Painting
Bengt Olson and his father Allan used to be down in Bohuslän and paint during the summers, then often in the Lysekils area. Bengt Olson tells him that he arrived in Lilla Kornö only a few weeks after the end of the war in 1945. The family rented one of the houses in the port. At the time, it still o...
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| description | Bengt Olson and his father Allan used to be down in Bohuslän and paint during the summers, then often in the Lysekils area.
Bengt Olson tells him that he arrived in Lilla Kornö only a few weeks after the end of the war in 1945. The family rented one of the houses in the port. At the time, it still operated iland mines, life jackets and other wreckage from Skagerrak. It was dramatic to experience. The family spent a nice summer on Lilla Kornö. Initially, the islanders were awaiting, but the family was accepted retrospectively. Soon Allan Olsson sat on the “lying bench” together with the others. For the Bengt heater boy, Bohusländer was somewhat very exotic.
Allan Olson was born in Kristinehamn. The father was a carpenter. He attended drawing lessons at evening school under the direction of Isac Cullberg, an academic teacher. However, he was unable to search for higher art studies, his life took a different course. The comrade Folke Andréasson, however, completed the artist’s course. He made a living as an iron merchant assistant. However, he wanted to be happy, but could not, to support himself on the painting and never wanted to call himself an artist, it would have been too presumptuous. In the small apartment in Kristinehamn, however, a easel was always exhibited. He came to paint throughout his life. The motif circle was landscape, still lifes and portrait, always imagining. The paintings were always very elaborate. Most of what he produced he fired up. He was his own most stringent critic. Remains of his production are at most a few percent. As a child, Bengt Olson often accompanied his father down to Gothenburg to greet friends Ivan Ivarson and Ragnar Sandberg. Allan Olson had a very strong art interest and always talked about art. He became a bitter and awkward man, according to Bengt Olson, over the years. When he moved to Gothenburg in 1955, he came closer to the artistic circles. He then began a hiring as a caretaker at Valand’s art school in Gothenburg, an irony in the context. Ideally, he had wanted to come to Valand as early as the 1920s. He came to be the one who “went the longest at Valand.” He said he had worn out four teachers alone. He had many friends among the students and Bengt Olson has left letters from several artists who have received criticism from Allan Olson over the years.
Allan Olson painted a lot with his son Bengt. He was often a stern critic of his painting. See UM027493.
Bengt Olson says he “has had three important teachers |
| format | Image |
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Bengt Olson tells him that he arrived in Lilla Kornö only a few weeks after the end of the war in 1945. The family rented one of the houses in the port. At the time, it still operated iland mines, life jackets and other wreckage from Skagerrak. It was dramatic to experience. The family spent a nice summer on Lilla Kornö. Initially, the islanders were awaiting, but the family was accepted retrospectively. Soon Allan Olsson sat on the “lying bench” together with the others. For the Bengt heater boy, Bohusländer was somewhat very exotic.
Allan Olson was born in Kristinehamn. The father was a carpenter. He attended drawing lessons at evening school under the direction of Isac Cullberg, an academic teacher. However, he was unable to search for higher art studies, his life took a different course. The comrade Folke Andréasson, however, completed the artist’s course. He made a living as an iron merchant assistant. However, he wanted to be happy, but could not, to support himself on the painting and never wanted to call himself an artist, it would have been too presumptuous. In the small apartment in Kristinehamn, however, a easel was always exhibited. He came to paint throughout his life. The motif circle was landscape, still lifes and portrait, always imagining. The paintings were always very elaborate. Most of what he produced he fired up. He was his own most stringent critic. Remains of his production are at most a few percent. As a child, Bengt Olson often accompanied his father down to Gothenburg to greet friends Ivan Ivarson and Ragnar Sandberg. Allan Olson had a very strong art interest and always talked about art. He became a bitter and awkward man, according to Bengt Olson, over the years. When he moved to Gothenburg in 1955, he came closer to the artistic circles. He then began a hiring as a caretaker at Valand’s art school in Gothenburg, an irony in the context. Ideally, he had wanted to come to Valand as early as the 1920s. He came to be the one who “went the longest at Valand.” He said he had worn out four teachers alone. He had many friends among the students and Bengt Olson has left letters from several artists who have received criticism from Allan Olson over the years.
Allan Olson painted a lot with his son Bengt. He was often a stern critic of his painting. See UM027493.
Bengt Olson says he “has had three important teachers in life; Dad, Endre Nemes and Ferdinand Léger.”
