Edvin Öhrström (1906–1994)
Architectural Sculptor and Pioneer of Swedish Art Glass
Edvin Öhrström was one of the most influential figures in the "Golden Age" of Swedish glass design. Trained as a sculptor, his work with glass blurred the line between functional vessel and fine art sculpture, culminating in one of Orrefors’s most celebrated technical innovations.
I. Background and Artistic Education
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Early Years: Karl Edvin Öhrström (1906–1994) was educated across various disciplines that informed his later, highly technical approach to glass.
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Formal Training: He trained as an art teacher at Tekniska Skolan (Konstfack) in Stockholm (1925–1928) and studied sculpture at the Royal University College of Fine Arts (1928–1931) under renowned sculptors like Carl Milles.
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International Influence: Crucially, his perspective was shaped by studying in France, notably at the Akadémie de l’Art Moderne, led by the Cubist master Fernand Léger. This exposure to modernist sculpture and graphic art directly influenced the heavy, architectural forms and abstract patterns of his glass.
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II. The Ariel Technique: A Revolution in Glass
Öhrström began working for Orrefors in 1936, a collaboration that would define his career. He is recognized for co-developing the complex Ariel Technique, arguably the most sophisticated form of decorative glassmaking in the 20th century.
III. Notable Works and Legacy
Öhrström worked for Orrefors from 1936 until 1957, balancing this with work at his own studio connected to Lindshammer Glass Studio. His legacy spans both his glass work and large-scale public commissions:
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Glass Art: His Ariel and Graal pieces from the 1940s and 50s—including the signed and numbered bowls and vases—are highly valued collector’s items that showcase geometric and abstract figurative motifs.
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Public Sculpture: His monumental work, Kristallvertikalaccent (The Crystal Vertical Accent), a $37.5$ meter-high glass obelisk featuring 80,000 glass prisms lit from within, stands as the centerpiece of Sergels Torg in Stockholm.
Edvin Öhrström’s work perfectly bridges the gap between the functional design of Mid-Century Modernism and the expressive artistry of 20th-century sculpture, cementing his status as a master of Swedish glass.
