appeal to the market than the former. Everything emotion-charged and chance-related was banished from these works, and form and line were the most important elements. Colour performed the role of establishing a specific space; it approached or receded, depending on its brightness and its relation to other colours. In an article by Þorvaldur Skúlason entitled “Nonfigurative art” (Nonfígúratív list) in the periodical Birtingur from 1955, which was at this time one of the most supportive voices of this movement, he explains the nature of geometric art: A nonfigurative painting is, as was said before, solely a composition of colour and form. There is no third party between the artist and the work, no attempt at representation... All arts are intimately related to the thoughts and feelings of their times and nonfigurative painting is no exception. It incorporates the speed and changeability of the present, and also precision in technique. In this way it interprets the spirit of the times rather than its external appearance.2 II Karl Kvaran studied at the College of Crafts and Arts in Reykjavík from 1942. There he became acquainted with Þorvaldur Skúlason, who was his principal tutor, and there is no doubt that this acquaintance had a powerful influence on Karl. Þorvaldur had at this time recently returned from overseas and, like others, brought with him new perspectives, which gladly challenged the traditional. He painted people and the landscape in strong colours and using simple and strong drawing techniques. Karl later attended the Royal Academy of Fine Arts in Copenhagen and was also in Rostrup Boyesen’s private school from 1945-48. Boyesen placed most importance on drawing, and drawing subjects were limited to Greek statues. When Karl returned to his homeland he formed strong ties with the “September Group” and exhibited with them twice, in 1951 and 1952. Through them he came into contact with the post-war revival of Concretism from the 1920’s. Karl’s first piece of Concrete art was constructed around a juxtaposition of large, straight surfaces, often in primary colours in the style of Mondrian, which abutted but were without definitive outlines. Around 1955 Karl’s works underwent a change and he began to construct pictures from some form of supportive lattice, usually black, and composed of horizontal and vertical lines which were set against a specific background of various colours, which with time became softer and more mixed. These paintings were mainly in oils and gouache. In addition he fashioned mosaics in a similar manner, for indeed this method was ideally suited to such strong and form-bound composition. !n an interview with the lcelandic art historian Björn Th. Björnsson in Birtingur in 1958, Karl explains these latter works in the following manner: I enjoy allowing these soft colours to work in opposition to the rigid support structure. The construction remains immobile while the gentle passage of the colours creates some kind of slow movement in relation to the support forms. And usually it is black which gives rise to the other colours.3 19

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