"Camilla Hammarström see a rough but important exhibition of the forgotten works"
"Greta Knutson is best known to posterity for his marriage with Tristan Tzara. She was in the heart of the action in the Paris avant-garde in the 1920s and contributed when the surrealists made their collective drawings which today are displayed in museums the world over. "
"But Greta Knutson was in fact pretty cool to their software. Her own painting was at the time postkubistiskt and characterized by the training of Andre Lhõte, which stood for a more moderate interpretation of cubism. He never left the figurative and verklighetsanknutna, the compositions were classically constructed and just the right broken in the forms so that you could still identify the subject. "
"During his career, up to the 1960s, asked Greta Knutson out at regular intervals in Sweden and got a good reception. In France it was more difficult to assert themselves as a scandinavian."
"Martin Sundberg asks, in the excellent book, published in conjunction with the exhibition, if there can be any explanation as to why her art has been forgotten. He notes that the works that are in museum collections in the country has not been exposed, which may have contributed. Another explanation is that Greta Knutson was not a ”pure” modernist. From the 1960s, took her painting a different, more figurative direction. "
"I think there is something in that Knutson is not consistently held itself to an expression, but one explanation is also that her change of course did not give so good results. The figurative images from the 1970s is remarkable. The artist has wanted to go back to painting the roots and make use of skiktmåleri, which she did not succeed especially well with. The motifs are a form of bondidyller. Later there is also the surreal subject-matter that is not particularly well executed. It feels a little sad with this movement from the unerring skill to the cheep applicants."
"To see the Knutsons postkubistiska painting, however, is a delight. It seems to have completed with tremendous ease and målarglädje. I get stuck at a picture of a reading figure at a table with a flower pot. Here, every detail has received an innovative, almost carefree solution. From blomkrukans pattern and the knorvliga the hands holding the book to the human ear frills. It is an expansive artist who holds the brush. "
"There is a renegotiation of the cannon, which previously excluded women återinskrivs in the story. The exhibition with Greta Knutson is one such research effort. If the cannon in the past favoured men with manifest and networks, so we see today how the picture is more nuanced. The story appears to be more heterogeneous. It doesn't mean that an artist's whole production are embraced. When it comes to Greta Knutson, you can't do it. Her main works makes her as well as a strong representative for their time. "