"Människor på väg I".
Signed C Kylberg. Also signed CK on verso. Executed in 1936-37. Canvas 89 x 100 cm.
Provenance
Originally in Ruth Kylberg's collection, Stockholm.
Bukowski Auctions, Vårens Moderna Auktion, Stockholm 566, 2012, cat no 101.
Exhibitions
Liljevalchs Konsthall, Stockholm, 1954, cat no 95.
Riksförbundet för bildande konst, 1955, exhibition no 143.
Nordiska Konstförbundet and Kunstforeningen i Köpenhamn, "Mindeutstilling", 17 November - 16 December 1956, cat no 34.
Aarhus permanente Udstilling, "Mindeutstilling", January 1957.
Fyens Stifts Kunstforening, Odense, February 1957.
Konstakademien, Carl Kylberg minnesutställning, 1962, cat no 69.
Moderna Museet, Stockholm, 1976, exhibition no 140, cat no 35.
Malmö Konsthall, 17 December 1977 - 26 February 1978, cat no 66.
Svensk-Franska konstgalleriet, Stockholm.
Literature
Malmö Konsthall, "Carl Kylberg" exhibition catalogue, reproduced in colour fullpage image 66.
Brita Knyphausen, "Carl Kylberg", 1965, reproduced page 219.
More information
Carl Kylberg sought to express the spiritual and universal dimensions in life which gives his paintings a sense of timelessness or eternity. Kylberg was very occupied with philosophical reflections about the human existence. He commented regularly his paintings in his diary, where you can find the key in understanding his oeuvre.
"Människor på väg" is together with "Uppbrott" one of the most important works from his intensive period between 1936-37 working with mysterious chiraoscuro effects. The vague background with the horizontal lines so characteristic of Kylberg meets the pure, distinct colors that vibrate with strong, internal power.
Original frame made by the artist's wife Ruth.
More about Carl Kylberg
Carl Kylberg, 1878-1952, is considered a seminal figure in the Swedish 1900-century art. He was a student at the architecture department at Berlin University and then a student of Carl Wilhelmson at Valand art school in Gothenburg.
Kylberg broke through late, made his debut as a painter in 1919 with the February group at Liljevalchs. He became known to a wider public by the age of 50, but continued to be controversial as an artist. He had a permanent artistic antagonist of Isaac Grünewald and the same year as the Nazis in Germany set up the decisive blow against Entartete Kunst and practically the whole of modernism, Swedish government stopped the purchase of the painting "Uppbrottet" of the National Museum in Stockholm.
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