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Olle Bonniér

(Sweden, 1925-2016)
Olle Bonniér
(Sweden, 1925-2016)

OLLE BONNIÉR, mixed media on paper, signed and dated -62

"Flisor". 31,5 x 68,5 cm.

Not examined out of frame. Time staining.

More information

Olle Bonniér var central både som målare och teoretiker inom den grupp vi nu kallar 47 års män. Bonniér var väl förtrogen med den internationella konkretismen, men han bröt snabbt med dess begränsningar. I hans verk finns en schamanistisk, ja, magisk, kvalitet; men också tankar om att verket inte enbart är vad som syns inom bildytan. Det kan associera till ljud, ljus, och framför allt sträcka sig långt utanför sina gränser.

”Olle Bonniér räknas till de stora svenska modernisterna. Och som en äkta modernist är han utopist och visionär, bryter sönder det klassiska rummet, målar vanligen ickeföreställande, rör sig fritt mellan ljud, ord och bild, betonar skapandet i sig och färgens frigörande krafter.
Olle Bonniér är en i högsta grad levande klassiker.
Bonniér är avantgardisten som inspireras av mayafolkens kultur, Leonardos vattenvirvlar, Hieronymus Bosch, jazz, Schönberg, 1968 års politiska revolt, Mozart och Gustaf Fjæstad i en enda röra.”
Ur recension i DN Kultur, 27 okt 1995.

Artist

Olle Bonniér was born in 1925 in Los Angeles. He studied at the Technical School under Issac Grünewald and made several study trips to Europe. Bonniér preferred non-figurative expressions and was interested in the dynamic between colour and form. He had his grand breakthrough with his exhibition “Ung Konst” at Färg and Form, where a group of young radicals came together to form the intellectual association known as “Men of 1947”. This name was somewhat misleading as it excluded the female artist is the group Randi Fisher. Other participants included Lennart Rodhe, Karl-Axel Pehrson, Pierre Olofsson, Olle Gill, Lage Lindell, Armand Rossander och Uno Vallman samt skulptörerna Liss Eriksson and Knut Erik Lindberg. Of the artists which focused upon pure concretism, Bonniér was one of them. In the beginning his painting style consisted of vivid colours, which later turned into more contrasting colours, often black and white. During the 1950s Bonniér edhered to a more poetic painting style. Bonniér is undoubtedly one of Swedens most important representatives of concretism.

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