Allan Österlind (1855-1938) - Venetian Scene with Gondoliers

"Venetian Scene with Gondoliers" is an evocative portrayal of Venice, capturing the essence of the city’s romantic allure and bustling waterways. Created during Allan Österlind’s study trip to Italy in the late 1870s, this painting is a testament to his ability to encapsulate the spirit of a place with vibrant spontaneity.

The scene depicts two elegantly dressed women strolling along a canal, their figures rendered with swift, expressive brushstrokes that convey a sense of movement and life. A gondolier, positioned prominently in the midground, navigates his gondola with expertise, adding a dynamic focal point to the composition. The water shimmers with reflections, rendered in rich, warm tones, creating an almost abstract play of colors and light that enhances the painting's atmospheric depth.

Österlind’s technique is characterized by the rapid and confident application of paint, lending the work an immediacy and freshness typical of plein air painting—a style he embraced during his time in France. This piece is a fine example of his mastery in capturing the fleeting effects of light and the lively ambiance of Venetian canals.

About the Artist
Allan Österlind, born on November 2, 1855, in Stockholm, was a prominent Swedish painter and graphic artist. After studying at the Royal Swedish Academy of Fine Arts from 1874 to 1876, Österlind moved to Paris in 1877, where he continued his education under the sculptor P. J. Cavelier at the École des Beaux-Arts. Initially trained as a sculptor, Österlind soon transitioned to painting, finding considerable success in France.

He was among the pioneering Swedish artists who ventured to France during the emergence of plein air painting, a movement epitomized by artists like Jules Bastien-Lepage. Österlind's works often reflect the French naturalistic style of the time, characterized by a focus on everyday scenes and the effects of natural light.

Throughout his career, Österlind frequently exhibited at major salons in Paris. He received honorable mention at the Paris Salon in 1887 and won a silver medal at the Exposition Universelle in 1889. His reputation in the French art world was further solidified when he became an associate member of the newly formed Société Nationale des Beaux-Arts in 1890, regularly showcasing his work at their exhibitions.

In 1891, Österlind joined the Swedish Artists' Association, though he eventually focused primarily on his career in France. His marriage to Eugénie Carré in 1879 and his strong connections within the French art community led to his deep integration into the French cultural scene. He was honored with the Légion d'Honneur, reflecting his significant contributions to art.

Österlind’s works are represented in prestigious collections, including the French state’s purchase of "La fin de la journée" for the museum in Tours, as well as pieces in the museum in Châteauroux, the Tessin Institute in Paris, Ateneum in Helsinki, and Sweden's Nationalmuseum and Göteborgs konstmuseum.

unframed: 26.5 x 47.5 cm (10.43 x 18.70 inches)
framed: 37.5 x 59 cm (14.76 x 23.23 inches)
signed with monogram AÖ