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The Hunting Lodge
1958, Oil, 204x190 cm. Privately owned
Mårten Andersson painted The Hunting Lodge in Simeå in 1958. It portrays the fragility and solitude of the artist in his desolate house. A hungry lion guards the entrance, dead trees with thorny branches frame the scene, while the full moon moves over the horizon. A great stillness and anticipation characterize the painting, the hunter stops, the swan is on his guard in the pond when the bird of destiny flies by heavily. A furiously beautiful and restrained painting with motifs still employed by the artist to this day. Veranda
1966, oil on canvas, 100x72 cm. Privately owned
A quiet veranda and gazebo as a dream, a mirage. Garden and nature in one The coffee drinkers
1963, oil on canvas, 197x206 cm. Privately owned
A recurring motif of Mårten Andersson is the moment of happiness. A couple in love invite the viewer to a quiet coffee on the breathtaking terrace. Happiness radiates, ornaments and scenery diverge in the fantasy landscape of Hälsingland under the orange red sun. The auras above the man and woman are well developed, sumptuous and sensual. There is love in the air. One of Mårten Andersson's most beautiful and also most distinctive paintings. Flowers
1967, oil on canvas, 6ox50 cm. Privately owned
A classic floral arrangement, but with Mårten’s signature, a lion, bird, angler and gazebo. The red glow in the harmonised colouring and the balance of colours enhances the appearance. (Image cropped) The blue planet
1970-85, oil on canvas, 170x184 cm. Privately owned
An exceptionally beautiful and ambiguous painting. From the moon we see our planet, pure and innocent. Beauty, art and landscape reveal themselves to us when we take the narrow road into the unknown terrain. A unique painting which opens up for prolonged dialogue. The man who listens to birdsong
1961, oil on canvas, 111x162 cm. Privately owned
A recurring motif of Mårten Andersson’s is life and death. The man listening to the birdsong is alive and enjoying life. The hunter kills in this idyllic setting which will soon be destroyed. This motif identifies, as in several other cases, with the naivest painting of Lim-Johan. The colours contrast and compete with each other. An exquisite and deliberately naive painting with a great sense of design. The sleigh ride
1958, oil on panel, 93x106 cm. Privately owned
A bridal couple depart to their own heaven, guided by the accordionist’s music. Mårten Andersson has, perhaps too simplistically, been called a Nordic Chagall. Possibly there are similarities here? Midsummer dance
1961, oil on panel, 168x120 cm. Privately owned
A compelling and colour intensive painting, created with a wide-angle perspective to mirror the fiddler’s and music’s power at a time of rapture. The girls' hair, the sun and the fiddler constitute the accent colours and create balance. (Image cropped) Tribute to folk art
1963, oil on canvas, 80x211 cm. Privately owned
Mårten Andersson pays tribute to folk art, with Dalecarlian kurbits, painting on textiles and Hälsingland farms. A human longing for lush images, the experience of beauty and decoration. Graffiti from the 18th and 19th centuries. (Image cropped) The Angler II
1995, oil on canvas, 170x205 cm. Privately owned
A second version of the angler from 1965 which hangs at the museum Länsmuseet Gävleborg. This angler is much more restrained and subdued, as is the surrounding landscape. A more mature, experienced and meditative central figure without the voracious appetite and the wide-open attitude of the 1965 version. The same motif for the artist, but depicted from a later and more mature life perspective. Farm Roses
1982, oil on canvas, 79x73 cm. Hälsinglands Museum
Flower splendor by a barn in a more naturalistic interpretation that appealed to Mårten Andersson in the 80's. The Barn
1971, oil on canvas, 120 x 117 cm. Skogsägarna Mellanskog
An ethnographic painting and light study of a barn in decay, a Per Albin cottage back home in Freluga. Both a testament and a tribute to a culture's descent. First the roof, then the interior and finally the wagon. There is a lesson to be learnt here. Do we understand the work that has gone into what we no longer value? The Blacksmith
1969, oil on canvas, 110x157 cm. Owned by Iggesund Paperboard AB
Teddy Gummerus called this picture an affectionate ethnographic painting. This respectful admiration for the craftsmanship of his neighbor, village blacksmith Olof Persson, in Freluga. Mårten paints with bated and heavy coloring. The Hermit
1958, oil on canvas, 119x79 cm. Privately owned
The artist as a hermit and interpreter of society. A society and a culture that is threatened by its own driving forces. (Image cropped) The black angler
2002, oil on canvas, 100x94 cm. Privately owned
