Monday, August 29, 2016

Halldór Laxness

This week I don’t have cool pictures I took myself regarding this week’s subject, the author Halldór Laxness.  We tried really, really hard though, and it’s kind of a funny story.  My mom looked up where Laxness is buried on Find A Grave, a pretty good site for that sort of thing.  Find A Grave says he’s in Fossvogskirkjugarður, in Reykjavik.  Getting there was in and of itself an adventure and a pain, but we finally made it.  We had the picture from Find A Grave to go on and we were all set.  It fairly quickly became apparent that this was not where Laxness is buried.  Fossvogskirkjugarður is very woodsy and, while over a sort of bay, there’s no way that you can see mountains and a river and all that, like in the picture from the website.  Fossvogskirkjugarður is very pretty and has some really neat stuff, but it’s not what we were looking for, so we called it a night.


After googling and finding the Wikimedia Commons link, we find out that he’s actually buried in the cemetery at Mossfellskirkja in Mossfellsdalur – near Reykjavik, but not workable in the time we had left in the area.  So, no actual pictures from me of anything Laxness-related.  This one is from Find A Grave (so you can see what we were looking for!).  I was told, though, that a building we walked by down the main street in Reykjavik is where he was born, but my cousin wasn’t quite sure of the exact building, so no photo of that either.  On to the actual, brief history of Halldór Laxness.


Halldór Kiljan Laxness was born Halldór Guðjónsson on April 23, 1902 in Reykjavik, Iceland.  His family lived in Reykjavik until 1905, when they moved out of town to Mosfellsbær.  I didn’t find a whole lot on young Halldór, but it is known that he was writing from a young age.  In the winter of 1915-1916, Laxness went to the technical school in Reykjavik, and in 1916 he published his first piece, an article, in the newspaper Morgunblaðið.  A few years later, in 1919, Laxness published his first novel, Barn náttúrunnar: ástarsaga (Child of Nature: A Romance).  Around this same time, Laxness began travelling through Europe.
This was a crucial point in Laxness’s life in that this is when he went from Halldór Guðjónsson to Halldór Kiljan Laxness.  In 1922, Laxness joined the Abbaye Saint-Maurice-et-Saint-Maur in Luxembourg, and in 1923 he was baptized and confirmed in the Catholic Church as Halldór Kiljan Laxness.  Laxness was taken from the farm he grew up on, and Kiljan was for the Irish martyr, Saint Killian.  At the Abbaye Laxness practiced self-study, studying French, Latin, theology, and philosophy.  He also joined a group that was praying for the Nordic countries to convert back to Catholicism.
This religious period didn’t last long though; from 1927 to 1929, Laxness was living in America and “he became attracted to socialism” (1).  Influenced by this and Upton Sinclair, whom he also befriended, Laxness wrote 1929’s Alþýðubókin (The Book of the People).  At this same time Laxness decided to give his go at writing screenplays and moved to Hollywood for a time; he was a big fan of Chaplin’s film City Lights.  In 1929, Laxness faced deportation, probably in part due to his socialism, and “Sinclair and Stephen Crane’s daughter, Helen, intervened” (2).  In the 1940s, Laxness would translate some of Sinclair’s and Ernest Hemingway’s works into Icelandic.
Despite, or maybe because of, this, Laxness moved back to Iceland in 1930 where he “‘became the apostle of the younger generation’” (3).  Laxness was quite prolific in this period, writing the first two parts of Salka Volka, and Fótatak manna (Steps of Man), as well as short story collections and essays.  In 1934, Sjálfstætt fólk (Independent People) was published.  If you’ve heard of Laxness and his work, it’s probably this book, partly because in 1946 Independent People was chosen as a Book of the Month Club selection and sold over 450,000 in the United States.  Because of his socialism and some regard for the Soviet Union, Laxness was investigated by J. Edgar Hoover, and Hoover wanted to keep the royalties Laxness earned out of “red Icelandic hands” (4).
In 1948, Laxness had a house built outside of Mosfellsbær and began a family with his second wife, who also worked as his secretary and manager.  At this time the US was developing a permanent military base in Keflavik (about an hour from Reykjavik).  They had had a base there during the Second World War and wanted to extend it.  Laxness wrote a satirical piece, Atómstöðin (The Atom Station), about this, and it’s probable that this added to the US’s dislike of him.
In the 1950s, accolades began to flow in for Laxness.  In 1953, he was awarded the World Peace Council Literary Prize, a Soviet-sponsored prize.  In 1955, he was awarded the Nobel Prize in Literature “‘for his vivid epic power which has renewed the great narrative art of Iceland’” (5).  He is Iceland’s first and only Nobel laureate.
In the 1960s Laxness was active writing and producing plays in Iceland.  In 1969 he won the Sonning Prize, a prize “awarded biennially for outstanding contributions to European culture” (6).  Throughout the 1970s and 1980s he continued to write essays.  As he grew older, though, he developed Alzheimer’s and moved into a nursing home, where he died at age 95.


