Troll Fortress

Svavar Guðnason is known for his powerful and vividly coloured abstract paintings, in which line, form, and the interplay of colour take precedence. His exhibition at the Artists’ Pavilion (Listamannaskálinn) in 1945 attracted considerable attention, featuring abstract works he had produced while living in Denmark. The exhibition was considered bold and avant-garde, in keeping with the new abstract art that had gained a foothold on the European mainland at the time. In abstract art, composition, colour, and the handling of paint play a central role, and artists often drew inspiration from children’s art as well as from the art of non-Western cultures, particularly masks. Abstract art came to symbolise artistic renewal in a new world emerging after the devastation of the war. Rather than imitating external models, abstract works emphasised imagination, uninhibited expression, and primal force.

In the summer of 1944, Svavar stayed in the Roskilde Fjord area of Denmark, a region known for its striking natural beauty. There he painted Tröllaborg (Troll Fortress), a work characterised by energetic, chaotic brushstrokes and tones of yellow, green, and red. The painting was most likely executed quickly, with broad strokes applied into wet paint, resulting in a rough, tactile surface. Curving lines generate a sense of movement, while expressive brushwork underscores the painting’s turbulent composition. The power evident in Svavar’s paintings has often been linked to the elemental force of Icelandic nature.

The title Tröllaborg (Troll Fortress) refers to Icelandic landscape and folklore. Although no trolls appear explicitly in the painting, the title evokes associations with elf fortresses and troll churches—natural formations said to be hidden throughout Iceland’s lava fields. The work may symbolise the dwelling place of trolls and the raw energy of nature, or the supernatural atmosphere that characterises stories of these mythical beings. On the left side of the picture plane, hints of vegetation or a dark blue tree can be discerned, and above this appears a reference to mask-like forms, a motif frequently encountered in Danish abstract art.