After his father’s death, Bengt Olsson has arranged several exhibitions, the first at Galleri Avenue in Gothenburg in 1987, which received very nice criticism.
Literature:
Work 1987-03-15. A tragedy in Swedish art. Dad burned his boards. Article.
Göteborgs-Posten 1987-02-07. Kolorism then and now. Article.
Hasselrot, Astrid: A living island.In two hundred years and fifty summers at Lilla Kornö in Bohuslän. The Accounting Writer, Lysekil 2003.
Kristinehavs-Posten 1987-01-28. Allan Olson’s pictures of Gallery Avenue Article.
Cultural environments in Lysekil municipality: history and program of care and conservation. Lysekil: Lysekil municipality, 1992.
Olson, Bengt: Allan. Red. Torsten Renqvist. Printed in Skövde 1987.
New Wermlands Newspaper 1987-01-15: Olson exhibits Olson. Article.
Eagle Seals, Hans: Little Kornö sooner and now. The Vicarvets Yearbook 1992-1993.
New Wermlands Newspaper 1990-12-15. Bitter man’s boards are exhibited. Article.
New Wermlands Newspaper 1995-11-02 Bengt Ohlson [Olson] exhibits his father’s painting.
The Swedish People’s Sheet 1990-12-15. Art at the Museum of the Värmland. Does the art of the father stand out.
Bengt Olson och hans far Allan brukade vara nere i Bohuslän och måla under somrarna, då ofta i Lysekilsområdet.
Bengt Olson berättar att han i sällskap med sina föräldrar anlände till Lilla Kornö endast några veckor efter krigsslutet 1945. Familjen hyrde ett av husen i hamnen. Då drev det fortfarande iland minor, flytvästar och annat vrakgods från Skagerrak. Det var dramatiskt att uppleva. Familjen tillbringade en fin sommar på Lilla Kornö. Till en början var öborna avvaktande, men familjen accepterades efterhand. Snart satt Allan Olsson på "ljugarebänken" tillsammans med övriga. För värmlandspojken Bengt var Bohuslän något mycket exotiskt.
Allan Olson föddes i Kristinehamn. Fadern var snickare. Han gick i teckningslära på aftonskola under ledning av Isac Cullberg, en akademiskt skolad lärare. Han kunde emellertid inte söka in till högre konststudier, hans liv tog en annan bana. Kamraten Folke Andréasson fullföljde dock konstnärsbanan. Han försörjde sig som järnhandelsbiträde. Han ville dock gärna, men kunde inte, försörja sig på måleriet och ville heller aldrig kalla sig för konstnär, det skulle ha varit alltför förmätet. I den lilla lägenheten i Kristinehamn stod dock alltid ett staffli uppställt. Han kom att måla under hela sitt liv. Motivkretsen var landskap, stilleben och porträtt, alltid föreställande. Målningarna var alltid mycket genomarbetade. Det mesta av det han producerade eldade han upp. Han var sin egen strängaste kritiker. Kvar av hans produktion finns högst ett par procent. Som barn följde Bengt Olson ofta med pappa ner till Göteborg för att hälsa på vännerna Ivan Ivarson och Ragnar Sandberg. Allan Olson hade ett mycket starkt konstintresse och pratade alltid om konst. Han blev med åren en bitter och besvärlig man enligt Bengt Olson. När han 1955 flyttade till Göteborg kom han närmare de konstnärliga kretsarna. Han började då en anställning som vaktmästare på Valands konstskola i Göteborg, en ironi i sammanhanget. Helst hade han velat komma till Valand redan på 1920-talet. Han kom på så sätt att bli den som "gått längst på Valand". Han sa att han ensam slitit ut fyra lärare. Han hade många vänner bland eleverna och Bengt Olson har kvar brev från flera konstnärer som genom åren fått kritik av Allan Olson.
Allan Olson målade mycket tillsammans med sin son Bengt. Han var ofta var en sträng kritiker av hans måleri. Se UM027493.
Bengt Olson säger att han "har haft tre viktiga lärare i livet; pappa, Endre Nemes och Ferdinand Léger."
Efter fadens död har Bengt Olsson arrangerat flera utställningar, den första på Galleri Avenue i Göteborg 1987, som fick mycket fin kritik.
Litteratur:
Arbetet 1987-03-15. En tragedi i svenska konst. Pappa brände sina tavlor. Artikel.
Göteborgs-Posten 1987-02-07. Kolorism då och nu. Artikel.
