The son of Oscar Ekegårdh and Anna Hanson, his early musical training likely influenced his artistic sensibility. The Parisian first violin's experience demonstrates a high technical level and an intimate knowledge of the French capital, where he would eventually settle.
His artistic reconversion in 1908 reveals a creative pragmatism: faced with the financial difficulties of being a musician, he transposed his artistic sensibility to painting. This late transition, at the age of 27, demonstrates remarkable determination and an exceptional capacity for adaptation.
His marriage in 1910 to Marguerite Lemaire, herself a renowned painter under the name Marguerite Ghy-Lemm, placed him in a stimulating artistic environment. This professional and personal union probably favored his integration into Parisian pictorial circles.
His recognition was confirmed by his participation in the most prestigious salons: Salon d'Automne, Salon des Tuileries and Salon des Indépendants. His exhibitions in renowned galleries such as Bernheim Jeune and Marcel Bernheim confirmed his position in the Parisian art market.
The works "Decoration" and "Place de la Concorde" presented at the 1928 Salon d'Automne reveal his interest in Parisian urban subjects. His participation in the Swedish Art Exhibition at the Musée du Jeu-de-Paume in 1929 underlines his role as an ambassador of Nordic art in France.
The mention of Claude Lanzmann in "The Patagonian Hare" evokes a troubled episode during the Occupation when Ekegårdh is said to have lent his studio to the future filmmaker's mother, demonstrating a possible solidarity in the face of Nazi persecution. This anecdote reveals a man engaged in the tragedies of his time, beyond his artistic output alone.
