He also developed mutual friendship and esteem with a number of prominent painters of the School of Paris, such as Amedeo Modigliani, Michel Kikoine, Chaïm Soutine, Othon Friesz, Jacques Villon, André Dunoyer de Segonzac.

He pursued, over fifty years, and in a total indifference to trends, a landscape artist's work, original and filled with strong poetic intensity.

In Paris, he got acquainted with the large group of Scandinavian artists living in the capital at the end of the 19th century, in particular August Strindberg, Prince Eugen of Sweden, and the painter Per Ekström.

He received his primary education along the places of the family's moves, in schools at Penvern, and Bréhat, in Brittany, then in Gargilesse-Dampierre and Fresselines in the Creuse area.

His artistic education was provided by his father, the painter-etcher-watercolorist sv:Allan Österlind, of post romantic and naturalist inclination, and by his French friends Maurice Rollinat, Maxime Maufra, Jean-François Raffaëlli, as well as by the Nordic community he used to get with, and in particular the swede Per Ekström who taught him the art of painting knife which shall become a feature of his work.

He got inspired by the Paris area (Versailles, Moret-sur-Loing, Rambouillet forest), Northern Brittany (Penvern, Ploumanac'h, Tonquédec, Bréhat, Lannion, Saint-Quay-Portrieux), Finistère (Bénodet, Portsall), Normandy (Honfleur, Barfleur, Yport, Martagny, etc.

), South of France (Arles, Cagnes-sur-Mer, Aix-en-Provence, Vaison-la-Romaine), and also by the Creuse, Corrèze, Sarthe, Touraine, Alps, Lozère (Florac), Cantal (Thiézac), Charente, Pays Basque.

His work ended by large paintings in which warm and cold tones combine in flower bunches with deep substance and landscapes radiant with an appeased inner life.