Black angler from 2002. A mounful painting. Fatefully the angler stands and fishes in the black water while the stars and rain fall. The more scaled down and simple, the more difficult. The painting fills us with compassion and warmth but also repels. Tylö stream
1976, oil on canvas, 79x100 cm. Privately owned
Representation of nature and mystery, with less of a storytelling aspect, in blue-red tones and sharp contours. The stream pushes through the foliage. (Image cropped) The Fiddler
1995, oil on canvas, 60x49 cm. Privately owned
A simpler, more naked and purer version of the fiddler than Mårten Andersson’s previous work. Compare The Angler II from the same year. The Singing Valley
1962, oil on pannel, 52xI52 cm. Privately owned
A triptych with a classic Mårten motif with verandas, fantasy birds and palm trees of pine. The idealized valley, both prosperous and sensual. A good place for people to live with opportunities, open minds and rural culture. An ideal way of life. (Image cropped) The Beast
1976, oil on canvas, 120x120 cm. Privately owned
A typical Mårten Andersson from the 70’s-80’s. A simpler and purer motif, the abundance of ornaments, decorations and details give way to a more uniform colour scale. But also a subdued atmosphere, where the choices and questions of life come to the fore. Original cover draft (graphic portfolio)
2002, watercolor, 40x30 cm. Privately owned
In the summer of 2002 Mårten Andersson and his son Jerker went to Italy to paint. The result was the graphic portfolio "The Lovers of Moneglia" with five hand-coloured lithographs and a hand-coloured cover. The Rower
1971, oil on canvas, 160x275cm. Bollnäs Hospital
An unusual combination of rustic design, Hälsingland carpentry and Arabic ornamentation take up one third of this inviting painting. The curtain rises and down at the lake is a rower who can take you wherever you like. The boy with the haversack helps you on your journey. The wooden terrace and stairway await. Mårten Andersson uses perspective to attract us down to the small fountain and the water. Original draft for the graphic portfolio, sheet I of V
2002, watercolour, 40x30cm. Privately owned
Easter procession in Moneglia, Italy Orravalla
1988, oil on panel, 72x91 cm. Privately owned
At the lake Mållången about 10 km south of the village of Edsbyn is a favourite location, Orravalla, situated on the shoreline. Ancient trails from Mälardalen went by this spot. A country wedding at midsummer time in the mid-1800s. The bride waves goodbye, the elk awaits, the musicians play and the lake is reflected in the roof. How do we capture the moment? The log driver’s apartment since he became a carpet dealer
1998-2003, oil on canvas, 228x207 cm. Privately owned
The trade skills of rural society died out just as river log driving did. What will take its place? What is in store for the people of the valley or in the depths of the tunnel? What driving forces remain? Mårten Andersson plays with perspective and the possibilities of interpretation. The star torrent
1972, oil on panel, 63 x53 cm. Privately owned
The fiddler plays to make the stream gush forth from the mountain in the strange summer night. An allegory in image form, a painted feeling. Music, stars, water ... The house of the beautiful girl
1961, oil on canvas, 168x120 cm. Privately owned
Lush foliage and love birds of a human dream, a gazebo by the water. Painted just after Mårten met his life’s companion. A celebration and one of Mårten Andersson's most beautiful love paintings The man with the burning heart
1968-69, oil on canvas, 99x72 cm. Privately owned
The man or the artist who holds up his burning heart for the beholder. Watch what I do, this is my gift, my commitment. I offer it to you. Flowers of joy
1990, oil on canvas, 175x155 cm. Privately owned
A bird sings in the blossoming tree, accompanied by a man's guitar Mixed forest
1982, oil on panel, 53x65 cm. Iggesund Paperboard AB
A forest scent, an opening with white birch trees in a more naturalistic painting. The bridal couple
1961, oil on canvas, 167x119 cm. Privately owned
A bridal couple in waiting, almost stylized in the seriousness of the moment. The difference in the man's and woman's aura or crown is highlighted. The painting is balanced by the splendid sculpture which becomes a third party. The Kiss
1976, oil on canvas, 118x118 cm. Privately owned
A recurring theme of Mårten’s is kissing. The kiss as a symbol of life and longing in a society in descent, or as the beginning of the dance of life. The kiss in this painting is more pure, intimate and gentle, just for the two lovers. The man with the golden pike
1976, oil on canvas, 120x120 cm. Privately owned
A tall tale and legend of the fisherman and the wood-nymph. A stand-alone painting and sequel to the painting The Star Torrent
The Hunting Lodge
