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Augusta Stylianou Gallery 
Sculptures
Ingolf, first settler in Iceland
Biography At a young age Einar proved himself to be an unusual child with an artistic bent. At that time there was little or no tradition of sculpture in Iceland, so Einar moved to Denmark where he attended the Copenhagen Academy of Art. In 1902 the Althing, the Icelandic parliament, awarded Einar a grant to study in Rome for 2 years. He returned from Rome to Copenhagen and settled down there. In 1909, after living abroad for almost 20 years he made an arrangement with the Althing to provide him with a home and studio in Reykjavík. In return, he agreed to donate all his works to the country. Einar designed this combination living and working space in collaboration with Architect Einar Erlendsson, though early plans for the house were designed for him by Iceland's State Architect, Guðjón Samúelsson, but these were never realised. In 1914 Einar was awarded a commission to create a statue of Icelandic explorer Þorfinnur Karlsefni for placement in Philadelphia. In 1917, the day after he married Anne Marie Jørgensen, he and his bride travelled to the United States to complete the work, and today Einar's intrepid Norseman stands on East River Drive in Philadelphia. Several years later, in 1921, his second major North American work was erected when the Icelandic community in Manitoba, Canada purchased a casting of his Jón Sigurðsson statue and had it placed in the Manitoba Legislative Building grounds in Winnipeg. As with the version in Reykjavík, this statue included the bas relief The Pioneers on the base. After two years in America, Einar returned to Iceland where he produced an amazing body of work, none of it seen outside the country. Unlike most other sculptors, Einar worked almost entirely in plaster. This had to do partly with the lack of good modeling clay in Iceland, but it allowed Einar to work on his individual sculptures for years. Spending over a decade on a particular piece was not uncommon for him. Style of sculpture Einar's works fall into three general categories. First, there were the public monuments that he was commissioned by the government to produce. The second group was private commissions that he obtained, consisting of portraits and cemetery monuments. The third collection consisted of the private works that he labored over as he became increasingly and deeply spiritually attuned and reclusive. In this large body of works Einar's spiritual nature is clearly seen, though it is often difficult to describe. The themes for these works are frequently drawn from Christ's consciousness, deep Cosmic spirituality like the eternal, infinite body and consciousness of the universe or God, Icelandic Mythology (Understanding of the so called Norse mythology or North-East, North-West and even Central-European War-Godhs mythology is just a part of Icelandic Mythology and understanding or description of these is mostly derived from the Icelandic one) and Icelandic folk tales. Einar's world is populated by Elfs, "Hidden people" or "Huldufolk", Vættir, Jötnar, angels and trolls, by beautiful women and bold warriors, and most of all a layer of symbolic content that can invariably be felt, but not always understood. A hint to some deeper meaning in Einar's powerful art is for example: "Karma" an eternal law of energy which returns all action towards its origin. Like in Christ's saying that one will reap what one has sown. That same law or eternal principle, changes the will and desires of the psyche or so to speak. This is because of the fed up condition or state of "mind" or psyche. One will eventually be tired and sick of destruction of nature or other people's lives and the desire for constructive live-giving actions will be dominant. One example of this is the sculpture "Skuld" where Einar uses Icelandic Mythological symbolism of "Urdur, Verdandi and Skuld" which were the witches of destiny or "Karma". There are also very positive hints in other pieces of Einar's masterful art, to that, that every being or lifeform is eternal in its essence and evolves and chances on the outer sides or layers or material sides of its consciousness like the body, thoughts and desire. This outer part or detail of the consciousness is not even understood in physics, phenomenon of time, space and matter that is to say. The connection of the soul or rather its eternal and unchangeable part or layer of the whole consciousness to the world of time, space and matter is even further away from understanding except with symbols, and eventually later on, and only with self experience. Henry Goddard Leach (see references) described Einar Jónsson like this: All things considered, Jonsson is unique in the world of art. In recent years Einar's plasters have been cast in bronze and placed in the garden of his home and studio or in city parks in Reykjavík and throughout Iceland. A visit to the Einar Jónsson Museum in Reykjavík is a must for all sculpture enthusiasts who may find themselves in Iceland. Public monuments * The Outlaw - 1900 Private commissions * Memorial to the Eisert Family of Lodz, Poland 1935 Other works * Birth of Psyche - 1915-18
References * Einar Jónsson, Myndhöggvari, Skuggsjá, Bókabúð Olivers Steins SF Hafnarfjörður, 1982 ISBN 84105478 From Wikipedia. Text is available under the Creative Commons Attribution-ShareAlike License
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