Literature: Carl V. Petersen: “Danske Kunstnere XXI”, Arthur Jensen's Publishing House, Copenhagen, 1937, p. 45.

Literature: S. Saabye: “Harry Carlsson – den glemte surrealist” (The Forgotten Surrealist), 1982, p. 34.

Exhibited: “Kubisme-Surrealisme”, Den Frie Udstillings Bygning, Copenhagen, 1935, cat. no. 183.

Provenance: Given by the artist as a gift to the current owner's father.

“From 1933 and onwards Carlsson was a surrealist. Not counting a few excursions into the abstract, he never abandoned this artistic style, which of course he had in no way invented, but it fit like a glove for the gifted fantasist he was”, writes Svend Saabye in “Harry Carlsson – den glemte surrealist” (The Forgotten Surrealist). Harry Carlsson truly finds his place as a surrealist, and he soon joins his like-minded artist colleagues, especially Wilhelm Freddie. He also participates in the impressive exhibition “Kubisme-Surrealisme” in 1935. The exhibition is of an international format and organized by Vilhelm Bjerke-Petersen with the help of, among others, André Breton and Max Ernst.

“The Danes are most astonished by Harry Carlsson, who has exhibited exceedingly festive and imaginative works of art,” says an enthusiastic Harluf Froberg in his review for Samleren (The Collector). And it is not only in the press that the reception is overwhelming; Carlsson's participation in the exhibition also results in invitations from Max Ernst, Giorgio de Chirico, Salvadore Dali and Paul Klee to exhibit with them the following year in London.

Harry Carlsson's production is relatively modest, and in 1947 he went into artistic retirement. However, his contribution to the period is invaluable; not least because of his insightful and clear understanding of the alluring power of surrealism:

“A fried egg is not only edible – on a man's shoulder it can be frightening, create a sense of panic, as if you suddenly discover you are being run over by a truck. If you can disregard the usual purpose of things you will come to the realisation that they are unusual, that all things are strange – a balloon is an onion and an onion is a balloon ... And please stop wondering about these images – feel them, sense them, let them attack and occupy you and enjoy it”. (Exhibition catalogue for the Students' Association in Copenhagen, October 1939)