later denied that his training had any impact on him:
Johansson disliked the art academy and insisted that his academic training in Stockholm had not had any positive influence on his artistic development. Much more formative, in his view, were the journeys he made between 1909 and 1913 to Germany and especially to Italy, where he had engaged with the painting of the Renaissance and with contemporary Italian art.Above, Shadow in the Bedroom Corner, 1944.
a thing for light:
The light effects in the nocturnal pictures of Eugène Jansson and Karl Nordström had already grabbed his interest around the turn of the century, but it was not until the early 1920s that he began to paint atmospheric cityscapes and scenes of cities lit up at night. For Johansson, the emanation of light was a spiritual phenomenon in which God’s work was revealed: darkness versus enlightenment.Above, Evening after Rain.