The White Falcon - 29.01.1971, Blaðsíða 4

Page 4
THE WHITE FALCON
January 29, 1971
Reflections in Icelandic painting:
‘Poet of colors’ -Gunnlaugur Blondal
by OT3 Ken Burrows
In more recent years it has
been the contention of many Euro-
peans, and Icelanders as well,
that Gunnlaugur Bldndal is a prime
example of Icelandic influence in
the field of painting.
Blondal, bom on Aug. 27, 1893
in a northeast district of Ice-
land, came from a family which
had been noted for its artistic
talents. Blondal was unique as a
native painter, for it is said
that he perhaps acquainted his
own country with a beauty that
had rarely been captured by any
other Icelandic landscapist. Any-
one chancing to pass through the
National Museum of Art in Reykja-
vik will naturally be drawn to
the vivid colors of his work.
Gunnlaugur was a severe indi-
vidualist and although his col-
or scheme may have been influenc-
ed by the French Post Impression-
ists, he remained apart from them
enough that his style and color
usage was respected by the French
as a fresh addition to European
art.
Known as a "poet of colors",
Blondal attracted attention early
in his youth. His remarkable sen-
sitivity was first discovered by
the Norwegian painter Christian
Krohjj, who immediately put Gunn-
laugur under his influence and
training in Oslo. It was in Oslo
that the young Blondal first came
in contact with the dramatic
strength of Matisse and Renoir,
who were holding exhibitions in
Norway at the time. Blondal iden-
tified not only with their color
schemes, but soon realized that
he must expand farther than the
confines of his Nordic life. As
a result, his life for the next
few years knew little idleness as
he wandered throughout Germany
and Vienna, and he was eventually
drawn to Paris and the studio of
Andre' Lhfite.
In Paris his individuality
first gained sincere recognition,
which may be considered a dramat-
ic step for the French, who con-
sidered France the whipmaster of
art in the Western World. Blondal
began holding frequent exhibi-
tions with Braque, Picasso, Dufy,
and Millet and succeeded in plac-
ing himself in the ranks of Eur-
opes finest. Many of his paint-
ings found their * way into French
and other national museums, re-
maining as a testament to his viv-
id portrayal of an Iceland few
have the eye to see.
Blondal returned to Reykjavil^^^k
in 1940, wherehe finally settled,
content to do portraits which a-
bound in interplay and extrava-
gance of color. As all artists
must eventually find a style and
color theme, Blondal was attract-
ed to the variations of blue and
yellow, which can be seen in "A
Lady from Sudan" and the "Herring
Pickers." His treatment of wom-
en as sensitive and proud cast
both a mythical and distinctive
air that Iceland alone can create.
Blondal can be noted to be a
forerunner of modem Icelandic
painting and a true product of
his native land. He has reflec-
ted the coolness and uniqueness
of a land which is both remote
and extreme, and countered with
people of courage and sever^^B
pride. These dramatic elements^^
that Europe rarely identifies
with, challenges of land and sea,
have long been buried aspects of
European emotion.
Review and interview
Art in Iceland has begun. In
next week's issue there will be an
interview with the notable sculp-
tor, Asmundur Sveinsson. In weeks
to come the scope and depth of
the column will expand with re-
views ranging from the national
theater to the national symphony.
There will also be interviews
with prominent writers,musicians,
and photographers who are either
visitors or call Iceland thei^^
home.
It is with regret that thi^^
column was not initiated early
enough to cover the Led Zeppelin
concert. Iceland in Art will at-
tempt to be both current and time-
ly with 'regard to any special
performances or exhibitions of
importance.
This column will not be limited
to anything I might be biased to.
Art masquerades in many forms,
both past and present. Art has
perhaps the most indefinable con- •
cepts; it is a personal experience.
The ideas and thoughts of the read-
er weigh considerably more when
we consider that Picasso's fortune
rests solely on opinion. Values
constantly change, and in the
midst, art becomes society's ve-^^
hide and line of expression
Information or criticism is more^^P
than welcome for this is not a
column that is singular in nature.