which he returned in 1951. These study-visits, and his discovery of European art, left their mark on his work; some cubistic experimentation, for example, occurs in his work from this period. At the end of the September Exhibitions of 1947,1948,1951 and 1952, a new development began to appear in Jóhannes’s work, coming to fruition in an exhibition he held in the Listvinasalur in 1954. Pure geometric structure now appears, with the canvas wiped clean of all objective material, and the logic of colour and form and mathematical speculations reigning supreme. In the spirit of constructivism dominant in Europe at the time the texture of the composition is smooth and the colours are subservient to the strict structure of line, so that nothing is left to coincidence. But these experiments in constructivism did not satisfy the artistic ideals for which Jóhannes was striving in his work. More introvert statement were necessary. Lyrical expressionism now breaks up the composition, and colours and forms are no longer dependent upon straight lines and pure areas of colour. Jóhannes now begins to wrestle chiefly with colour, its nature and texture, strength and plasticity. He builds up his canvas with a variety of rich, thickly textured areas of colour piled one against another and one on top of another. The flow and rhythm of these areas create the total movement of the composition. But Jóhannes did not stop there, for as the sixties progressed new developments begin to appear in his work. Certain shapes begin to move on the canvas: horse-shoe shapes, circles and parts of circles. These forms become gradually more insistent, finally becoming characteristic ingredients of his work. They form a circular entity in the middle of the composition, where they take on various shapes, introducing a softness and flexibility to the composition and imbuing it with movement. Colours are applied in varying tones which create depth in the composition, while at the same time they are saturated and suggestive, and bear witness to a strong experience of nature. These colours have of late become stronger and brighter, and various colours and shades are thrown into contrast with each other. The colour is

(1) Kápa
(2) Kápa
(3) Blaðsíða [1]
(4) Blaðsíða [2]
(5) Blaðsíða [3]
(6) Blaðsíða [4]
(7) Blaðsíða [5]
(8) Blaðsíða [6]
(9) Blaðsíða [7]
(10) Blaðsíða [8]
(11) Blaðsíða [9]
(12) Blaðsíða [10]
(13) Blaðsíða [11]
(14) Blaðsíða [12]
(15) Blaðsíða [13]
(16) Blaðsíða [14]
(17) Blaðsíða [15]
(18) Blaðsíða [16]
(19) Blaðsíða [17]
(20) Blaðsíða [18]
(21) Blaðsíða [19]
(22) Blaðsíða [20]
(23) Blaðsíða [21]
(24) Blaðsíða [22]
(25) Blaðsíða [23]
(26) Blaðsíða [24]
(27) Blaðsíða [25]
(28) Blaðsíða [26]
(29) Blaðsíða [27]
(30) Blaðsíða [28]
(31) Blaðsíða [29]
(32) Blaðsíða [30]
(33) Blaðsíða [31]
(34) Blaðsíða [32]
(35) Blaðsíða [33]
(36) Blaðsíða [34]
(37) Blaðsíða [35]
(38) Blaðsíða [36]
(39) Kápa
(40) Kápa
(41) Kvarði
(42) Litaspjald