Kjarval’s Copenhagen studies came to an end in 1919, when he returned to Reykjavík and staged an exhibition there. Generously, his lcelandic friends bought all the works that were unsold as the affair wound up. But Kjarval was still not satisfied, feeling, it seems, that his energies lacked direction; his restlessness drove him overseas again, first to Denmark, Norway and Sweden - but before year’s end, he had made his way to Rome. Kjarval spent a good deal of time in museums and galleries in Rome, Florence and Naples; he made drawings of buildings, archi- tectural relics, and people - along with sketches of Giotto’s and Michelangelo’s frescoes. Although all this must have been highly instructive for the painter, his experiences in Italy left him more or less undecided about what course he should take, and therefore Kjarval returned to lceland in 1922. Kjarval’s pictures from the period immediately after 1925 are suggestive of his state of mind. It seems that his first refuge was a world of fantasy - reflected in highly stylized, almost primitive works displaying saint-like characters and ships remini- scent of fairy tales. But in 1927, he went to eastern lceland and turned with great vigour to stark reality: drawing of plain farm folk in the region. The following year, Kjarval pulled up stakes once again and went to Paris. There is every reason to believe that he frequented Paris galleries with his accusto- med enthusiasm for such institutions. The French summer and the works of the impressionists gave him new inspiration; it found expression first in bright and lucid paintings of scenes in the Fontainebleau forest. After Kjarval went back to lceland, he turned the full range of his Paris experiences to good advantage - in light landscape sketches, in stylized pictures of people that call to mind ancient Egyptian art, and in curious abstract compositions. The lastly cited works testify to his familiarity with Cubism - an influence he may have been exposed to already as a student in Copenhagen - and to his private judgement, or misunderstanding, of that school. Although a Cubist framework can be detected in many of these pictures from 1929, they suggest that Kjarval benefitted more from studying purely abstract art or vivid Futurist works by painters like Gino Severini. This stage in his career amounts to a digression, best explained as a new tack in his continual searching for bearings, but the approach shows up indirectly in many of his later landscapes - where lava tracts and cliffs are rendered as a patchwork of tiny units. 60

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