1909 "Untitled Forest Landscape" Oil Painting on Canvas by Alfred Jansson, Framed

Description

Artist: ALFRED JANSSON (1863-1931)
Title: UNTITLED [FOREST LANDSCAPE]
Medium & Surface: ORIGINAL OIL ON CANVAS (framed)
Signed: HAND SIGNED AND … more Artist: ALFRED JANSSON (1863-1931)
Title: UNTITLED [FOREST LANDSCAPE]
Medium & Surface: ORIGINAL OIL ON CANVAS (framed)
Signed: HAND SIGNED AND DATED BY ARTIST LOWER RIGHT
Year Created: 1909
Country of Creation: UNITED STATES

Image Area Dimensions: 18 x 24 INCHES
Frame Dimensions:* 24.375 x 30.25 x 2 INCHES
*This work of art is being sold framed.

Additional Info: HIGHLY COLLECTIBLE WORK BY ALFRED JANSSON IN GREAT CONDITION AND IN A BEAUTIFUL CUSTOM WOOD FRAME. PAINTING HAS BEEN IN GALLERY OWNER’S PERSONAL COLLECTION FOR ALMOST 40 YEARS.
Artist Info/Bio: ARTIST BIOGRAPHY DOCUMENT IS INCLUDED
Documentation: CERTIFICATE OF AUTHENTICITY BY CALIFORNIA FINE ART BROKERS IS INCLUDED

Untitled [Forest Landscape], an original oil on canvas by Alfred Jansson, is a piece for the true collector. Jansson's use of varying shades or browns and greens immediately captures the viewer, highlighting the artist’s talent at depicting moody forest landscapes. There is incredible depth and detail captured in this work that allows for a new experience with each viewing. Both the technical talent of Jansson and his choice of subject matter pair perfectly with the custom conservation wood frame. This masterful work is perfect for those who have an affinity for landscapes, forests, nature, Impressionism, and color-rich works.

Born in the province of Värmland, Sweden on December 11, 1863 to parents Anders and Elisabeth Jansson, Alfred Jansson studied art in Stockholm, Oslo, and Paris. He began his professional career as an Impressionist landscape painter in Sweden. He immigrated to the US in 1889 at age 26, settling in Chicago in 1889. He did not, however, become a US citizen until 1922. Jansson continued his art studies in his adopted city and was commissioned to decorate the agricultural building at the Chicago World’s Fair in 1892. The next year, he painted murals in the Swedish Building at the World’s Columbian Exposition of 1893. From 1898 to 1925, he was a prolific exhibitor in the Art Institute of Chicago’s annual exhibitions, showing landscape paintings exclusively. There, he has had an impressive 85 paintings displayed and is best remembered for his landscapes of Illinois, particularly spring and winter scenes.

Jansson was a part of a large Scandinavian community of painters who lived in Chicago that included Henry Peterson, Carl Lindin, Charles Hallberg, Arid Nyholm and Svend Svendsen. Jansson, part of a group known as the Illinois Impressionists, worked in oils and occasionally also in watercolors and pastel. His subjects, rarely specified in his titles, were drawn from the Chicago region as well as from his native country, which he revisited at least once, in the early 1920s. His delicate, moody landscapes reveal the many facets of nature's wonders, from snow scenes, to richly ornamented autumn forests and the drifting clouds and sunsets of summer. Jansson earned the Art Institute’s Clyde M. Carr Prize in 1914.

In addition to being a member of the Swedish American Art Association, Jansson was also a member of the Palette and Chisel Club, the Chicago Arts Club, Svenska Konstnärer, the Chicago Society of Artists, the Chicago Painters and Sculptors Association, and the Art League of Chicago. He was particularly active in the local community of Swedish-American artists. He maintained his home and studio at 1851 Byron St., Chicago. Jansson was a juror for the first and only exhibition of the short-lived Swedish-American Art Association in 1905, and between 1911 and 1924, he participated in the annual “Exhibition of Works by Swedish-American Artists” at the Swedish Club of Chicago, of which he and Arvid Nyholm were founding members. Jansson was one of seven artists who painted murals in the Swedish Club’s banquet hall, a project completed in 1922. He was represented in “American Painters of Swedish Descent,” an exhibition that traveled to New York and three cities in Sweden before appearing at the Art Institute in 1920.

Two of Jansson’s landscapes were included in the art exhibition at the 1915 Panama-Pacific International Exposition in San Francisco. At Thurber’s Art Galleries in Chicago, he was the subject of a solo show in 1916 and a joint exhibition (with Charles Warren Eaton) in 1918, both of which were covered in feature articles in the Chicago-based Fine Arts Journal. “His work is imbued with poetry,” noted one reviewer, “and carries that rich quality which is so much loved by the devotees of the modern landscape school.” Another solo exhibition followed in 1922 at J. W. Young Galleries, and in 1932, following the artist’s death, the Midland Club hosted a memorial display of Jansson’s landscape paintings that prompted Chicago Tribune critic Eleanor Jewett to call him “one of the finest portrayers of snow we have ever had.” Jansson married Eleanor Jeanette Robertson in 1909 and remained together until his death on September 4, 1931. less