Icelandic art

Icelandic art has been built on northern European traditions of the nineteenth century, but developed in distinct directions in the twentieth century, influenced in particular by the unique Icelandic landscape as well as by Icelandic mythology and culture.

Contemporary Icelandic painting is typically traced to the work of Þórarinn Þorláksson, who, following formal training in art in the 1890s in Copenhagen, returned to Iceland to paint and exhibit works from 1900 to his death in 1924, almost exclusively portraying the Icelandic landscape. Þorláksson was not the only Icelandic artist learning in Denmark at that time: there were several Icelanders, both men and women, at the Academy in the closing years of the century, and these included Ásgrímur Jónsson, who together with Þorláksson created a distinctive portrayal of their home country's landscape in a romantic naturalistic style.

The distinctive rendition of the Icelandic landscape by its painters can be linked to nationalism and the movement toward home rule and independence, which was very active in this period. Other landscape artists quickly followed in the footsteps of Þorláksson and Jónsson. These included Jóhannes Kjarval, Jón Stefánsson, and Júlíana Sveinsdóttir. Kjarval in particular is noted for the distinct techniques in the application of paint that he developed in a concerted effort to render the characteristic volcanic rock that dominates the Icelandic environment.

Abstract art became prominent in Iceland in the mid-twentieth century, spearheaded by artists such as Svavar Guðnason and Nína Tryggvadóttir. However some of the country's prominent artists working in that period eschewed abstractionism, such as Gunnlaugur Scheving who instead favoured narrative content and an approach to colour and form possibly influenced by fauvism and cubism; and Louisa Matthíasdóttir, based in New York, who learned from abstract expressionism but nevertheless painted from life.

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