Self portrait (1927)はIvan Ivarsonの最も有名な作品であり、ストレングセスのNational Portrait Gallery of Swedenに所蔵されています。 当カタログに含まれるIvan Ivarsonの1作品の中から、コレクターや美術館の来館者が最も注目する1作品を厳選しました。各作品の制作年、所蔵美術館、そしてその背景にある物語をご紹介します。
各作品の検索数、閲覧数、および注文数を組み合わせた当サイトの人気スコアに基づきランキングを作成しています。最終更新：11月 2026 このページに掲載されているすべての名作は、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
このページに掲載されている絵画を最も多く所蔵している 1 の美術館
| 美術館 | 都市 | Ivan Ivarsonの作品 | このリストの絵画 |
|---|---|---|---|
 National Portrait Gallery of Sweden |
ストレングセス | 1 | Self portrait |
このページに掲載されているIvan Ivarsonの傑作はすべて1927年に制作されたものです。以下に、知名度の高い順に紹介します。
Self portrait (1927)
27歳：Self portraitは1927年の作品で、Ivan Ivarsonは1900生まれです。
Ivan Ivarsonによる1点の作品を掲載しています。
その多くはNational Portrait Gallery of Sweden (ストレングセス)に所蔵されています。上記の表に各美術館を一覧で記載しています。
はい。このページに掲載されているすべての絵画は、各作品の個別ページから、ご希望のサイズで、美術館品質の手描き油彩複製画、またはファインアートプリントとしてご注文いただけます。
Born on July 20, 1900, in Gothenburg, Sweden, Ivan Ivarson lived a life that moved between the quiet corners of his home and the bright light of the Mediterranean. His early years were spent studying at Valands Painting School from 1922 to 1925 under Tor Bjurström. During this time, he resided in a family villa in Hagen, Långedrag. The colors he used later would become as much a part of his identity as the places he inhabited.
In 1927 and 1928, travel took him through France and Italy. These trips brought a change to his brushwork, as the light from the Mediterranean began to wash over his canvases. He found inspiration in the paintings of Pierre Bonnard. By 1929, he had moved to Helsingør, working in the studio of Carl Kylberg. His marriage to the artist Märta Taube in 1928 marked a period of deep productivity, with their son Per appearing in many of his works from their time at Stenungsön.
The later years brought shifts in geography and personal circumstances. Following a divorce in 1932, he returned to Gothenburg, focusing much of his attention on city motifs. He eventually moved to France, seeking a milder climate for his failing health. He died in Paris on June 26, 1939, at the age of 39.
Ivarson’s approach to the canvas was defined by an intense relationship with color. He once remarked that he wished he could eat color, a sentiment reflected in his heavy use of pigment. He is often associated with a specific shade known as Ivarsonblått, a deep ultramarine blue that he frequently paired with red, green, and yellow. His technique relied on fast brushwork and bold coloring, where contours often appeared blurred or dissolved into the surrounding light.
His work is categorized by several distinct elements:
The subjects he chose were often grounded in the everyday. He painted flowers in vases, fruit harvests, and the bustling activity of ports. Even when depicting cityscapes like Stora Tullhuset in Gothenburg, the focus remained on how light and color interacted with the structures.
As a member of the Color and Form group in Stockholm and part of the Gothenburg collegists, Ivarson helped shape a specific movement within Swedish art. His work remains held in several significant collections, ensuring his visual language continues to be studied in institutional settings. His paintings can be found in:
The permanence of his work lies in the way he captured the atmosphere of a specific era through pure pigment. Whether it was a street in St Georges de Didonne or a simple still life, the focus remained on the physical presence of the paint itself.