, Sävedalen, Sweden.
Private collection.

Liljevalchs Konsthall, Stockholm, "GAN. GÖSTA ADRIAN-NILSSON. Retrospektivt", 29 March - 27 April 1958, no. 260.

(Ed) Gunnar Liepe and Nils Wedel, "GAN. Gösta Adrian-Nilsson. Utgiven av vänner", publication celebrating the artist's 50th birthday, 1934, illustrated full page, p. 36.
"Konst i svenska hem", No 9, catalogued p. 477 under collection 823: "Kamrer Holger Fant, Kallskärsgatan 5, Stockholm".
Nils Palmgren, 'Det moderna svenska måleriet', article in "Nutida svenskt måleri. Ny följd I", 1945, illustrated p. 41.

Gösta Adrian-Nilsson is most notable as a visual artist, and he is a pioneer of Swedish modernism. He studied at the Tekniske Selskabs Skole in Copenhagen and later for Johan Rohde at Zahrtmann’s school in Copenhagen. As an avant-gardist, Nilsson was constantly searching for new influences. In Berlin, he was influenced by the circle around the radical magazine Der Sturm, through Kandinsky and och Franz Marc. In Paris through Fernand Legér and the artists in his circle. GAN was an eclectic in the positive sense of the word. He took the the artist styles of the 1900s and created new impressions. Symbolism, cubism, futurism, expressionism, constructivim and Theosophy were the colours occupying his internal pallet. He had a sharp eye for the masculine and his painting was often energized by the vitality of modern technology, vibrant eroticism, and echoes of tyrants. No other Swedish modern artist exhibits such a unique style.