DESIGN: Vicke Lindstrand (1904–1983) Glas, Keramik, Textil, Måleri Och Skulptur 12 Juni – 13 Oktober 2013

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DESIGN: Vicke Lindstrand (1904–1983) Glas, Keramik, Textil, Måleri Och Skulptur 12 Juni – 13 Oktober 2013 DESIGN: Vicke Lindstrand (1904–1983) Glas, keramik, textil, måleri och skulptur 12 juni – 13 oktober 2013 Essä av / Essay by PhD Mark Ian Jones 1 2 OMSLAG: Jona i valfiskens buk, Kosta ”Stim”, unik skulptur, Kosta DESIGN: Vicke Lindstrand (1904-1983) DESIGN: Vicke Lindstrand (1904-1983) Glas, keramik, textil, måleri och skulptur Glass, ceramics, textiles, painting and sculpture 12 juni – 13 oktober 2013 12 June – 13 October 2013 Vicke Lindstrand var en tusenkonstnär. Han brukar omtalas som ”Legend i glas”. Det är namnet Vicke Lindstrand was an artist of many talents. He was often referred to as “The Glass Legend”, på en monumental glasskulptur utförd i glasrikets huvudstad Växjö. Lindstrand var en förnyare which was also the name of a monumental glass sculpture he created in Växjö, the capital of the av svenskt konstglas men också skapare av keramiska bruks- och konstföremål och textilmöns- Glass Kingdom. Lindstrand was not only a pioneer in the field of art glass, but also a creator of ter samt tecknare, illustratör, målare och skulptör. År 1928 träffade glaskonstnären Simon ceramic utility and art objects and textile patterns as well as a skilled drawer, illustrator, painter and sculptor. In 1928, the glass artist Simon Gate (1883-1945) met the then 24-year-old decoration Gate(1883-1945) den då 24-årige dekorationsmålaren Vicke Lindstrand och lockade honom painter Vicke Lindstrand and convinced him to come to Orrefors, where, through the leadership till Orrefors, där det svenska konstglaset under Gates och Edward Halds ( 1883-1980) ledning of Gate and Edward Hald (1883-1980), Swedish art glass enjoyed International acclaim and became blivit internationellt erkänt och eftertraktat under begreppet ”Swedish Grace”. Lindstrand highly coveted under the epithet “Swedish Grace”. Lindstrand quickly established his own style and hittade snabbt sin egen stil och väckte uppmärksamhet med graverade dekorer och kraftigt received much recognition for his engraved décor and robustly dimensioned pieces. Typical of his dimensionerade pjäser. Hans verk kännetecknas av livsbejakande motiv, muskulösa, nakna figu- work are the life-affirming motifs, the muscular, naked figures, dance scenes and an overall festive rer, dans och feststämning. Vicke Lindstrands mångsidiga konstnärsgärning kan delas upp i olika expression.Vicke Lindstrand’s multi-facetted artistic endeavour can be divided into different phases: perioder: Orreforstiden 1928 - 1940, som konstnärlig ledare åren 1942 – 1950 vid Upsala- the Orrefors period 1928 - 1940, and his tenures as artistic director at Upsala-Ekeby 1942 - 1950, Ekeby och vid Kosta glasbruk 1950 - 1973 samt vid Studio Glashyttan i Åhus 1977 - 1983. På at Kosta Glassworks 1950 - 1973 and at Studio Glashyttan in Åhus 1977 - 1983. In the textile field, det textila området ledde hans samarbete med Elsa Gullberg (1886-1984) bland annat till den his collaboration with Elsa Gullberg (1886-1984) resulted in, among other things, the famous cur- berömda ridån för Malmö Stadsteater 1944, som med sina 8,5 x 32 meter var det största tyg- tain in the Malmö City Theatre, 1944. This was the largest textile print ever carried out in Sweden measuring a full 8.5 x 32 metres. tryck som hade utförts i Sverige. Seldom has a Swedish artist been so aptly described as a modernist. Vicke Lindstrand’s painting Begreppet modernist har sällan passat in på någon verksam svensk konstnär så väl som på Vicke incorporates a wide variety of artistic currents of the day. In 1937, he travelled to New York and Lindstrand. Vicke Lindstrands måleri rör sig inom skilda konstinriktningar. 1937 reste han till painted “Model in New York”, where he also executed the preparatory sketches for “Manhat- New York och målade” Modell i New York”, samtidigt skissades textilen ”Manhattan” upp. tan”. In 1939 he was in New York as well as in Paris where the gouache “Actress in Paris” came 1939 var han i New York och i Paris där gouachen ”Aktris i Paris” kom till. 1940-talets kubism about. The cubism of the 1940s is expressed in the eight-piece work “Commedia del Arte” that tar sig uttryck i det åttadelade verket ”Commedia del Arte” som föreställer lysande karnevals- depicts brightly coloured carnival masks in a fanciful, fractured style. He was constantly experi- masker i fantasifulla utföranden upplösta i kubismens formspråk. Han experimenterade hela menting, and several works from the 1960s and 70s were painted on a gold or silver ground tiden och många verk är målade på guldgrund och på 60- och 70-talen på silvergrund med influ- and indicated a strong influence from Russian painting. The choice of motif varied from the cliffs enser från ryskt