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Torsten Andersson

(Sweden, 1926-2009)
Estimate
250 000 - 300 000 SEK
22 900 - 27 400 EUR
23 900 - 28 700 USD
Hammer price
340 000 SEK
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

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For condition report contact specialist
Louise Wrede
Stockholm
Louise Wrede
Specialist Contemporary Art, Private Sales
+46 (0)739 40 08 19
Torsten Andersson
(Sweden, 1926-2009)

'Monument med droppe av blått blod. Den kreativa människans blod'

Signed Torsten verso. Executed in 2006. Canvas 151 x 130 cm.

Provenance

Brändström & Stene, Stockholm.
Private Collection, Stockholm.

Exhibitions

Moderna Museet, Stockholm, 'Modernautställningen', 18 February - 7 May 2006.
Brändström & Stene, Stockholm, 'Torsten Andersson', 24 November 2006 - 7 January 2007 .

More information

Susanna Slöör, art critic and writer, wrote about the exhibition at Brändström & Stene in 2006/2007:

"Torsten Andersson's (born 1926) peculiar object painting has deliberately navigated between the suffocating demands imposed on art in general and painting in particular. In connection with his return in the mid-1980s after twenty years of silence, he spoke about the importance of formulating a 'third way' between exhausted modernism and self-negating postmodernism. The portraits of fictional sculptures that he has presented since then take shape as distinctive containers. Symbolically, one can see them as metaphors for the unfathomable content of language, humanity, and art. 'The sculpture is bleeding,' Andersson adds as an encouraging guide to his exceptionally elusive world. The formats are large, the drawing is powerful and simply executed directly on the carelessly stretched canvases. The colors, in turn, are few and fiercely juxtaposed in their unprocessed state. Here at the exhibition, red clashes with blue in a symbolically charged encounter between the red plank and the blue drops of blood.

Through snippets of text on the canvas, we learn that a plank in a Carl Larsson painting is the starting point for several of the latest paintings on display at Brändström & Stene. The 'Falun red' backyard is colored blue by a blood-colored shadow. It is the true color of the 'creative person's blood', of which a drop is worth a monument in itself, according to another painting. The creative person's torment is then revealed as the blood is filtered through a blood vessel equipped with a knife 'like in a Swedish meat grinder'. One can assume that the exaggerated rhetoric should not be interpreted too literally and therefore does not imply that the artist is particularly noble or more thin-skinned than anyone else, but rather that the symbolism is more of a nonsensical nature. The signs simply fit well into the form."

Artist

Torsten Andersson is a Swedish visual artist who was a student at the Royal Institute of Art in Stockholm from 1946-50 and then professor from 1960-66. He has twice received the Carnegia Art Award, winning first prize in 2008, and winning the Chock prise in 1997. Andersson has dedicated himself to an explorative form of painting, seeking what he terms his own language and a new path for painting. In the early 1960s, Andersson reached a breakthrough with his paintings “Måsen” and “Källan”. Later he focused on painting portraits of fictional sculptures. Known for his vigorous self-criticism, Andersson is known for destroying works that he believes don’t live up to his fullest potential.
During his lifetime Andersson exhibited internationally and participated in the 32nd Venice Biennale in 1964 and the São Paulo-Biennale in 1959 och 1983. Retrospective exhibitions of his work was held at Moderna Museet in 1986 and Malmö Konsthall in 1987. His work was featured but not limited to solo and group exhibitions at Gothenburg’s Art Museum (2008), Moderna Museet in Stockholm (2006), Zeno X Gallery in Antwerp (2003), Konstmuseum Bonn (1999), Louisiana Museum of Modern Art, Humlebæk (1997), Malmö Konstmuseum (1995), and Centre Georges Pompidou, Paris (1981).

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