Hasselrot, Astrid: En levande ö.Om tvåhundra år och femtio somrar på Lilla Kornö i Bohuslän. Bokförlaget Skrivaren, Lysekil 2003.
Kristinehamns-Posten 1987-01-28. Allan Olsons bilder på Galleri Avenue. Artikel.
Kulturmiljöer i Lysekils kommun : historia och program för vård och bevarande. Lysekil : Lysekils kommun, 1992.
Olson, Bengt: Allan. Red. Torsten Renqvist. Tryckt i Skövde 1987.
Nya Wermlands Tidning 1987-01-15: Olson ställer ut Olson. Artikel.
Törnsäter, Hans: Lilla Kornö förr och nu. Vikarvets årsbok 1992-1993.
Nya Wermlands Tidning 1990-12-15. Bitter mans tavlor ställs ut. Artikel.
Nya Wermlands Tidning 1995-11-02 Bengt Ohlson [Olson] ställer ut sin fars måleri.
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Bengt Olson tells him that he arrived in Lilla Kornö only a few weeks after the end of the war in 1945. The family rented one of the houses in the port. At the time, it still operated iland mines, life jackets and other wreckage from Skagerrak. It was dramatic to experience. The family spent a nice summer on Lilla Kornö. Initially, the islanders were awaiting, but the family was accepted retrospectively. Soon Allan Olsson sat on the “lying bench” together with the others. For the Bengt heater boy, Bohusländer was somewhat very exotic.
Allan Olson was born in Kristinehamn. The father was a carpenter. He attended drawing lessons at evening school under the direction of Isac Cullberg, an academic teacher. However, he was unable to search for higher art studies, his life took a different course. The comrade Folke Andréasson, however, completed the artist’s course. He made a living as an iron merchant assistant. However, he wanted to be happy, but could not, to support himself on the painting and never wanted to call himself an artist, it would have been too presumptuous. In the small apartment in Kristinehamn, however, a easel was always exhibited. He came to paint throughout his life. The motif circle was landscape, still lifes and portrait, always imagining. The paintings were always very elaborate. Most of what he produced he fired up. He was his own most stringent critic. Remains of his production are at most a few percent. As a child, Bengt Olson often accompanied his father down to Gothenburg to greet friends Ivan Ivarson and Ragnar Sandberg. Allan Olson had a very strong art interest and always talked about art. He became a bitter and awkward man, according to Bengt Olson, over the years. When he moved to Gothenburg in 1955, he came closer to the artistic circles. He then began a hiring as a caretaker at Valand’s art school in Gothenburg, an irony in the context. Ideally, he had wanted to come to Valand as early as the 1920s. He came to be the one who “went the longest at Valand.” He said he had worn out four teachers alone. He had many friends among the students and Bengt Olson has left letters from several artists who have received criticism from Allan Olson over the years.
Allan Olson painted a lot with his son Bengt. He was often a stern critic of his painting. See UM027493.
Bengt Olson says he “has had three important teachers in life; Dad, Endre Nemes and Ferdinand Léger.”
After his father’s death, Bengt Olsson has arranged several exhibitions, the first at Galleri Avenue in Gothenburg in 1987, which received very nice criticism.
Literature:
Work 1987-03-15. A tragedy in Swedish art. Dad burned his boards. Article.
Göteborgs-Posten 1987-02-07. Kolorism then and now. Article.
Hasselrot, Astrid: A living island.In two hundred years and fifty summers at Lilla Kornö in Bohuslän. The Accounting Writer, Lysekil 2003.
Kristinehavs-Posten 1987-01-28. Allan Olson’s pictures of Gallery Avenue Article.
Cultural environments in Lysekil municipality: history and program of care and conservation. Lysekil: Lysekil municipality, 1992.
Olson, Bengt: Allan. Red. Torsten Renqvist. Printed in Skövde 1987.
New Wermlands Newspaper 1987-01-15: Olson exhibits Olson. Article.
Eagle Seals, Hans: Little Kornö sooner and now. The Vicarvets Yearbook 1992-1993.
New Wermlands Newspaper 1990-12-15. Bitter man’s boards are exhibited. Article.
New Wermlands Newspaper 1995-11-02 Bengt Ohlson [Olson] exhibits his father’s painting.
The Swedish People’s Sheet 1990-12-15. Art at the Museum of the Värmland. Does the art of the father stand out.
Bengt Olson och hans far Allan brukade vara nere i Bohuslän och måla under somrarna, då ofta i Lysekilsområdet.
