Nils Tirén - Goldeneyes in Thawing Water, 1919

objekte/nils tiren goldeneyes in thawing water 1919 gWySbLN 628692560 / Zum Verkauf

objekte/nils tiren goldeneyes in thawing water 1919 gWySbLN 628692560

Zum VerkaufPreishistorie

objekte/nils tiren goldeneyes in thawing water 1919 gWySbLN 628692560

Zum VerkaufPreishistorie

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Nils Tirén - Goldeneyes in Thawing Water, 1919

ils Tirén (1885–1935) SwedeGoldeneyes in Thawing Water, 1919signed and dated lower right Nils Tirén 1919oil on canvasunframed 60 × 92 cm (23.6 × 36.2 in)framed 75 × 107 cm (29.5 × 42.1 in)signed and dated lower right Nils Tirén 1919oil on canvasunframed 60 × 92 cm (23.6 × 36.2 in)framed 75 × 107 cm (29.5 × 42.1 in)signed and dated lower right Nils Tirén 1919oil on canvasunframed 60 × 92 cm (23.6 × 36.2 in)framed 75 × 107 cm (29.5 × 42.1 in)signed and dated lower right Nils Tirén 1919oil on canvasunframed 60 × 92 cm (23.6 × 36.2 in)framed 75 × 107 cm (29.5 × 42.1 in)Provenance:Private collection, Jämtland, SwedenThe painting appears to be in good condition. The colors are clear and well preserved, and the surface presents a stable paint layer. The frame shows a fine aged patina with minor flaws consistent with age.Condition report:Private collection, Jämtland, SwedenThe painting appears to be in good condition. The colors are clear and well preserved, and the surface presents a stable paint layer. The frame shows a fine aged patina with minor flaws consistent with age.Essay:ils Tirén was born in Oviken in Jämtland into a distinguished artistic family. He was the son of the painter Johan Tirén and the artist Gerda Tirén, and he grew up in an environment where both art and close observation of nature were central. His sister, Stina Tirén, was also active as an artist. This familial context played a decisive role in shaping his early development, particularly in fostering a deep engagement with landscape and animal life.He pursued formal studies in Stockholm, where he received training at the Royal Academy of Fine Arts. His artistic formation was further enriched through travel, and he maintained a strong connection to both the northern landscapes of Jämtland and the varied environments of central Sweden. Throughout his career, Tirén remained committed to working directly from nature, often studying animals in their natural habitats. This method allowed him to achieve a high degree of accuracy in posture and movement, combined with a sensitivity to the surrounding environment.In this painting from 1919 presents a group of goldeneye ducks resting and moving across dark, open water at the threshold between winter and spring. The shoreline is still edged with snow, yet the ice has begun to recede, allowing the surface of the water to emerge in deep, reflective tones. The composition is built around the contrast between the cold, muted landscape and the crisp, black and white forms of the birds. The motif is understated, yet precisely observed, capturing a fleeting seasonal transition that is characteristic of the northern environment.Tirén exhibited in several important contexts during his lifetime. He participated in exhibitions organized by Sweden’s General Art Association and was represented at the Baltic Exhibition in Malmö in 1914. In 1918 he exhibited together with his mother and sister at Konstnärshuset in Stockholm, presenting works that focused on animal subjects. After his death, his work was included in a memorial exhibition at Liljevalchs in 1935.Alongside his work as a painter, Tirén played a significant role in the development of Swedish educational imagery. He produced a large number of school charts depicting animals for the publisher Norstedts, combining scientific accuracy with a strong sense of atmosphere. Among these is a school chart depicting goldeneyes, executed in 1929, which demonstrates the continuity of his interest in waterfowl and seasonal landscapes.ils Tirén, , school chart, 1929.Goldeneyesils Tirén, , school chart, 1929.The present painting can be understood within this broader context. It exemplifies Tirén’s ability to unite zoological precision with a nuanced rendering of light and season. The birds are not isolated studies, but integral elements within a carefully observed environment. The work does not rely on dramatic effect, but instead conveys its impact through restraint, balance and an intimate understanding of nature. As such, it stands as a representative and accomplished example of Tirén’s contribution to Swedish painting.

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