Ivan Ivarsonの肖像画

Ivan Ivarsonの代表作:全1作品をランキング形式で紹介

11月 2026 更新 · 当サイトの人気スコア(各作品の検索数、閲覧数、注文数)に基づくランキング · 1点の Ivan Ivarsonの作品がカタログにあります

要約すると

Ivan Ivarsonの最も有名な作品はSelf portrait (1927)で、ストレングセスのNational Portrait Gallery of Swedenで鑑賞することができます。 Ivan Ivarsonの全1作品のうち、特に有名な1作品をご紹介します。各作品には制作年、所蔵美術館、そしてその作品の魅力についての解説が添えられています。

1900 – 1939, Göteborgs Kristine församling 最多収蔵館: National Portrait Gallery of Sweden

Ivan Ivarsonのトップ10:誰もが知る名作

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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National Portrait Gallery of Sweden ストレングセス 1 Self portrait

各年のIvan Ivarsonによる名作

このページに掲載されているIvan Ivarsonの作品はすべて1927に制作されたものです。有名な作品から順にご紹介します。

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Ivan Ivarsonの絵画:よくある質問

Ivan Ivarsonの代表作は何ですか?答えを見る

リストのトップはSelf portrait (1927)です。

Self portraitの制作当時、Ivan Ivarsonは何歳でしたか?答えを見る

27歳。Ivan Ivarsonは1900に生まれ、Self portraitは1927年の作品です。

Ivan Ivarsonの作品数は?答えを見る

カタログにはIvan Ivarsonによる作品が1点あります。

Ivan Ivarsonの代表作はどの美術館に収蔵されていますか?答えを見る

その多くはNational Portrait Gallery of Sweden (ストレングセス)で見ることができます。上記の美術館リストに詳細が記載されています。

自宅用にIvan Ivarsonの複製画を注文することはできますか?答えを見る

はい。このページに掲載されているすべての絵画は、お手持ちのスペースに合わせたサイズで、手描きの油彩複製画またはプリントとしてご購入いただけます。作品のページを開いてご注文ください。

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A Life in Color

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.

The Language of Pigment

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:

  • Style: A naive expressionist approach characterized by thick, energetic applications of paint.
  • Motifs: Landscapes, harbor views, street scenes, and portraits, with a particular fondness for flowers.
  • Color Palette: High-contrast combinations featuring deep blues alongside bright primary tones.

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.

Legacy and Presence

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:

  • National Museum, Stockholm
  • Moderna Museet, Stockholm
  • Gothenburg Art Museum
  • Museum of Gävle

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.