Bengt Olson berättar att han i sällskap med sina föräldrar anlände till Lilla Kornö endast några veckor efter krigsslutet 1945. Familjen hyrde ett av husen i hamnen. Då drev det fortfarande iland minor, flytvästar och annat vrakgods från Skagerrak. Det var dramatiskt att uppleva. Familjen tillbringade en fin sommar på Lilla Kornö. Till en början var öborna avvaktande, men familjen accepterades efterhand. Snart satt Allan Olsson på "ljugarebänken" tillsammans med övriga. För värmlandspojken Bengt var Bohuslän något mycket exotiskt.
Allan Olson föddes i Kristinehamn. Fadern var snickare. Han gick i teckningslära på aftonskola under ledning av Isac Cullberg, en akademiskt skolad lärare. Han kunde emellertid inte söka in till högre konststudier, hans liv tog en annan bana. Kamraten Folke Andréasson fullföljde dock konstnärsbanan. Han försörjde sig som järnhandelsbiträde. Han ville dock gärna, men kunde inte, försörja sig på måleriet och ville heller aldrig kalla sig för konstnär, det skulle ha varit alltför förmätet. I den lilla lägenheten i Kristinehamn stod dock alltid ett staffli uppställt. Han kom att måla under hela sitt liv. Motivkretsen var landskap, stilleben och porträtt, alltid föreställande. Målningarna var alltid mycket genomarbetade. Det mesta av det han producerade eldade han upp. Han var sin egen strängaste kritiker. Kvar av hans produktion finns högst ett par procent. Som barn följde Bengt Olson ofta med pappa ner till Göteborg för att hälsa på vännerna Ivan Ivarson och Ragnar Sandberg. Allan Olson hade ett mycket starkt konstintresse och pratade alltid om konst. Han blev med åren en bitter och besvärlig man enligt Bengt Olson. När han 1955 flyttade till Göteborg kom han närmare de konstnärliga kretsarna. Han började då en anställning som vaktmästare på Valands konstskola i Göteborg, en ironi i sammanhanget. Helst hade han velat komma till Valand redan på 1920-talet. Han kom på så sätt att bli den som "gått längst på Valand". Han sa att han ensam slitit ut fyra lärare. Han hade många vänner bland eleverna och Bengt Olson har kvar brev från flera konstnärer som genom åren fått kritik av Allan Olson.
Allan Olson målade mycket tillsammans med sin son Bengt. Han var ofta var en sträng kritiker av hans måleri. Se UM027493.
Bengt Olson säger att han "har haft tre viktiga lärare i livet; pappa, Endre Nemes och Ferdinand Léger."
Efter fadens död har Bengt Olsson arrangerat flera utställningar, den första på Galleri Avenue i Göteborg 1987, som fick mycket fin kritik.
Litteratur:
Arbetet 1987-03-15. En tragedi i svenska konst. Pappa brände sina tavlor. Artikel.
Göteborgs-Posten 1987-02-07. Kolorism då och nu. Artikel.
Hasselrot, Astrid: En levande ö.Om tvåhundra år och femtio somrar på Lilla Kornö i Bohuslän. Bokförlaget Skrivaren, Lysekil 2003.
Kristinehamns-Posten 1987-01-28. Allan Olsons bilder på Galleri Avenue. Artikel.
Kulturmiljöer i Lysekils kommun : historia och program för vård och bevarande. Lysekil : Lysekils kommun, 1992.
Olson, Bengt: Allan. Red. Torsten Renqvist. Tryckt i Skövde 1987.
Nya Wermlands Tidning 1987-01-15: Olson ställer ut Olson. Artikel.
Törnsäter, Hans: Lilla Kornö förr och nu. Vikarvets årsbok 1992-1993.
Nya Wermlands Tidning 1990-12-15. Bitter mans tavlor ställs ut. Artikel.
Nya Wermlands Tidning 1995-11-02 Bengt Ohlson [Olson] ställer ut sin fars måleri.
