Edvard Andersson

Over the past few years, Stockholms Auktionsverk has successfully sold a collection of works by the relatively unknown modernist Edvard Andersson. We are now pleased to present further works from the artist's estate.
Edvard Andersson lived between 1891 and 1967 and, during his lifetime, witnessed the birth, breakthrough, and development of modernism. With an open mind and an interest in the essence and multifaceted expressions of art, he would actively follow and draw inspiration from the international art scene throughout his life. The result is an impactful oeuvre by a confident and experimental modernist. The artist Edvard Andersson deserves to be highlighted and admired. Andersson, who grew up in the working-class neighborhoods of Helsingborg, showed a distinct talent for drawing from an early age. His parents, who ran a tobacco shop, managed to save enough money to support him in traveling to Stockholm in 1916, where he trained as a drawing teacher at Högre Konstindustriella Skolan (now Konstfack).
In 1918, at the age of 27, Andersson had his first exhibition at Killbergs konstsalong in Helsingborg. After graduating in the capital, he began working as a drawing teacher - a profession he maintained alongside his artistic career, which allowed him a demand-free and less financially pressured approach to painting. The result was a free and independent artistic expression. During the 1920s and '30s, Andersson worked extensively with portraiture in a cubist idiom. This later led him, in the 1940s, to explore abstract painting, which he fully embraced with confidence during the 1950s. Abstract, richly colored compositions with decorative linear forms now filled increasingly large canvases. These often also contain figurative elements - stylized women or suggestive movements.
To the broader public, Edvard Andersson was an unknown talent during his lifetime. In addition to the exhibitions mentioned, he also exhibited in Stockholm and Malmö, as well as posthumously in Paris and Florida. Andersson received more attention abroad than in Sweden, featured in leading journals such as "La Quotidienne," "Le Peintre," "Nouveaux Jours," and "La Revue."