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Sven X:et Erixson

(Sweden, 1899-1970)
Estimate
25 000 - 30 000 SEK
2 230 - 2 680 EUR
2 360 - 2 830 USD
Hammer price
Unsold
Covered by droit de suite

By law, the buyer will pay an artist fee for this work of art. This fee is 5% of the hammer price, or less. For more information about this law:

Sweden: BUS
Finland: Kuvasto

Purchasing info
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.

Sven X:et Erixson
(Sweden, 1899-1970)

Moscque with yellow dome, motif from Yugoslavia

Signed Sven Erixson and dated -30. Canvas 61 x 50 cm.

Obetydligt slitage längs kanterna.
Krackelyr och ytsmuts.

Provenance

Earlier in the collection of Erik and Svea Hellström, Sollefteå.
Subsequently by descent.

Exhibitions

Listed in the X:et work catalouge, 2003, under the year 1930

Literature

"Konst i svenska hem", vol. II, no. 6, mentioned and illustrated p. 316, collection 491: "Tandläkare Erik Hellström, Storgatan 50, Sollefteå"

Designer

Sven Erixson, today more commenly known as X, was born in 1899 in Stockholm. He studied to become a decoration painter and art teacher at the Technical School in Stockholm after which he studied at the Higher School of Art and Design alongside study trips to Germany, France, Italy, Spain and North Africa. Despite being an inportant artist amoungst Swedish art, Erixson does not let etiquette and style limit his painting style. His greatest creation is defined by a tempremental style in stark colour patterns. Erixson's paintings balances between impressive, somewhat brutal expressions and a soft lyricism. He is one of the founders of the group Färg och Form, whose primitivist faction he belonged to. With an aura of narrative joy, Erixson recounts his experiences. He had an irresistable desire to share everything that he saw. He was inspired, much like Bror Hjorth of both folk art and mural painting from the middle ages, while also finding inspiration from German expressionism. But he speaks with greatest esteem about Chaim Soutines art. In a multitude of paintings, he conveyed his zest for life, with surfaces filled with swiftly captured figures. During the 1930s, his visual world was filled with family and the idyllic torpor, his canvas became greater and more complete. During the war he painted on butter paper, not only for practicalities sake, but also to take advantage of the slippery reflective surface which the paper supplies. Narration decreased in the 1950s when he was influenced by spontaneity, which in the following years led him to abstract spontaneous painting.

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