Laxness’s home and garden, Gljúfrasteinn, is now a museum run by the Icelandic government.  One of his daughters is an Oscar-nominated director.  A biography of him “won the Icelandic literary prize for best work of non-fiction in 2004” (7).  Laxness’s legacy lives on in Iceland.

1, 3, 5 - Halldór Laxness

Monday, August 22, 2016

Something new: Article round-up.

We're going to try something different going forward for a while.  Rather than trying to scramble and research and put together a post every week, I'm going to switch to every other week for new posts.  But!  I'm still going to have a new post every week, but the in-between weeks will be a sort of article round up of things I've read or found interesting this past week.

Annie Edson Taylor and Niagara Falls.  (Bonus: Taylor makes an appearance in Murdoch Mysteries, season 7, episode 1, "Murdoch Ahoy".)
Until next week!

Tuesday, August 16, 2016

Einar Jónsson

            First off, apologies this wasn’t up yesterday.  There was an issue at work and I was called in early, before I had time to schedule this to post yesterday.  So here it is a day late, but no worse for wear. ;)
            So if you remember back two weeks to the pictures from the south of Iceland, you might remember a picture from out in the sculpture garden at the Einar Jónsson Museum in Reykjavik.  I fell in love with those sculptures the first time I was in Iceland, and being able to go back in go in the museum and see more was just wonderful.  I figured who better to learn a bit more about than Einar.  I didn’t find a whole lot of varying information on Einar, so this might be a bit brief, but I’ll try and make up for that with pictures.


            Einar Jónsson was born on May 11, 1874 at Galtafell, the family farm in southern Iceland.  There isn’t much known about Einar’s childhood other than that he had “an artistic bent” (1).  We know he went to Reykjavik for the first time when he was fifteen, and first saw parliament and the paintings there.  When he was seventeen, he moved to Reykjavik and began to learn English and drawing (2).
            At this time there wasn’t a heritage of sculpting in Iceland.  In 1893 Einar left Iceland for Copenhagen, Denmark, where he first learned wood carving.  He then began learning true sculpting, and took night classes. (3)  And from 1896 to 1899 Einar studied at the Royal Danish Academy of Fine Arts in Copenhagen.  Einar studied under the Danish sculptors Vilhelm Bissen and Theobald Stein.  Beginning in 1902, Einar studied in Rome on a grant from the Althing (Icelandic Parliament).
            This time in Rome seems to have shifted something in how Einar worked.  While living in Rome he was able to visit throughout Germany, Austria, and Italy.  When he left Rome, Einar “completely rejected naturalistic depiction and publicly criticized the classical art tradition, which he felt had weighed artists down” (4).  Einar became focused on the need for artists to figure out their own style and path, following what they wanted to do rather than trying to follow what others had done.
            Personally, Einar turned to German symbolism, also using personification and allegory in his pieces.  He also became interested in the teachings of Emanuel Swedenborg and theosophy, working this into his art as well.  While he was concerned about these abstract themes, he also wanted his art to be accessible and so always used concrete imagery that the public would understand and interpret themselves. (5)


            In 1909, Einar made a deal with the Althing.  They would build him a home, studio, and museum (all in one), and he would donate all of his works to Iceland.  It took some time, but in 1914, the Althing accepted this proposal.  Parliament pitched in for one-third of the cost and a national collection was taken up to provide for the other two-thirds. (6)  For his workspace/museum, Einar chose the highest point in Reykjavik and built the building to his own plans, though officially it was designed with Einar Erlendsson.
            Throughout this whole time he was away from Iceland, he was still creating Icelandic works either on his own or through commissions.  In this period he created “The Outlaw” (1900), “Jónas Hallgrímsson” (1907), and “Jón Sigurðsson” (1911); the statues of Jónas Hallgrímsson and Jón Sigurðsson are both displayed in Reykjavik.  He also took commissions for statues of Ingólfur Arnarson (in Reykjavik) and Þorfinnur Karlsefni (in Philadelphia; a second in Reykjavik).


(A note on all these people: Jónas Hallgrímsson was a poet and author; Jón Sigurðsson was a saga expert and politician who led Iceland’s independence movement; Ingólfur Arnarson, with his wife, was the first permanent settler in Iceland and founded Reykjavik; Þorfi.nnur Karlsefni was an explorer whose son, Snorri, was the first European child born in North America.)