1958, Oil, 204x190 cm. Privately owned
Mårten Andersson painted The Hunting Lodge in Simeå in 1958. It portrays the fragility and solitude of the artist in his desolate house. A hungry lion guards the entrance, dead trees with thorny branches frame the scene, while the full moon moves over the horizon. A great stillness and anticipation characterize the painting, the hunter stops, the swan is on his guard in the pond when the bird of destiny flies by heavily. A furiously beautiful and restrained painting with motifs still employed by the artist to this day. Veranda
1966, oil on canvas, 100x72 cm. Privately owned
A quiet veranda and gazebo as a dream, a mirage. Garden and nature in one The coffee drinkers
1963, oil on canvas, 197x206 cm. Privately owned
A recurring motif of Mårten Andersson is the moment of happiness. A couple in love invite the viewer to a quiet coffee on the breathtaking terrace. Happiness radiates, ornaments and scenery diverge in the fantasy landscape of Hälsingland under the orange red sun. The auras above the man and woman are well developed, sumptuous and sensual. There is love in the air. One of Mårten Andersson's most beautiful and also most distinctive paintings. Flowers
1967, oil on canvas, 6ox50 cm. Privately owned
A classic floral arrangement, but with Mårten’s signature, a lion, bird, angler and gazebo. The red glow in the harmonised colouring and the balance of colours enhances the appearance. (Image cropped) The blue planet
1970-85, oil on canvas, 170x184 cm. Privately owned
An exceptionally beautiful and ambiguous painting. From the moon we see our planet, pure and innocent. Beauty, art and landscape reveal themselves to us when we take the narrow road into the unknown terrain. A unique painting which opens up for prolonged dialogue. The man who listens to birdsong
1961, oil on canvas, 111x162 cm. Privately owned
A recurring motif of Mårten Andersson’s is life and death. The man listening to the birdsong is alive and enjoying life. The hunter kills in this idyllic setting which will soon be destroyed. This motif identifies, as in several other cases, with the naivest painting of Lim-Johan. The colours contrast and compete with each other. An exquisite and deliberately naive painting with a great sense of design. The sleigh ride
1958, oil on panel, 93x106 cm. Privately owned
A bridal couple depart to their own heaven, guided by the accordionist’s music. Mårten Andersson has, perhaps too simplistically, been called a Nordic Chagall. Possibly there are similarities here? Midsummer dance
1961, oil on panel, 168x120 cm. Privately owned
A compelling and colour intensive painting, created with a wide-angle perspective to mirror the fiddler’s and music’s power at a time of rapture. The girls' hair, the sun and the fiddler constitute the accent colours and create balance. (Image cropped) Tribute to folk art
1963, oil on canvas, 80x211 cm. Privately owned
Mårten Andersson pays tribute to folk art, with Dalecarlian kurbits, painting on textiles and Hälsingland farms. A human longing for lush images, the experience of beauty and decoration. Graffiti from the 18th and 19th centuries. (Image cropped) The Angler II
1995, oil on canvas, 170x205 cm. Privately owned
A second version of the angler from 1965 which hangs at the museum Länsmuseet Gävleborg. This angler is much more restrained and subdued, as is the surrounding landscape. A more mature, experienced and meditative central figure without the voracious appetite and the wide-open attitude of the 1965 version. The same motif for the artist, but depicted from a later and more mature life perspective. Farm Roses
1982, oil on canvas, 79x73 cm. Hälsinglands Museum
Flower splendor by a barn in a more naturalistic interpretation that appealed to Mårten Andersson in the 80's. The Barn
1971, oil on canvas, 120 x 117 cm. Skogsägarna Mellanskog
An ethnographic painting and light study of a barn in decay, a Per Albin cottage back home in Freluga. Both a testament and a tribute to a culture's descent. First the roof, then the interior and finally the wagon. There is a lesson to be learnt here. Do we understand the work that has gone into what we no longer value? The Blacksmith
1969, oil on canvas, 110x157 cm. Owned by Iggesund Paperboard AB
Teddy Gummerus called this picture an affectionate ethnographic painting. This respectful admiration for the craftsmanship of his neighbor, village blacksmith Olof Persson, in Freluga. Mårten paints with bated and heavy coloring. The Hermit
1958, oil on canvas, 119x79 cm. Privately owned
The artist as a hermit and interpreter of society. A society and a culture that is threatened by its own driving forces. (Image cropped) The black angler
2002, oil on canvas, 100x94 cm. Privately owned
