International studio (35.1908)

Studio-Talk


“THE ANTIQUE” BY EINAR JONSSON

the mountains. When the woman died the outlaw
had to bury her secretly in consecrated ground,
or her soul would never find rest. But this was
a dangerous and troublesome task. He had to
carry the dead woman on his shoulders for many
weary miles ; nor could he leave the child behind.
Jonsson, who is possessed of much power and
imaginat:on, has found a pregnant expression for
the grief and the fear of the poor man, weighed
down by his double burden.
Although I do not believe that Jonsson has

much sympathy with the antique, he has endowed
the statue, to which he has given this name, with
much beauty. She holds the shield of the Medusa,
a symbol of the manner in which the antique
hypnotises or, as Einar Jonssen would probably
say, petrifies so many of his fellows, in spite of
which he himself has shown how she, erect and
beautiful, still holds her head high:—a striking
contrast to the realistic Outlaw, beset with earthly
human troubles.

Albert Gottschalk was endowed with most of
those qualities that go to make a great painter—
an almost over-susceptible, artistic temperament,
a passionate love of nature, an instinctive sense
of the beautiful, though not, perhaps, in the
generally accepted sense of the word, a fine, appre-
ciative eye for colour. Strange that with all these
gifts he should have viewed his own work with such
diffidence, and a pity that the generous appreciation


“THE OUTLAW” BY EINAR JONSSON
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