INSIDE SANDZÉN This feature, highlighting a discovery relating to Sandzén from the archives, will be periodically updated on the website and is planned for each issue of Gallery Notes.

The following excerpt comes from the second half of the essay "Birger Sandzén, Artist and Friend," written by Mrs. Paul M (Hortense) Lindberg in 1948. The complete essay may be found in the Summer and Fall 2004 issues of Gallery Notes, distributed free to all members of the Gallery.

Recognition and fame have come slowly to Sandzén, for his style and technique were so new, so different than the art world of the day, steeped in the European tradition, could not quite bring itself to accept this vigorous young artist. His use of color, so startlingly alive it is almost shocking, and his style of painting by robustly applying great, forceful strokes of raw blues and reds to achieve a remarkably pure and beautiful purple, for example, did not win immediate favor. He scorns the "dirty color" that over mixing pigments gets, rather he strives for clear tones set forth in pure colors put close together to obtain just the right shade. . . .

As his reputation grew his influence in the world of art began to be felt more and more. Many pupils came to study under his care, and quite naturally, since "imitation is the sincerest flattery," some tried to copy the work of his technique. But Sandzén never encouraged anyone to copy the work of another: He preferred each one to adapt [adopt?] his own particular style; he, like the energetic pioneers he so admired, worked hard for individuality. Time and again some over-bold aspirant would apply the pigment to the canvas with a palette knife in a vain endeavor to imitate the forceful strokes which are so distinctively Sandzén, only to be told quickly to "scrape it all off and use the brush!" Under his watchful eye, and by his careful instruction and supervision, many young artists have gone out throughout the length and breadth of the land, teaching the precepts of Simplicity, of Big Things, of Clean Color, of Individuality. . . .

He is very proud of the large group of art lovers in the Middle west, and it is his opinion that the center of art will be in that part of America and not in the East. He encourages every honest attempt, whether it be stone sculpture or pottery making, art jewelry or wood carving, iron work or the weaving of beautiful fabrics. In short, anyone who loves beauty for itself and for what it means to the world finds a friend in Sandzén. . . .

Inside Sandzen (2004 summer edition)
Inside Sandzen (2004 spring edition)
Inside Sandzen (2004 winter edition)
Inside Sandzen (2003 fall edition)
Inside Sandzen (2003 summer edition)
Inside Sandzen (2003 spring edition)
Inside Sandzen (2003 winter edition)
Inside Sandzen (2002 edition)
Inside Sandzen (2001 edition)
Inside Sandzen (2000 edition)
Inside Sandzen (1999 edition)
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