            At this time, in 1917, Einar married Anne Marie Jørgensen (Anna Jörgensen).  Together they travelled to the United States so Einar could continue work on the statue of Þorfinnur Karlsefni.  This statue was the first part of a bequest to “create a series of sculptures ‘emblematic of the history of America’” (7).  In 1920, Einar and Anne moved back to Iceland, and the following year his second major North American work was commissioned: a statue of Jón Sigurðsson for the Manitoba Legislative Building in Winnipeg.
            Finally, in 1923, on Midsummer’s Day, the Einar Jónsson art museum opened.  This was the first art museum in Iceland.  The museum was on the main floor, Einar’s apartment was on the upper floor, and his studio was on the lower floor.  These positions shifted slightly over the years as Einar and Anne grew older and couldn’t move throughout the building as easily, including a building out back in what is now the sculpture garden.
            Einar and Anne put work into the garden out back, and some of the bronze casts in the sculpture garden were cast while he was alive.  Einar died October 18, 1954 at the age of 80; Anne died October 2, 1975.  The sculpture garden didn’t open until June 8, 1984.


            Einar Jónsson wasn’t like most sculptors.  Most sculptors work in clay, but due to the geologic makeup of Iceland, there wasn’t the clay for him to use.  Instead, Einar used plaster to create his pieces.  This also allowed him to continue working on a piece for much longer than modelling clay would allow (sometimes up to a decade) (8).  Only towards the end of his life and after his death were his works cast in bronze.
            In addition to the twenty-six pieces on display in the sculpture garden at the museum, Einar created eight public monuments and did at least four private commissions.  In the museum you can see the plasters Einar created for some of his well-known pieces, pieces in the garden, and pieces that were never cast in bronze.  It’s a really wonderful museum and it was great being able to travel throughout Iceland and see his pieces across the country.




Monday, August 8, 2016

Iceland Part Two

Part two of my Iceland trip, the north.  We spent about half our trip in the south and half in the north.  We probably did a little less technically in the north because a decent part of it was spent at the amazing family reunion.  We still saw quite a lot though, but some things had to be missed.

Goðafoss, where the pagan idols were thrown away during 
Iceland's conversion to Christianity.

Dimmuborgir, this amazing lava formation park.
(For any Game of Thrones fans, the Wildling camp was shot here.)

Akureyrikirkja.

Puffins!  We went to Grimsey, to the Arctic Circle and there
are puffins everywhere!  I've seen puffins before,
but they're never not awesome.

Arctic Circle marker on Grimsey.

Laufás, where I worked for a few weeks in 2007.
It's a turf house that is run as a museum.

Looking down into the fjord that Akureyri sits on.

Icelandic horses at the family farm.

Munkaþverá.  The reunion was for descendants of people buried
at this church - my great-great grandparents.

Grund, where other's of the family are buried.

The magnificent sunset (around 11pm) outside of where the reunion was held.

There's my trip in a very small nutshell.  I could've shared so many other photos, but didn't want to 1) share too much of our trip and 2) get even further away from what this blog is supposed to be.

Next week I'll be back to having historical entries!  Like I said before my trip, they'll probably be Iceland related for a bit. :) 

Monday, August 1, 2016

Iceland Part One

I meant to have a post last week, but with getting back from Iceland and getting back into work, it didn't happen.  But!  I'll have two posts with my photos, and then we'll get back to regularly scheduled, historical blog posts.  Anything else will (hopefully) be supplementary, not taking the place of posts like it's become much much too often.

Here's from the first part of the trip, Reykjavik and various other places in the south.  Part 2 will be in the north.

The famous Viking boat sculpture in the Reykjavik harbor.

Statue of Jón Sigurðsson, across from the Alþing.

Hallgrimskirkja from the back/side.  The main church in Reykjavik.

In the sculpture garden at the Einar Jónsson Museum, with Hallgrimskirkja in the background.
This museum was wonderful.  I went to the sculpture garden last time, but didn't go in;
this time we went in and it was really worth it.

Waterfall in Þingvellir, where the first parliament was held and where the
North American and European plates are separating.

Þingvellirvatn.

Strokkur.  This is at the same location as Geysir, the first geyser,
but Geysir doesn't go off anymore and Strokkur does regularly.

Gullfoss.

A random waterfall we found on the way to Snæfellsnes.

Icelandic horses.  I don't know if you can tell from this photo, but Icelandic
horses are shorter than other horses.  They're a special breed that is kept isolated.
They also have their own gait that no other horse breed has.

A random beach on Snæfellsnes.

Snæfellsjökull (glacier).

Just some cool rocks and fog on the way north.

I tried to pick a variety of pictures that show how varied Iceland can look.  It's such a gorgeous country.  Next week - the north!