Gösta Adrian-Nilsson
Covered by droit de suite
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"Maskiningenjördröm" (Mechanical engineer dream)
Daterad 20/7 1922. Collage, ink and watercolour on paper, 27,5 x 19 cm. A poem is included with the lot.
Provenance
Maskiningenjör Egon Öslund.
By descent within the family (widow Karin Östlund.)
Auktionshuset von Schéele 17 April 1994.
Jan Torsten Ahlstrand, Lund, acquired at the above sale.
Exhibitions
Mjellby Konstgård/Halmstadgruppens Museum, "Gösta Adrian-Nilsson. GAN. 1914-1932", 5 May - 4 August 2002, cat no. 58.
Prins Eugens Waldemarsudde, Stockholm, ”GAN – modernistpionjär och outsider”, 19 February – 29 May 2011, cat no. 110 (with title ”HNJ. Maskiningenjörsdröm”).
[Possibly exhibited 2011 at Malmö Konstmuseum, ”GAN – Gösta Adrian-Nilsson”, 19 June – 4 September 2011]
Norrköpings Konstmuseum, ”GAN – modernistpionjär och outsider”, 24 September 2011 – 8 Januari 2012 (with title ”HNJ. Maskiningenjörsdröm”).
Galerie Bel’Art, Stockholm, ”GAN. Gösta Adrian-Nilsson. Arbeten på papper”, Galerie Bel’Arts 40-års jubileum, 2015 (with title ”HNJ. Maskiningenjörsdröm”).
Literature
Jan Torsten Ahlstrand & Viveka Bosson m. fl. , "GAN. Gösta Adrian-Nilsson. Perioden 1914-1932", 2002, mentioned p. 59 and ill fullpage in colour p. 58.
Jan Torsten Ahlstrand, ”GAN Gösta Adrian-Nilsson. Arbeten på papper 1915-1924”, exhibition catalogue no. 200, Galerie Bel’Art's 40s anniversery, 1975-2015, ill fullpage in colour p. 75.
More information
Gåva till maskiningenjör Egon Östlund på födelsedagen 1922. HNJ står för Halmstad Nässjö Järnvägar där Egon Östlund var anställd.
Artist
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.
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