Värmlands Folkblad 1990-12-15. Konst på Värmlands museum. Ställer ut faderns konst.</description><subject>Konst</subject><subject>Kulturhistoria</subject><subject>Målningar</subject><fulltext>true</fulltext><rsrctype>image</rsrctype><creationdate>1945</creationdate><recordtype>image</recordtype><sourceid>1GC</sourceid><recordid>eNrjZOAISMzMK8nMS-dhYE1LzClO5YXS3Azmbq4hzh66qaVF-QWpiXmJ8cn5OTmpySWZ-XnF8ZaGZoYGpvFJGbnx-UlZQNH4UF8DY0NjM2Nj8nUCAH-ZLX0</recordid><startdate>19450101</startdate><enddate>19450101</enddate><creator>Olson, Allan</creator><general>Bohusläns museum</general><general>Museum of Bohusläns</general><scope>1GC</scope></search><sort><creationdate>19450101</creationdate><title>Painting</title><author>Olson, Allan</author></sort><facets><frbrtype>5</frbrtype><frbrgroupid>cdi_FETCH-europeana_collections_916105_bhm_object_UM0313633</frbrgroupid><rsrctype>images</rsrctype><prefilter>images</prefilter><language>swe</language><creationdate>1945</creationdate><topic>Konst</topic><topic>Kulturhistoria</topic><topic>Målningar</topic><toplevel>online_resources</toplevel><creatorcontrib>Olson, Allan</creatorcontrib><collection>Europeana Collections</collection></facets><delivery><delcategory>Remote Search Resource</delcategory><fulltext>fulltext_linktorsrc</fulltext></delivery><addata><au>Olson, Allan</au><format>book</format><genre>unknown</genre><ristype>GEN</ristype><title>Painting</title><date>1945-01-01</date><risdate>1945</risdate><abstract>Bengt Olson and his father Allan used to be down in Bohuslän and paint during the summers, then often in the Lysekils area.
Bengt Olson tells him that he arrived in Lilla Kornö only a few weeks after the end of the war in 1945. The family rented one of the houses in the port. At the time, it still operated iland mines, life jackets and other wreckage from Skagerrak. It was dramatic to experience. The family spent a nice summer on Lilla Kornö. Initially, the islanders were awaiting, but the family was accepted retrospectively. Soon Allan Olsson sat on the “lying bench” together with the others. For the Bengt heater boy, Bohusländer was somewhat very exotic.
Allan Olson was born in Kristinehamn. The father was a carpenter. He attended drawing lessons at evening school under the direction of Isac Cullberg, an academic teacher. However, he was unable to search for higher art studies, his life took a different course. The comrade Folke Andréasson, however, completed the artist’s course. He made a living as an iron merchant assistant. However, he wanted to be happy, but could not, to support himself on the painting and never wanted to call himself an artist, it would have been too presumptuous. In the small apartment in Kristinehamn, however, a easel was always exhibited. He came to paint throughout his life. The motif circle was landscape, still lifes and portrait, always imagining. The paintings were always very elaborate. Most of what he produced he fired up. He was his own most stringent critic. Remains of his production are at most a few percent. As a child, Bengt Olson often accompanied his father down to Gothenburg to greet friends Ivan Ivarson and Ragnar Sandberg. Allan Olson had a very strong art interest and always talked about art. He became a bitter and awkward man, according to Bengt Olson, over the years. When he moved to Gothenburg in 1955, he came closer to the artistic circles. He then began a hiring as a caretaker at Valand’s art school in Gothenburg, an irony in the context. Ideally, he had wanted to come to Valand as early as the 1920s. He came to be the one who “went the longest at Valand.” He said he had worn out four teachers alone. He had many friends among the students and Bengt Olson has left letters from several artists who have received criticism from Allan Olson over the years.
Allan Olson painted a lot with his son Bengt. He was often a stern critic of his painting. See UM027493.
Bengt Olson says he “has had three important teachers in life; Dad, Endre Nemes and Ferdinand Léger.”
After his father’s death, Bengt Olsson has arranged several exhibitions, the first at Galleri Avenue in Gothenburg in 1987, which received very nice criticism.
Literature:
Work 1987-03-15. A tragedy in Swedish art. Dad burned his boards. Article.
Göteborgs-Posten 1987-02-07. Kolorism then and now. Article.
Hasselrot, Astrid: A living island.In two hundred years and fifty summers at Lilla Kornö in Bohuslän. The Accounting Writer, Lysekil 2003.
Kristinehavs-Posten 1987-01-28. Allan Olson’s pictures of Gallery Avenue Article.
Cultural environments in Lysekil municipality: history and program of care and conservation. Lysekil: Lysekil municipality, 1992.
Olson, Bengt: Allan. Red. Torsten Renqvist. Printed in Skövde 1987.
New Wermlands Newspaper 1987-01-15: Olson exhibits Olson. Article.
Eagle Seals, Hans: Little Kornö sooner and now. The Vicarvets Yearbook 1992-1993.
New Wermlands Newspaper 1990-12-15. Bitter man’s boards are exhibited. Article.
New Wermlands Newspaper 1995-11-02 Bengt Ohlson [Olson] exhibits his father’s painting.
