Ingálvur av Reyni

Ingálvur av Reyni, 1920-2005.
Reytt regn (Roter Regen), 1980, 66x50cm, Kunstmuseum der Färöer. Briefmarke von 1999
Reytt rain (red rain), 1980, 66x50cm, art museum of the Färöer. Stamp of 1999

Ingálvur av Reyni [ˈɪngɔlvʊɹ ɛau ˈɹɛinɪ] (* 18. December 1920 in Tórshavn, Färöer, † 26. November 2005 ebenda) was a färöischer painter and commercial artist there „ of the second generation so mentioned “. It is considered as one of the prominent representatives of the nordischen modernism in 20. Century.

See also: färöische art

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Ingálvur was born 1920 as a third and youngest son of the buyer Jens av Reyni (1886-1948) and Christine Jacobsen (1881-1991) in Tórshavn. The surname av Reyni goes back on Høgareyn, a part of the peninsula Tinganes. Originally were called its ancestors on the paternal side Jensen, but around 1910 they took after this quarter on a proceeding not uncommon on the Färöern to the names, in order to stress the own local roots. Nevertheless parents had already pulled before his birth of Høgrareyn into the Niels Finsensgøta corner Kongagøta, where its father operated a book shop.

In this book shop Ingálvur came av Reyni promptly into contact with the forming art and began to be drawn as its older brothers Jens Pauli and Sigird. Some these child designs are today still received. he saw the first time of three pictures of the färöischen picture art pioneer Sámal Joensen Mikines in the Weihnachtsheft Jól to 1933 in the book shop í Føroyum. To its people school leaving 1935 it drove as a Schiffsjunge to sea, whereby it and others to Hamburg, cladding and into the Netherlands arrived. At home in Tórshavn it began book binder teachings.

Its father however gave the book shop up, became a director of the first färöischen steam shipping company, late chairmen of the general insurance company of the Färöer, and finally he operated overseas trade in the larger style with his own enterprise.

In the age of 16 years it was already clear the young Ingálvur that he wanted to become painters. From that time its first Ölgemälde Ingutrøð ( 1937, 14x26 cm, in the possession of the artist) originates, which shows the messuage of its grandmother Inga in Tórshavn. it went to 1938 to Copenhagen at Bizzie Høyers indication school, starting from 1942 then on the there academy of arts and starting from 1944 additionally on the graphic school. Both locked it 1945 . To the British occupation of the Färöer in the Second World War returned his homeland islands. A great many the färöischen intellectual ones were at that time forced to spend the war years in German occupied Denmark.

To 12. January 1946 married Reyni in Tórshavn the nurse of the same age Elsa Petrine Thomsen from Porkeri. 1947 it had its first exhibition on the Färöern as well as the Grafikerin Elinborg Lützen.

the painter

Húsavík, 1954, 76x100 cm, private property.

Ingálvur av Reyni revolted itself in the consequence with its expressionism against epischen contents of the art of its predecessors and the painting on new ways led. A clear koloristischer French clay/tone makes itself valid in its art. The artistic roots proceed from Cézanne and Matisse .

Sometimes Reyni is called „to few provinzielle färöische painter “, who can maintain ground as Kosmopolit with its work likewise in each x-arbitrary art metropolis of this world. Vordergründig may be connected this with the fact that the direct purchase to the färöischen naturalism in the typical landscape painting and the influence „of the over father are only insignificantly recognizable “Sámal Joensen Mikines.

The enormous nature, which affects the Färöern directly on the sense of face of each painter, is however very probably the all-comprehensive topic of Reynis art. The difference with it: Nature is noticed from the inside, as structures, sounds, fragments of a cosmos, which brightens possibilities for a pictorial work with forms and movements, colors and rhythm contains. The expression of nature becomes the concept for a ever more strongly abstracting stylistic idiom. In light-through-flooded landscapes, Interieurs and figure pictures from the 1940er and 1950er years is characteristic the cubist simplification of the motive. The lines and forms of nature are part or basis of the cubist inspired, strict composition of the picture, which is released from all irrelevant elements. The work of art becomes at the same time a picture of the internal and outside reality. Ever stronger contrasting colors are confronted, reached up to the end of the 50's a high point in the daring Gegenspiel by complementary colors.

