Oscar Lycke - Self Portrait, 1922

Oscar Lycke (1877–1927) Sweden

Självporträtt (Self Portrait), 1922

signed lower left “OSC LYCKE”
oil on canvas
unframed 31 × 25.5 cm (12.2 × 10 in)
framed 41 × 35.5 cm (16.1 × 14 in)

Provenance:
By descent within the artist’s family. Barbro Lycke inherited the painting, and it subsequently passed to her daughter Katarina Gunnarsson.

Condition report:
The work has undergone careful recent conservation by Sonia León in Stockholm. The paint layer appears stable and well preserved. 
The painting is presented in a custom made walnut frame by Stockholms Förgyllning & Bildhuggeri.

Essay:
Oscar Lycke is primarily known as a painter of northern Swedish landscapes, deeply rooted in the artistic climate that valued regional identity, seasonal atmosphere and the poetic interpretation of nature. His work is often associated with a synthesis of national romanticism and realism, reflecting a period in which the depiction of the Swedish landscape was closely tied to cultural and national expression.

This Self Portrait presents the artist at close range, turned slightly in three quarter view, while meeting the viewer with a steady and introspective gaze. Dressed in a painter’s smock and holding a pipe, Lycke portrays himself not in a theatrical manner, but with a quiet assertion of professional identity. The composition emphasizes presence rather than narrative, suggesting an artist engaged in reflection rather than display.

The handling is direct and economical. The facial features are constructed through subtle shifts in tone and colour, with warmer hues around the cheeks and cooler greys defining the clothing. The brushwork remains visible throughout, particularly in the background, where the surface is divided into two contrasting fields. 

By the early 1920s, Lycke had returned to Sundsvall after periods of travel and artistic activity elsewhere, including time spent in Stockholm and abroad. His career reflects a persistent engagement with exhibition life, both in Sweden and internationally. In this context, a self portrait from this period can be understood as a statement of artistic identity at a mature stage of his life.

Here is a studio photograph in which this portrait hanging on the wall among other works. This is the only known Self Portrait by the artist. While his landscapes have defined his reputation, this painting reveals another dimension of his practice, offering insight into his self perception and artistic temperament. The restrained palette, controlled execution and psychological presence combine to create a work of quiet intensity.