Gösta Adrian-Nilsson
Covered by droit de suite
Image rights
The artworks in this database are protected by copyright and may not be reproduced without the permission of the rights holders. The artworks are reproduced in this database with a license from Bildupphovsrätt.
For condition report contact specialist
Book, "Gösta Adrian-Nilsson" by Nils Lindgren, with original drawing by GAN.
Indian ink drawing "Abstrakt komposition". Signed GAN. Probably executed in Paris 1923. Image 19.5 x 12 cm. Bibliophilia numbered 34/200, published 1949. Cover in brown leather with gold foil, paper portfolio.
Provenance
Jan Torsten Ahlstrand, Lund
Exhibitions
Lunds Konsthall, "GAN och Wiwen Nilsson", 1977, cat no 118A.
Mjellby Konstgård/Halmstadgruppens Museum, "Gösta Adrian-Nilsson. GAN. 1914-1932", 5 May - 4 August 2002,cat no. 61.
Galerie Bel’Art, Stockholm, ”GAN. Gösta Adrian-Nilsson. Arbeten på papper”, Galerie Bel’Arts 40s anniversery, 2015.
Literature
Nils Lindgren, "Gösta Adrian-Nilsson", Rabén & Sjögren, 1949, originally included in the bibliophile edition
no 34/200.
Jan Torsten Ahlstrand & Viveka Bosson m. fl. , "GAN. Gösta Adrian-Nilsson. Perioden 1914-1932", 2002, ill in colour p. 51.
Jan Torsten Ahlstrand, ”GAN Gösta Adrian-Nilsson. Arbeten på papper 1915-1924”, exhibition catalogue no. 200, Galerie Bel’Arts 40s anniversery, 1975-2015, ill. fullpage i colour p. 77.
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.
Read more