Genta (girl), 1986, 80x65 cm, in the possession of the artist.

1958 it traveled together with the compatriot and artist colleague Hans í Mikladali to a first study travel to Paris, which it visited 1973 and 1979 again. The three Paris stays are generally considered as its most important journeys abroad.

A special exhibition in Tórshavn 1961 was innovative - here for the first time a directly abstract view of nature was shown. The paintings had names such as Kurpali (disorder) and Sjón í fuglaeyga (view of the bird eye). This exhibition quit itself the reversal to the nonfigurativen art on Ingálvur av to Reyni busy not at one time in the 1960er and at the beginning of the 1970er years with the motive for landscape like never before, even if much abstracts, in particular with the central topic locality at the sea. The color attitude does not change from flaming the strong clear colors over bright, by any means dry grey tones up to the jet black register.

A series at works of the 70's consists so a Trilogie in the possession of the färöischen art museum of abstractions over groups of figures and carries titles such as girls and humans at the sea -. In the last years Ingálvur was av Reyni predominantly abstract painter, if this expression for nonfigurative art can be used, which develops on the sounds and structures of nature. In its broadly painted, usually large and resoluten compositions the work of art breaks from the inside out course. Warm Erdfarben glow from the lower situations, bubble during the contact with cold grey color surfaces and are others into fire. The drama exists in the fight of the colors and the dynamic motion of the brush lines. The rhythm is marked every now and then by scratching the brush handle in the thick dye film shining from varnish. This is concrete painting.

To 21. September 2004 was announced that the picture Vildbrænding, hærgende is taken up storm (250x380 cm of 2003 , picture) to the collection of the national art museum to Copenhagen. The färöische newspaper Sosialurin calls a large honour and acknowledgment not only for Ingálvur, but for the färöische art altogether.

the commercial artist

the old Tórshavn - stamp series of 1981.

Ingálvur av Reyni is also a outstanding draughtsman. The city with the houses around the port, the ships and boats as well as humans on the road - in particular the old inhabitants of the city - are its preferential motives. Its fortune to record Physiognomien in a only one closed line is impressing. But its many journeys to the European centers of the art caused it also to designs of figures and groups in crowds, Interieurs and streetscapes. The designs show one expressed artistic sense for a precise characteristic. But although the designs are in these cases mentioned more figurativer and more erzählerischer than the paintings, the motive is subjected to the necessities for the line and the strict closed form. In many cases it implemented also nonfigurative designs.

Ingálvur av Reyni arranged so far ten stamps of the Postverk Føroya (four further document a selection of its paintings, see Wikimedia Commons) and several cash notes of the Färöer. Latter honour became otherwise only Janus Kamban and last Zacharias Heinesen too part.


  • William Heinesen: “Ingálvur av Reyni”, in Fra Færøerne volume 1, 1964 (on Danish)
  • William Heinesen: Ingálvur av Reyni: Skitser og more tegninger. Gøta, 1968 (“sketches and designs”, on Danish)
  • Gunnar Hoydal: Ingálvur av Reyni. Tórshavn 1989 (on Färöisch, English and Danish summary)
  • Lars Kærluf Møller (Hrsg.): Ingálvur av Reyni. Fount cross-beam art museum, 1992 (exhibition catalog on Danish)
  • January Kløvstad (Hrsg.): Ingálvur av Reyni. Norðurlandahúsið í Føroyum og Nordiskt Konstcentrum, 1993 (on Norwegian)
  • Finn Terman Frederiksen: Rød rain: EN bent COM maleren to Ingálvur av Reyni. Randers: Randers of art museum Forlag, 1998 - ISBN 87-88075-25-7 (184 S. on Danish, Biografie, analyses of selected works, many color illustrations)
  • Bárður Jákupsson: Ingálvur av Reyni, vatnlitamyndir. Atlantia (Denmark) 2001 - ISBN 87-91052-01-7 (“water colors”, bilingual expenditure, Danish and Färöisch)

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