Victor Lagerström - Portrait of an Elderly Man, 1913

objekte/victor lagerstrom portrait of an elderly man 1913 QLbuJ7c 623945228 / Zum Verkauf

objekte/victor lagerstrom portrait of an elderly man 1913 QLbuJ7c 623945228

Zum VerkaufAuktionsergebnisse

objekte/victor lagerstrom portrait of an elderly man 1913 QLbuJ7c 623945228

Zum VerkaufAuktionsergebnisse

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Victor Lagerström - Portrait of an Elderly Man, 1913

Victor Lagerström (1864–1948) SwedenPortrait of an Elderly Man, 1913Victor Lagerström (1864–1948) SwedenPortrait of an Elderly Man, 1913oil on canvassigned “V.L” and dated “13” unframed: 24.5 × 22 cm (9.65 × 8.66 in)framed: 42 × 39 cm (16.54 × 15.35 in)oil on canvassigned “V.L” and dated “13” unframed: 24.5 × 22 cm (9.65 × 8.66 in)framed: 42 × 39 cm (16.54 × 15.35 in)oil on canvassigned “V.L” and dated “13” unframed: 24.5 × 22 cm (9.65 × 8.66 in)framed: 42 × 39 cm (16.54 × 15.35 in)oil on canvassigned “V.L” and dated “13” unframed: 24.5 × 22 cm (9.65 × 8.66 in)framed: 42 × 39 cm (16.54 × 15.35 in)EssayPortrait of an Elderly Mapresents a seated figure absorbed in quiet contemplation. Leaning slightly forward, he rests a hat upon his knee, his hands folded calmly over its crown. The composition centers almost exclusively on the man, shown at approximately three-quarter length against a dark, unadorned background. Lagerström renders the weathered features, grey hair, and downcast gaze with measured sensitivity, giving the scene an introspective gravity. The absence of extraneous detail heightens the sense of stillness, allowing the viewer to focus entirely on the sitter’s inward-facing moment.Lagerström employs a subdued, earthy palette dominated by browns, ochres, and muted greys. A gentle, diffused light models the man’s face and hands, while his dark coat recedes into shadow. This restrained chiaroscuro enhances the psychological focus of the composition, lending depth and volume without calling attention to the brushwork. The surface handling is modest and naturalistic, suggesting the textures of coarse fabric and the worn felt of the hat without excessive detail. The overall effect is one of quiet dignity and emotional reserve.The painting reflects Lagerström’s broader interest in atmospheric scenes drawn from everyday life. Trained at the Royal Academy of Fine Arts in Stockholm, he continued his artistic development during periods of study and travel in France, Germany, and Italy. Early in his career he worked as an illustrator for and before turning increasingly toward book art and design, all the while maintaining a steady output of paintings. His work often depicts mood-laden cityscapes of Stockholm and Visby, and scenes of ordinary life in Skåne. The present portrait—an intimate study of an anonymous sitter accords with this aspect of his oeuvre, marked by an understated yet perceptive engagement with human character.Stockholms-TidningeThe painting reflects Lagerström’s broader interest in atmospheric scenes drawn from everyday life. Trained at the Royal Academy of Fine Arts in Stockholm, he continued his artistic development during periods of study and travel in France, Germany, and Italy. Early in his career he worked as an illustrator for and before turning increasingly toward book art and design, all the while maintaining a steady output of paintings. His work often depicts mood-laden cityscapes of Stockholm and Visby, and scenes of ordinary life in Skåne. The present portrait—an intimate study of an anonymous sitter accords with this aspect of his oeuvre, marked by an understated yet perceptive engagement with human character.Svenska DagbladetThe painting reflects Lagerström’s broader interest in atmospheric scenes drawn from everyday life. Trained at the Royal Academy of Fine Arts in Stockholm, he continued his artistic development during periods of study and travel in France, Germany, and Italy. Early in his career he worked as an illustrator for and before turning increasingly toward book art and design, all the while maintaining a steady output of paintings. His work often depicts mood-laden cityscapes of Stockholm and Visby, and scenes of ordinary life in Skåne. The present portrait—an intimate study of an anonymous sitter accords with this aspect of his oeuvre, marked by an understated yet perceptive engagement with human character.Lagerström remained active in Swedish artistic circles throughout his life, including many years as secretary of the Artists’ Club in Stockholm. His paintings are represented in the collection of the Nationalmuseum.

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