Black angler from 2002. A mounful painting. Fatefully the angler stands and fishes in the black water while the stars and rain fall. The more scaled down and simple, the more difficult. The painting fills us with compassion and warmth but also repels. Tylö stream
1976, oil on canvas, 79x100 cm. Privately owned
Representation of nature and mystery, with less of a storytelling aspect, in blue-red tones and sharp contours. The stream pushes through the foliage. (Image cropped) The Fiddler
1995, oil on canvas, 60x49 cm. Privately owned
A simpler, more naked and purer version of the fiddler than Mårten Andersson’s previous work. Compare The Angler II from the same year. The Singing Valley
1962, oil on pannel, 52xI52 cm. Privately owned
A triptych with a classic Mårten motif with verandas, fantasy birds and palm trees of pine. The idealized valley, both prosperous and sensual. A good place for people to live with opportunities, open minds and rural culture. An ideal way of life. (Image cropped) The Beast
1976, oil on canvas, 120x120 cm. Privately owned
A typical Mårten Andersson from the 70’s-80’s. A simpler and purer motif, the abundance of ornaments, decorations and details give way to a more uniform colour scale. But also a subdued atmosphere, where the choices and questions of life come to the fore. Original cover draft (graphic portfolio)
2002, watercolor, 40x30 cm. Privately owned
In the summer of 2002 Mårten Andersson and his son Jerker went to Italy to paint. The result was the graphic portfolio "The Lovers of Moneglia" with five hand-coloured lithographs and a hand-coloured cover. The Rower
1971, oil on canvas, 160x275cm. Bollnäs Hospital
An unusual combination of rustic design, Hälsingland carpentry and Arabic ornamentation take up one third of this inviting painting. The curtain rises and down at the lake is a rower who can take you wherever you like. The boy with the haversack helps you on your journey. The wooden terrace and stairway await. Mårten Andersson uses perspective to attract us down to the small fountain and the water. Original draft for the graphic portfolio, sheet I of V
2002, watercolour, 40x30cm. Privately owned
Easter procession in Moneglia, Italy Orravalla
1988, oil on panel, 72x91 cm. Privately owned
At the lake Mållången about 10 km south of the village of Edsbyn is a favourite location, Orravalla, situated on the shoreline. Ancient trails from Mälardalen went by this spot. A country wedding at midsummer time in the mid-1800s. The bride waves goodbye, the elk awaits, the musicians play and the lake is reflected in the roof. How do we capture the moment? The log driver’s apartment since he became a carpet dealer
1998-2003, oil on canvas, 228x207 cm. Privately owned
The trade skills of rural society died out just as river log driving did. What will take its place? What is in store for the people of the valley or in the depths of the tunnel? What driving forces remain? Mårten Andersson plays with perspective and the possibilities of interpretation. The star torrent
1972, oil on panel, 63 x53 cm. Privately owned
The fiddler plays to make the stream gush forth from the mountain in the strange summer night. An allegory in image form, a painted feeling. Music, stars, water ... The house of the beautiful girl
1961, oil on canvas, 168x120 cm. Privately owned
Lush foliage and love birds of a human dream, a gazebo by the water. Painted just after Mårten met his life’s companion. A celebration and one of Mårten Andersson's most beautiful love paintings The man with the burning heart
1968-69, oil on canvas, 99x72 cm. Privately owned
The man or the artist who holds up his burning heart for the beholder. Watch what I do, this is my gift, my commitment. I offer it to you. Flowers of joy
1990, oil on canvas, 175x155 cm. Privately owned
A bird sings in the blossoming tree, accompanied by a man's guitar Mixed forest
1982, oil on panel, 53x65 cm. Iggesund Paperboard AB
A forest scent, an opening with white birch trees in a more naturalistic painting. The bridal couple
1961, oil on canvas, 167x119 cm. Privately owned
A bridal couple in waiting, almost stylized in the seriousness of the moment. The difference in the man's and woman's aura or crown is highlighted. The painting is balanced by the splendid sculpture which becomes a third party. The Kiss
1976, oil on canvas, 118x118 cm. Privately owned
A recurring theme of Mårten’s is kissing. The kiss as a symbol of life and longing in a society in descent, or as the beginning of the dance of life. The kiss in this painting is more pure, intimate and gentle, just for the two lovers. The man with the golden pike
1976, oil on canvas, 120x120 cm. Privately owned
A tall tale and legend of the fisherman and the wood-nymph. A stand-alone painting and sequel to the painting The Star Torrent
Painting descriptions: Johan Kock
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