difficult to determine just what landscape Þórarinn is depicting for he adds mountains, peaks, lakes and rivers purely in the interests of the painting. As a true artist his foremost concern is the work and its demands; he composes the picture in terms of it being a painting, not just a reproduction of the landscape. This is reminiscent of the words of Brancusi: “It is not the external form which is real, but the internal core of things. Thus it follows that no-one is able to interpret anything real by imitating the exterior form”. It may be observed that every year Þórarinn’s sense of colour becomes richer and more acute and he treats colour in such a way that every variation acts on him as an incentive to achieve a unity in the picture. For example the colour can be deepest for a mountain and then it is as though it is stretched and thins, yet remains the same, being simply a different shade. It appears that Þórarinn bases his art and particularly his colour-scale on the harmony of colours in nature. If he were to be classified into any particular movement, he would probably belong to naturalism. But it is not the movement or its name which counts, the only thing that matters is whether the painter is an artist or not - and Þórarinn was an artist - he arrived at the core of life which dwells in nature. But Þórarinn’s marvellous pictures were not his only contribution to the lcelandic visual arts. He worked heart and soul to promote art in the country through teaching and was the instigator of the founding of “Listvinafélagið” (The Friends of Art Society). In addition he initiated the building of the “Listvinahúsið” (The Hall of the Friends of Art) where up and coming young artists could have a chance to show the public their work. Aspiring artists would gladly consult him about their work and always received an enthusiastic reception. He was genuinely enthused by their works, was quick to assess their possibilities and encouraged them to further education if he thought their talents warranted it. One such example was Jóhannes S. Kjarval whom he supported and assisted at all times. Þórarinn undertook the formation of the society Pictor which regularly supplied funds to enable Kjarval to devote himself to art. Þórarinn maintained regular and close contact with other lcelandic artists. He founded a “papershop” as he called it, where he stocked paints, canvas and brushes for the artist and which was thus frequented by many artists. The sculptor, Einar Jónsson, was an old acquaintance of Þórarinn from the days in Copenhagen and whom he greatly admired. When Ásgrímur Jónsson returned home from his studies in 1906 an immediate friendship sprang up between him and Þórarinn although these two, our first 39

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(98) Litaspjald