Lögberg-Heimskringla - 23.10.1975, Síða 3

3
Góður fundur
í gömlum blöðum
Nýverið var dr. Plhilip M.
Petursson að róta við göml-
um blöðum, sem safnast
höfðu fyrir hjá honum. Þar
fann hann smábækling og
eru eftirfarandi vísur rissað-
ar á baksíðu hans. Gamall
vinur séra Philips, Ragnar
Stefansson, skáld( sem nú er
látinn, hafði sett þær niður í
flýti á fyrsta blaðsnepilinn,
sem fyrir honum varð en
ekki skeytt um að gefa þeim
fyrirsögn. Góðu heilli lentu
ekki vísumar í ruslakörf-
uni. Þær eiga erindi til allra
sem unna ljóðum Ragnars
heitins:
Þar gekk hún tígin, grönn og
há
sem gyðjur suðurlanda,
og hvorki gekk hún hraðar
þá
né'hægar en að vanda.
Hún leit til hans og hvarf í
því,
hún hjartans kveðju sendi,
og það var hyldjúp eilífð í
þeim augum, sem hún rendi.
R.S.
Minnist
BETEL
í erfðaskróm yðar
base-lines. Far from it. This is because of
the proximity of neighbours to the west
and east. The median lines between
countries have not yet been fixed.
“As has often been stated, a majority of
nations at the Conference on the Law of
the Sea appear to support the idea of a
200-mile economic zone, but this group
is divided into two main groups and
several sub-groups. On the one hand are
those who desire a 200-mile economic
zone, and on the other those who at the
same time wish to determine a more or
less 200-mile territorial waters limit. We
Icelanders adhere rather to the former
group. We agree, however, that juris-
diction within a 200-mile economic zone
should also include the right of coastal
states to issue some specific minimum
regulations regarding dangers of pollu-
tion—over and above the limits provided
for by intemational minimum standards.
In Iceland’s case, for instance, there is the
question of navigation in ice, which is
always hazardous and requires ships to
be specially strengthened.
“On the other hand, we believe that all
nations should have the right to navigate
freely through straits on international
shipping routes. But I think it is hopeless
to expect the Conference to find solutions
to every problem and to draw up rules
for every case. We do expect it, never-
theless, to achieve results regarding basic
regulations and to lay the basis for con-
tinued discussions on individual ques-
tions. Should this not happen and a
solution of the main problems be delayed
still further, there will in many places be
a danger of further depredation of the
world’s oceans to the detriment of
starving humanity. Icelanders will do
their utmost to save what can be saved
before it is too late’’, were Már Elísson’s
concluding words.
LÖGBERG-HEIMSKRINGLA, FIMMTUDAGINN 23. OKTjÓBER 1975
EMILE WALTERS AT THE WINNIPEG
ART GALLERY
The Canada Iceland Centennial Conference is in a way
lingering into the month of November. Those whose interest
in the Icelandic heritage has been prodded by the varied
cultural events that have taken place in Winnipeg recently,
would do well to visit Gallery 4 of the Winnipeg Art Ga'l-
lery and take a look at the work of Emile Walters. His paint-
ings were placed there to commemorate the arrivel of the
first Icelandic settlers in Manitoba October 21, 1875, and
they will remein on display until Novemlber 2.
The exhibition was organized by the Gallery, and its
assistant curator, Rosa Hoe, reviewed the artist’s life and
career in the Winnipeg Free Press New Leisure Magazine.
Some of the facts related in this piece are drawn from her
article.
Mr. Walters was bom in Winnipeg in 1893, the son of
Icelandic immigrant parents, and he spent most of his youth
dóing odd jobs where they were to be found in Westem
Canada and North Dakota. His career as a painter started to
gain momentum when he went off to study at the Chicago
Art Institute before the age of 30. He lafer went to the
Pennsylvania Academy of Fine Arts, and then was awarded
a fellowship at the Louis C. Tiffany Foundation in Oyster
Bay, Long Island. Then followed summers of teaching at the
Pennsylvania State College, a position he held for 13 years.
To quote Ms. Ho; “It was during this time he formed his
first period, a time of great lyricism and impressionism.’
His early style was influenced by the impressionists —
Twachtman, Monet, Renoir and others. His work from this
period share muoh of the interest and oharacteristics of the
Impresionists. He was interested in depicting the naturaln-
ess of a scene in terms of climatic and atmospheric conditi-
ons.”
A visit to Iceland exposed him to a new environment
and ended the formative period. He stayed there for seven
months and became intrigued by rocks and mountains. He
was exhilerated by the impact but bombarded with probl-
ems in vision, colour and perspective. In the cliar atmasph-
ere of fceland, visual imageries stand out siharply.
The lyrical and impressionistic style he mastered so
well during his formative period would not suffice. He
changed it to one of strong pattem and design. These works
from Iceland were exhibited in many American cities and
were well received. Many were acquired by museums and
galleries all over the world.
A number of honours were awarded to the artist follow
ing these exhibitions of his Icelandic paintings. In 1937, the
Explorers Club of New York made him an active member
in recognition of the exploratory value of his Icelandic
paintings and in 1939, King Christian, then king of Iceland
and Denmark, decorated him with the Icelandic Order of
the Knight’s Cross of the Order of the Falcon.
, •
Again quoting Rosa Ho’s article: “Mr. Walters made
another contribution to Icelandic culture by undertaking a
project of creating visual records of the historic Vinland
sagasteads. These pieces are connected with the discovery
of America by Leif Eiríkson and his fellow explorers in the
years 1000. There are two chapters in the Vinland sagasteads
the Icelandic chapter completed in 1955 and the Greenland
chapter done in 1956. These paintings, done in the interest
of history, strengfh the ethnic and cultural identity of Ice-
landers and others who are of Icelandic descent. Most of the
Vinland sagasteads paintings have been acquired by the
National Collection of Fine Arts of the Smithsonian Insti-
tute in Washington, D.C.” The Winnipeg Art Gallery has
some of these works on loan fbr the current exhibition.
Commenting on the extent of Mr. Waltens’s works, his
friend Lowell Thomas said: “Emile Walters, my fellow
member of the New York Explorers Club.. . when seeking
subjects has travelled from Death Valley to Iceland, from
the Canadian Rockies to New Mexico, pausing en route to
paint the Theodore Roosevelt country of the North Dakota
Badlands. .. he is equally at home with the stark, powerful
beauty of the sub-Arcic and the tender mood of a spring or
faU day in Dutchess County New York.”
Emile Walters himself tells it this way: “I endavour to
paint Nature as I see her in her varied forms, in the last
anlysis Mother Nature is the teacher par Excellence.”
C. G.
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