Composition
Signed Erik Chambert on the reverse. Panel 89 x 116 cm.
The overall impression is good.
Exhibitions
Dansmuseet, Stockholm, "Konkret - Rörelser i nordisk konst under 1900-talet", 27 April - 3 May 2001, cat. no. 14
More information
"Corporal concretism," is how the Moderna Museet's curator Ylva Hillström describes Erik Chambert's art. She writes: "To the eye, his images appear entirely abstract with their interplay of lines and surfaces, between light and shadow, hard and soft. But Chambert drew from life itself in his works. Throughout the process, he transformed his personal experiences and thoughts about life into pure form."
In the 1920s and 1930s, Erik Chambert created watercolour sketches of furniture placed in interiors. As studies for cabinet decorations, wall paintings, and wallpapers, he painted grasses and flowers. By the late 1930s, the gouaches evolved and began to incorporate figurative elements and organic non-figurative undulating forms. In the 1940s, Erik Chambert debuted at the Liljevalchs Art Gallery and participated in several of their exhibitions. In the 1950s, Chambert transitioned to painting abstractly, and Bo Sylvan noted that the paintings tended towards "geometrically cut forms and a careful palette."
More about Erik Chambert
Erik Chambert was a designer and artist. Chambert worked throughout his long career primarily as a furniture architect in the family business Chamberts Möbelfabrik in Norrköping. Chambert gained recognition through exhibitions such as Stockholm 1930, Chicago 1933, Paris 1937, and New York 1939. During the 1940s and 50s, Chambert developed a personal style with more refined models. His furniture was often of high quality, considering his background as a carpenter. Some of Chambert's iconic pieces include the chair "Poem" and the cabinet "Livets Vägskål". He was also recognised as an artist with his abstract works during the 1950s and 60s.
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Image rights
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