SKU: 85336227174

'Uppställning med kanna' (Shelf with Jug) by Allan Erwö

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Description

'Uppställning med kanna' (Shelf with Jug) by Allan Erwöartist: Allan Erw (Swedish 1921 2007) medium: oil on canvas dimensions: 46 x 59 cm canvas size 48 x 61 cm framed size (approx) signed circa 1950s 60s presented in a new hand finished white painted timber frame * note one of the vessels in this painting appears to be of the one as seen in the photo (circa 1964) shown here of Erw in his studio AU $695 (approx US $505 445 EUROS 58,000 yen 375 GBP for exact current conversion visit xe. com) artist

artist: Allan Erwö (Swedish 1921-2007)

medium: oil on canvas

dimensions: 46 x 59 cm canvas size / 48 x 61 cm framed size (approx)
signed
circa 1950s/60s
presented in a new hand finished white painted timber frame

* note - one of the vessels in this painting appears to be of the one as seen in the photo (circa 1964) shown here of Erwö in his studio

AU $695 (approx US $505 / 445 EUROS / 58,000 yen / 375 GBP - for exact current conversion visit xe.com

artist biography
Allan Albion (Eriksson) Erwö was born April 13, 1921 in Malmö. He was a Swedish painter and print maker.

Erwö was initially self taught as an artist and in 1942 at the age of 21 he was admitted to the Skåne Art Association's autumn exhibition in Malmö. He later  began formal art study at the Skänska Malarskolan in Malmö under Tage Hansson from 1947 to 1948 and at the Kunstakademi (Royal Art Academy of Arts) in Copenhagen under Krasten Iversen from 1950 to 1952. He undertook study trips to Paris, the south of France and to Spain. 

His first solo exhibition took place in Krognoshuset, Konstföreningen Aura, in Lund in 1949, with a follow-up solo exhibition the following year in Kristianstad. Other solo shows include ones at Malmö City Hall, Lilla Konstsalongen, Malmö, and Limhamns Konstförening. He regularly showed his work in group exhibitions organised by the Skänes konstförening (Skänes Art Association) and the art associations in Kristianstad, Ängelholm and Klippan, the Stockholms salong shows at Liljevalchs, Helsingborgs Konstförening and Landskrona Museum. He initially painted stylised landscapes, alongside formal figure studies and still lifes. Toward the end of the 1950s he gradually transitioned into a more abstract style, often depicting abstractions created by shadows and reflections in space.

Erwö's studio was located for almost 50 years on S: t Knuts Torg 6b in Malmö. The attic studio had already been planned as an artist's studio when the building was built in 1928. It consisted of a large studio room with two flanking deep niches, accentuated by a striking skylight-vaulted ceiling. The studio was previously a workplace for Malmö artists Richard Björklund and then Karl Enock Ohlsson (whom Erwö took over the contract from in 1957). Beginning in 1952, he and his wife Ella Henrietta, acquired a plot of land overlooking the Kattegat, where they built a residential house and studio designed by Erwö for their own use and used over summers.

Erwö was very involved in the art scene throughout his life. He was active in the KRO - Konstnärernas Riksorganisation (Artists National Organisation), the Skånska Konstnärsklubben (Skåne Artists' Club) and in the SKYS-Galleriet on Stortorget in Malmö. He was also involved in the construction phase of the Artists' Collective Workshop in Malmö, where he became the foundation's chairman in 1971. In 1954 he was awarded Ellen Trotzig's art scholarship and this was followed by a number of different artist scholarships over the years.

Erwö is represented in public collections including works held at Malmö Museum, Statens Konstråd (Swedish National Arts Council), Helsingborgs Museum, Motala Stads samlingar, Landskrona Museum and Kristianstads Museum.

He passed away at the age of 86 on July 25, 2007.

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SKU: 85336227174

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Reviewed in the United States on November 18, 2010
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A.
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I purchased this book because I had many questions I wanted answered. Most of them were questions of "Why?". My biggest question was why we as black people have so many unhealthy habits in how we treat each other. As a young African American male who was raised by his mother in a predominantly white suburban area, I wanted to know why, when I encountered other black youth in more urban areas, they would tell me I "talk white." What is "talking white?" Basically, talking white means I was talking like I have an education. Why do so many members of the black community (those without an education) reject me for valuing education? Why is it that when one black person fidns a way out of the ghetto, it seems the whole neighborhood, church included, condems that person for leaving "his/her people" and wanting to live in the suburbs with the whites? Why don't we support one-another in this society that has always held us from achieving our full potential? I wanted to learn why we seem to have no clue of who we are, and so many of us, young and old, strive to "prove" we are "black enough." So talking a certain way makes us black? Or is it eating certain foods that makes us "black"? Listening to only certain kinds of music? We lack a firm sense of cultural identity. We take rebellious pride in being at the bottom, and equate success with "whiteness." We denounce the achievements of any black person and ostracize him from the community. We work to pressure our own to stay at the bottom. In this very interesting book, the author, Dr. Joy Degruy Leary, proposes a number of explanations for why the African American community has developed these and other unhealthy cultural habits. Leary examines this very real "crabs in the barrel" mentality, as well as many other self-destructive habits which plague the black community. Leary establishes a diagnoses, and calls it Post-Traumatic Slave Syndrome. Leary presents a very strong argument that the behaviors are all symptoms that have been passed down through the generations of African American people from the dawn of the trans-atlantic slave trade to today. Leary uses her own observations to support her theory of Post-Traumatic Slave Syndrome. This book is a very thoughtful read. The reason I give this work only four stars is because I truly feel that Leary's argument would have been much more affirmed and effective if she had included a visual timeline to help the reader to better understand the timeframes and chain of events in history discussed in the book. The argument also would have been more effective if the author spent more time on each point. At times it seems she's just getting started before summarizing all that was just said and moving on. Scholarly sources are cited and research is used, but the book does not explore any one study or statistic in great depth. It is a fast read.
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Reviewed in the United States on September 16, 2012
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