A Quote by Hallgrimur Helgason

Most early Icelandic paintings are landscapes. — © Hallgrimur Helgason
Most early Icelandic paintings are landscapes.
I've dreamed landscapes for years, and my dreams play an enormous role in my work. In fact, when I first started doing landscapes I felt insecure about painting in this style, and the dreams were like positive omens for me, and I've done a few paintings that were exact replicas of images that came to me in dreams.
I don't think that any Icelandic filmmaker feels like he belongs to Icelandic filmmaking, because nobody really knows what it is.
The most beautiful landscapes in the world, if they evoke no memory, if they bear no trace of a remarkable event, are uninteresting compared to historic landscapes.
There is that interesting thing that Haughton Forrest was imagining the landscapes. They are so dramatic. They are dark, big, gloomy paintings and he was making them during some of the most ominous massacres in Tasmania. Forrest was recording history but missing the human story.
Wherever you look there are inspirations, books, literature, paintings, landscapes, everything. Just living is an inspiration.
My early paintings weren't that good - I was very influenced by Francis Bacon. But there was a kind of intensity there. And however influenced they may have been by other people, even my earliest paintings were recognisably my own.
If the abstract paintings show my reality, then the landscapes and still-lifes show my yearning.
Franz Kline, who became known for his black and white paintings, did a whole series of gorgeous landscapes and wonderful portraits that may still hang in Greenwich Village.
It was a great joy for me to develop a strong female character in the spirit of an Icelandic woman. Icelandic women tend to be very strong and very independent, and I think that came in very handy.
It's probably hard for anyone looking at my landscapes today to realize that I was once regarded as a rebel, a dangerous influence; that I've been told I was on the verge of insanity, that my painting was nothing but meaningless daubs. Lawren Harris, the man most responsible for drawing the Group of Seven together, was accused of something perilously close to treason - his paintings, said his severest critics, were discouraging immigration.
I think my concern is I know my voice, and I know the kinds of landscapes that interest me, so my primary concern is doing the most I can with those voices and those landscapes.
I had a visit from an artist friend who basically said, "Your paintings are wonderful. Now stop." It did resonate with me. It hit on the percolating need for change that was already there. I got a little push. I did a group of the paintings early on that were among the best. It was sort of beginner's luck with these.
I'm the first Icelandic director who started working on U.S. movies. There are others behind me now, but it's like when Bjork opened the door for Icelandic musicians to work abroad. We're such a closed-off country, but Bjork broke the spell. And I'm glad it was a woman who did it. She showed us we could break this barrier.
The spot paintings and spin paintings were trying to find mechanical ways to make paintings.
The black person is the protagonist in most of my paintings. I realized that I didn't see many paintings with black people in them.
Cinemascope has become synonymous with 'epic,' and absolutely if you're shooting armies and certain kinds of vast landscapes, you do want that panoramic canvas to work on. But if you look at art history there's not a whole lot of epic paintings that are in that aspect ratio.
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