måleri. Motivvalet skiftade från Bohuskustens klippor till mer avlägsna kulturer. of Bohuslän on the west coast of Sweden to distant cultures. With his radiant colour scale, Vicke Lindstrand would often work with lacquer paint, thus achieving an effect reminiscent of Färgerna är starkt lysande och många gånger målar Vicke Lindstrand med klara lackfärger som enamel painting. Throughout his entire life Vicke Lindstrand remained an exceptionally creative påminner om emaljmåleri. I hela sitt liv var Vicke Lindstrand en skapande konstnär som hade en artist with an incessant desire to break new ground. The exhibition offers examples showing a outtröttlig vilja att ständigt gå vidare. Utställningen ger exempel på ett mångsidigt konstnärskap, multifaceted and vibrant artistic production that reflects a curious and experimental approach. nyfiket, livfullt och experimentellt. Men det var målare Vicke Lindstrand egentligen ville vara. Despite his successful career as a designer, Vicke Lindstrand’s true passion lay in painting. After a Efter en lång arbetsdag kopplade han av med måleriet, han gjorde allt som allt omkring 400 long day’s work he would relax by painting. All in all, he created around 400 paintings, a selection målningar, varav ett urval visas i utställningen. Det unika är, att hela Vicke Lindstrands liv finns of which is presented in this exhibition. What is unique here is that Vicke Lindstrand’s entire representerat i utställningen som till sitt innehåll speglar de verk konstnären behöll i sitt hem, life is represented in the exhibition, the content of which reflects the works the artist chose to verk han helst ville omge sig med. keep in his home, works he preferably surrounded himself with. DESIGN: Vicke Lindstrand är ett samarbete mellan Grödinge Antik & Design och Uppsala konst- DESIGN: Vicke Lindstrand is a collaborative effort between Grödinge Antik & Design and Uppsala Art Museum. Exhibition text by Dr Mark Ian Jones, University of New South Wales, Sydney, museum. Utställningstexten av Dr Mark Ian Jones, University of New South Wales, Sydney, Australia. Vicke Lindstrand after Orrefors – in the shadow of streamlined perfection. Mark Ian Jones Australien. Vicke Lindstrand after Orrefors – in the shadow of streamlined perfection. Mark Ian Jones is also currently a guest researcher at the Art History Institution at Uppsala University. är även gästforskare vid Konstvetenskapliga institutionen, Uppsala Universitet. Ann-Christine Fogelberg Peter Norén Ann-Christine Fogelberg Peter Norén Intendent, Uppsala konstmuseum Grödinge Antik & Design Curator, Uppsala Art Museum Grödinge Antik & Design 3 Vicke Lindstrand efter Orrefors – i skuggan av strömlinjeformad perfektion Vicke Lindstrand after Orrefors - in the shadow of streamlined perfection I denna utställning presenteras arbeten i en rad olika medier från Vicke Lindstrands This exhibition features works from Lindstrand’s prolific career as an artist across över 50 år långa och produktiva konstnärskarriär. Det handlar inte om några ”greatest a variety of different media that spans more than fifty years. It is not a ‘greatest hits” eller ”best of” utan de flesta föremålen är hämtade ur Lindstrands och hans fru hits’ or ‘best of’ collection, rather it is largely drawn from the collection of the Mariannes privata samling som ingått i Lindstrand-stiftelsen, numera en del av Grö- Lindstrand Stiftelse, the private collection of Lindstrand and his wife Marianne. For dinge Antik & Designs samlingar. Enbart av detta skäl är utställningen alltså viktigt då this reason alone it is highly significant as it represents objects from an artist’s own den visar föremål ur en konstnärs privata samling. Utställningens syfte är inte att ge en collection. It does not seek to be completest but rather presents insights. It rep- heltäckande bild av Lindstrands konstnärskap utan att belysa den konstnärliga proces- resents artistic process and experimentation. It demonstrates Lindstrand’s passion sen, experimenterandet och Lindstrands passion och målmedvetenhet. and purpose. Utställningen här på Uppsala konstmuseum innehåller verk från hela Lindstrands kar- Interestingly, whilst the works shown here at Uppsala konstmuseum span the riär, från en målad tallrik för Orrefors som visades på Stockholmsutställningen 1930 breadth of his career from a painted Orrefors plate exhibited at the 1930 Stock- till hans gravyrer gjorda med tandläkarborr för Studioglashyttan i Åhus på 1980-talet, holm Exhibition through to his dentist drill engravings for Studioglashyttan in Åhus men det är perioden från ca 1940 till 1980 som är mest rikligt representerad, vilket from the 1980s, it is the period c.1940 - 1980 that is most widely represented. This intressant nog också är den mest undervärderade och förbisedda fasen i Lindstrands also parallels the most undervalued and overlooked period of Lindstrand’s career. karriär.
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