DOI issue:
No. 241 (April 1913)
DOI article:Studio-talk
DOI Page / Citation link:https://doi.org/10.11588/diglit.21160#0269
Studio-Talk
critic who loves to find the classified place for
every artist is nonplussed. Evidently Einar Jonsson
does not belong to any school. With every piece
of work he has wrought he has had something
special to tell. Through the beauty of the lines
formed in clay under his hands he tries to reveal
truths—truths which he often merely feels like a
prophet, and which are left for the future to ex-
pound. Thus the artist, in Einar Jonsson's eyes,
has a double aim—to be a maker of things
beautiful and at the same time a seer; in other
words, plastic beauty ought to be a vehicle for the
artist's prophetic visions. A striking example of
this is to be seen in Jonsson's Waves of the Ages, here
reproduced (p. 248). InhisartEinar Jonssonisnever
the slave of dogmas, and he follows them only if they
happen to harmonise with his instincts. The old
masters have not taught him anything, only, perhaps,
this, that he, like themselves, will pursue his own
way and build from his own ground. For the sake
of those who are not conversant with Icelandic
history, it may be as well to explain that Ingolf,
whose memory is perpetuated in the monument
here illustrated, is reputed to have been the first
man to settle in the island, having, according to
tradition, arrived there in the year 874 and been
buried in the mountain shown in one of the
reliefs at the base of the monument, at the spot
above which hovers a figure symbolising Liberty.
In the other relief, the three figures are those of the
Norns or Fates of Northern Mythology.
B. de Linde.
PHILADELPHIA. — The Temple Gold
Medal was awarded by the Pennsylvania
Academy of Fine Arts to Mr. F. C.
Frieseke for his painting entitled Youth,
exposed in the One Hundred and Eighth Annual
RELIEFS ON THE BASE OF THE MONUMENT TO INGOLF
246
BY EINAR JONSSON
critic who loves to find the classified place for
every artist is nonplussed. Evidently Einar Jonsson
does not belong to any school. With every piece
of work he has wrought he has had something
special to tell. Through the beauty of the lines
formed in clay under his hands he tries to reveal
truths—truths which he often merely feels like a
prophet, and which are left for the future to ex-
pound. Thus the artist, in Einar Jonsson's eyes,
has a double aim—to be a maker of things
beautiful and at the same time a seer; in other
words, plastic beauty ought to be a vehicle for the
artist's prophetic visions. A striking example of
this is to be seen in Jonsson's Waves of the Ages, here
reproduced (p. 248). InhisartEinar Jonssonisnever
the slave of dogmas, and he follows them only if they
happen to harmonise with his instincts. The old
masters have not taught him anything, only, perhaps,
this, that he, like themselves, will pursue his own
way and build from his own ground. For the sake
of those who are not conversant with Icelandic
history, it may be as well to explain that Ingolf,
whose memory is perpetuated in the monument
here illustrated, is reputed to have been the first
man to settle in the island, having, according to
tradition, arrived there in the year 874 and been
buried in the mountain shown in one of the
reliefs at the base of the monument, at the spot
above which hovers a figure symbolising Liberty.
In the other relief, the three figures are those of the
Norns or Fates of Northern Mythology.
B. de Linde.
PHILADELPHIA. — The Temple Gold
Medal was awarded by the Pennsylvania
Academy of Fine Arts to Mr. F. C.
Frieseke for his painting entitled Youth,
exposed in the One Hundred and Eighth Annual
RELIEFS ON THE BASE OF THE MONUMENT TO INGOLF
246
BY EINAR JONSSON