"Kvarnen" (The mill)
Verso dated 21/2 19. Canvas laid down on cardboard 58 x 47,5 cm .
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I februari 1919 deltog GAN i Februarigruppens utställning på Liljevalchs. Inför arbetet med denna utställning lärde GAN känna Carl Kylberg. Jan Torsten Ahlstrand skriver: ”Men han (GAN reds.anm) såg i Kylberg ”en personlighet över de vanliga måtten” (dagboken 13/2 1918), och det framgår av hans följande dagboksanteckningar att det en själarnas sympati, som utvecklades mellan de båda udda konstnärsgenierna.” (Ahlstrand, GAN, Signum 1982, sid 142).
GAN skriver vidare i sin dagbok den 21 februari 1919 om ett motiv som Kylberg har inspirerat GAN till : "Ock så - så målar jag idag en kvarn. Men icke är det den kvarnen. Den är min kvarn - med det svartblå skovelhjulet, svängande i vitt, orange, brunt, rött med vingar blott antydda uppe i det blåvioletta. Romantik!"
More about Gösta Adrian-Nilsson
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.
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