The Swedish People’s Sheet 1990-12-15. Art at the Museum of the Värmland. Does the art of the father stand out.
Bengt Olson och hans far Allan brukade vara nere i Bohuslän och måla under somrarna, då ofta i Lysekilsområdet.
Bengt Olson berättar att han i sällskap med sina föräldrar anlände till Lilla Kornö endast några veckor efter krigsslutet 1945. Familjen hyrde ett av husen i hamnen. Då drev det fortfarande iland minor, flytvästar och annat vrakgods från Skagerrak. Det var dramatiskt att uppleva. Familjen tillbringade en fin sommar på Lilla Kornö. Till en början var öborna avvaktande, men familjen accepterades efterhand. Snart satt Allan Olsson på "ljugarebänken" tillsammans med övriga. För värmlandspojken Bengt var Bohuslän något mycket exotiskt.
Allan Olson föddes i Kristinehamn. Fadern var snickare. Han gick i teckningslära på aftonskola under ledning av Isac Cullberg, en akademiskt skolad lärare. Han kunde emellertid inte söka in till högre konststudier, hans liv tog en annan bana. Kamraten Folke Andréasson fullföljde dock konstnärsbanan. Han försörjde sig som järnhandelsbiträde. Han ville dock gärna, men kunde inte, försörja sig på måleriet och ville heller aldrig kalla sig för konstnär, det skulle ha varit alltför förmätet. I den lilla lägenheten i Kristinehamn stod dock alltid ett staffli uppställt. Han kom att måla under hela sitt liv. Motivkretsen var landskap, stilleben och porträtt, alltid föreställande. Målningarna var alltid mycket genomarbetade. Det mesta av det han producerade eldade han upp. Han var sin egen strängaste kritiker. Kvar av hans produktion finns högst ett par procent. Som barn följde Bengt Olson ofta med pappa ner till Göteborg för att hälsa på vännerna Ivan Ivarson och Ragnar Sandberg. Allan Olson hade ett mycket starkt konstintresse och pratade alltid om konst. Han blev med åren en bitter och besvärlig man enligt Bengt Olson. När han 1955 flyttade till Göteborg kom han närmare de konstnärliga kretsarna. Han började då en anställning som vaktmästare på Valands konstskola i Göteborg, en ironi i sammanhanget. Helst hade han velat komma till Valand redan på 1920-talet. Han kom på så sätt att bli den som "gått längst på Valand". Han sa att han ensam slitit ut fyra lärare. Han hade många vänner bland eleverna och Bengt Olson har kvar brev från flera konstnärer som genom åren fått kritik av Allan Olson.
Allan Olson målade mycket tillsammans med sin son Bengt. Han var ofta var en sträng kritiker av hans måleri. Se UM027493.
Bengt Olson säger att han "har haft tre viktiga lärare i livet; pappa, Endre Nemes och Ferdinand Léger."
Efter fadens död har Bengt Olsson arrangerat flera utställningar, den första på Galleri Avenue i Göteborg 1987, som fick mycket fin kritik.
Litteratur:
Arbetet 1987-03-15. En tragedi i svenska konst. Pappa brände sina tavlor. Artikel.
Göteborgs-Posten 1987-02-07. Kolorism då och nu. Artikel.
Hasselrot, Astrid: En levande ö.Om tvåhundra år och femtio somrar på Lilla Kornö i Bohuslän. Bokförlaget Skrivaren, Lysekil 2003.
Kristinehamns-Posten 1987-01-28. Allan Olsons bilder på Galleri Avenue. Artikel.
Kulturmiljöer i Lysekils kommun : historia och program för vård och bevarande. Lysekil : Lysekils kommun, 1992.
Olson, Bengt: Allan. Red. Torsten Renqvist. Tryckt i Skövde 1987.
Nya Wermlands Tidning 1987-01-15: Olson ställer ut Olson. Artikel.
Törnsäter, Hans: Lilla Kornö förr och nu. Vikarvets årsbok 1992-1993.
Nya Wermlands Tidning 1990-12-15. Bitter mans tavlor ställs ut. Artikel.
Nya Wermlands Tidning 1995-11-02 Bengt Ohlson [Olson] ställer ut sin fars måleri.
Värmlands Folkblad 1990-12-15. Konst på Värmlands museum. Ställer ut faderns konst.</abstract><pub>Bohusläns museum</pub><oa>free_for_read</oa></addata></record> |
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| subjects | Konst Kulturhistoria Målningar |
| title | Painting |
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