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| Image | Sale date | Auction house | Location | Sale name | Lot No. | Estimate | Price Sold | Condition | Title |
|---|---|---|---|---|---|---|---|---|---|
Nov 13, 2023 | Stockholms Auktionsverk | Stockholm | Modern & Contemporary | 496 | $****** - ****** | “Sunrise in port”. |
paintings
50 x 61 cm (19.69 x 24.02 in)
Oil on canvas
Signed C.K. and verso
Svensk-Franska Konstgalerie, Stockholm 1934, cat. no. ! 31
CARL KYLBERG. “Sunrise in port”.
Oil on canvas, 50 x 61 cm. Signed C.K. and verso.
Frame executed by the artist"s wife Ruth Kylberg.
PROVENANCE
Acquired directly by the artist, then inherited within the same family.
Slowly, the sun"s rays climb over the horizon, giving life to a new day. The sails are hoisted, and man is heading for a new, unknown, goal.
With his light-saturated painting with soaring shapes, hot color gamut and an often religious undertone, Carl Kylberg created a whole new kind of art. For this fearless poet of color, the colorite was spiritual forms and expressions of the soul. He even went so far as to refer to all his works as self-portraits.
Kylberg is considered one of the portal figures in 20th century Swedish art, and today his place in Swedish art history is self-evident. But that hasn"t always been the case. Like all distinctive artists, Kylberg was thwarted and misunderstood. Some art critics spoke of disintegration and modern decay, others about his art being ragged. This culminated in the controversy surrounding the painting “The Upbreak” in 1937, when the Ecclesiastical Minister Arthur Engberg forbade the Nationalmuseum to acquire the above-mentioned painting on the grounds that it lacked “dignity”.
Carl Kylberg"s artistic success came rather late in life. His first solo exhibition was held in Stockholm in 1926, when the artist was approaching the age of fifty. After decades of modest success and a struggle to earn a living, he and wife Ruth were now able to enjoy greater financial freedom. During the 1930s, the family spent summers in Zealand, where the artist enjoyed peace of work and a beautiful environment. In his landscape pictures of the time, the colors and shapes glow, and the sunlight creates almost sacral rooms in which the trees become pillars and the sky a church vault. It is also at this time that “Sunrise in Port” is added. The motif, with the blue boat in the center of the picture plane and the warming light of the sun is recurrent in his oevre. But in the background you can also see what looks like a cargo ship, with billowing white smoke billowing up from a chimney. The contours are blurred, the colour fields dissolved, which is highly conscious. Kylberg himself said “don"t be too clear, because that tone will soon be worn out. There are worlds behind the clear.” It is precisely these worlds that Kylberg wants to conjure up, with color as a brilliant mediator between fantasy and reality.
