Gösta Sandels
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"Flickan på vägen"
Signed S. and dated -16. Canvas 38 x 47 cm.
Provenance
Previously in the collection of the dispensary owner Conrad M. Pineus, Gothenburg. The collection of Kaj Pineus (1905 - 1986), Gothenburg.
Private collection, purchased from the above.
Bukowski Auctions, Stockholm, Modern Autumn Auction 1987, cat. no. 344.
Exhibitions
The Free Exhibition, Copenhagen, Modern Swedish Art, 1916, cat. no. 340.
Gothenburg Museum, Memorial Exhibition, 1920, cat. no. 62.
Artists' Association, Kristiania, Memorial Exhibition, 1920, cat. no. 44.
Nordic Art, Gothenburg, Jubilee Exhibition, 1923, cat. no. 240.
Art Hall, Gothenburg, Conrad M. Pineus Collection, 1925.
Royal Academy of Fine Arts, Stockholm, Memorial Exhibition, 1932, cat. no. 80.
Nordic Artists' Association - Swedish Section.
Gothenburg Museum of Art, "Gösta Sandels", 18 March - 24 April 2000, cat. no. 20.
Literature
"Konst i Svenska hem", vol I, listed in collection 116 "Dispaschör Conrad M. Pineus", Gothenburg, p. 114.
Gertrud Serner, "Gösta Sandels", 1941, depicted in black and white p. 62.
Bengt Lagerkvist, "Riddar Drömmare av sol och snö - En bok om Gösta Sandels", 1999, illustrated in colour p. 92.
More information
Bengt Lagerkvist writes about the work: ‘One of his very personal paintings from this year is called “The Girl on the Road”, which was included in the Conrad Pineus collection. A young woman in a white dress and long dark hair hurries along a road that rises towards the horizon where a large Sandalwood cloud looms. She seems to be fleeing from something or to something: the white figure shines against the dark road that leads
away? We do not see her face, but we believe, without realising it, that the expression is anguished, judging by the body language. There is a lot of Edvard Munch's female figures in the painting, of escape from life or into life, but still more of Gösta Sandels himself. Is this a motif that the artist has seen? He has happened to be standing by the road, a woman in a light-coloured dress has hurried past on her way towards the dark clouds and he has been struck by the image - or is it pure fantasy like so much of his art? Not entirely, though. In his own photo album, with its beautiful red morocco ribbon, there is a photograph of just the road, taken by himself and with his own handwriting underneath! That's what an artist does: mixes reality and fantasy.’ (p.94)