Faroese Art - The Mothers and Fathers of Faroese Art

The Mothers and Fathers of Faroese Art

The real history of Faroese art starts in the year 1927. This year, three young artists held an exhibition in Tórshavn. Two of these were Sámal Joensen-Mikines (1906–1979) and William Heinesen (1900–1990)

The first, Mikines, came to be known as the father of Faroese art and the first Faroese artist to become internationally recognised. More importantly he was the very first Faroese artist to acquire an artistic degree. Mikines began his education at the Academy of Fine Arts in Copenhagen in 1928 with Aksel Jørgensen and Ejnar Nielsen as his teachers. Mikines was artistically highly inspired by the Norwegian artist Edvard Munch, and had a great admiration for El Greco and Delacroix. His early paintings are naturalistic, but later he became an expressive figurative painter. He was very original in his choice of colour and design. Mikines demonstrated a new approach to substance and form in painting which had a profound influence on Faroese art. He painted funerals, steep mountains and landscapes. His paintings of pilot whaling became important to future artists. He introduced the possibility of allowing the landscape to mirror the painter´s inner life.

William Heinesen was a very different type of artist. Literature was his vocation. Although he considered himself an amateur in visual art, he created some very important works in Faroese art. His imagery doesn't evolve around the landscape. Folktale, satire and everyday life are Heinesen's subjects.

Read more about this topic:  Faroese Art

Famous quotes containing the words mothers, fathers and/or art:

    “In the event of an oxygen shortage on airplanes, mothers of young children are always reminded to put on their own oxygen mask first, to better assist the children with theirs. The same tactic is necessary on terra firma. There’s no way of sustaining our children if we don’t first rescue ourselves. I don’t call that selfish behavior. I call it love.”
    —Joyce Maynard (20th century)

    “Even if fathers are more benignly helpful, and even if they spend time with us teaching us what they know, rarely do they tell us what they feel. They stand apart emotionally: strong perhaps, maybe caring in a nonverbal, implicit way; but their internal world remains mysterious, unseen, “What are they really like?” we ask ourselves. “What do they feel about us, about the world, about themselves?””
    —Augustus Y. Napier (20th century)

    “Fine art, that exists for itself alone, is art in a final state of impotence. If nobody, including the artist, acknowledges art as a means of knowing the world, then art is relegated to a kind of rumpus room of the mind and the irresponsibility of the artist and the irrelevance of art to actual living becomes part and parcel of the practice of art.”
    —Angela Carter (1940–1992)