DOI issue:
No. 361 (April 1923)
DOI article:Cowl, Richard P.: Einar Jónsson: Icelandic sculptor
DOI Page / Citation link: https://doi.org/10.11588/diglit.21397#0221
EINAR JONSSON, ICELANDIC SCULPTOR
“ EVOLUTION.” BY
EINAR JONSSON
small room, I am content, for it is not
likely that one will die of hunger in our
somewhat cold but glorious land, Iceland/'
He then refers to the decision of the
Icelandic Government to bring his works
to Reykjavik. “ I am glad that my works
will be brought home. . . . Naturally,
I would like to be able to sell some of my
works abroad, not for the money's sake,
but because I wish that others as well as
my countrymen should know them. But it
is evident from the fact that I go my own
way that I shall not be able to sell my
works ; and assuredly Iceland will not sell
them after I am dead." 000
The letter concludes with a characteristic
reference to the vice of imitation in art.
It is strange to see all artists, so to say,
tied to one and the same string. But to the
best of my knowledge there is nothing so
dangerous to art as precedent and custom.
I have been in Italy, Hungary, Austria,
Bohemia, Germany, England and Denmark,
and I have looked at many collections of
works of art in these countries. But every-
where I have seen the same thing, the same
custom and fashion in art, which is ever
recurring and spoiling everything, and
settles on and infects all young art. . . .
Moreover, if an artist becomes the fashion
—and I know nothing worse that can
happen to him—he immediately gets a band
of disciples and imitators around him.
Rodin, for example, is worthy of all
respect; but only look at all the imitators
who have sprung up around him like
mushrooms. Tendencies in art are an
abomination: in art there should be neither
leaders nor followers. Art should always
come from within, and not solely from
without. I repeat what I said before, that
I respect all sincere art, even though it rests
upon imitation." 0000
Jonsson's works may be roughly classi-
fied as follows :—(1) Compositions based
upon old Norse mythology or folk-lore ;
201
“ EVOLUTION.” BY
EINAR JONSSON
small room, I am content, for it is not
likely that one will die of hunger in our
somewhat cold but glorious land, Iceland/'
He then refers to the decision of the
Icelandic Government to bring his works
to Reykjavik. “ I am glad that my works
will be brought home. . . . Naturally,
I would like to be able to sell some of my
works abroad, not for the money's sake,
but because I wish that others as well as
my countrymen should know them. But it
is evident from the fact that I go my own
way that I shall not be able to sell my
works ; and assuredly Iceland will not sell
them after I am dead." 000
The letter concludes with a characteristic
reference to the vice of imitation in art.
It is strange to see all artists, so to say,
tied to one and the same string. But to the
best of my knowledge there is nothing so
dangerous to art as precedent and custom.
I have been in Italy, Hungary, Austria,
Bohemia, Germany, England and Denmark,
and I have looked at many collections of
works of art in these countries. But every-
where I have seen the same thing, the same
custom and fashion in art, which is ever
recurring and spoiling everything, and
settles on and infects all young art. . . .
Moreover, if an artist becomes the fashion
—and I know nothing worse that can
happen to him—he immediately gets a band
of disciples and imitators around him.
Rodin, for example, is worthy of all
respect; but only look at all the imitators
who have sprung up around him like
mushrooms. Tendencies in art are an
abomination: in art there should be neither
leaders nor followers. Art should always
come from within, and not solely from
without. I repeat what I said before, that
I respect all sincere art, even though it rests
upon imitation." 0000
Jonsson's works may be roughly classi-
fied as follows :—(1) Compositions based
upon old Norse mythology or folk-lore ;
201