{"id":92149,"date":"2015-12-03T18:08:25","date_gmt":"2015-12-03T23:08:25","guid":{"rendered":"https:\/\/www.theparisreview.org\/blog\/?p=92149"},"modified":"2015-12-09T18:00:13","modified_gmt":"2015-12-09T23:00:13","slug":"east-of-the-sun-and-west-of-the-moon","status":"publish","type":"post","link":"https:\/\/www.theparisreview.org\/blog\/2015\/12\/03\/east-of-the-sun-and-west-of-the-moon\/","title":{"rendered":"East of the Sun and West of the Moon"},"content":{"rendered":"
\"\"<\/a>

Kay Nielsen, illustration from \u201cThe Three Princesses in the Blue Mountain\u201d (“No sooner had he whistled … \u201d), 1914. All images \u00a9 Courtesy of TASCHEN<\/p><\/div>\n

If you\u2019ve seen Fantasia<\/em>, you are, whether you know it or not, familiar with the work of Kay Nielsen, a Danish artist whose illustrations collide light and dark in sublime, often disquieting quantities, with patterns of feverish detail abutting vast stretches of negative space. His work was used in Fantasia<\/em>\u2019s \u201cAve Maria\u201d and \u201cNight on Bald Mountain\u201d sequences, but his stint at Disney came late in his career. It\u2019s worth, instead, seeking out his work as a book illustrator, especially 1914\u2019s East of the Sun and West of the Moon<\/a><\/em>, which Taschen has just reissued in a lavish new edition.<\/p>\n

East of the Sun <\/em>comprises fifteen stoical and weirdly moving Norwegian folktales, <\/em>boasting names like \u201cPrince Lindworm,\u201d and \u201cThe Giant Who Had No Heart in His Body.\u201d The stories came hard-won from the folklorists Peter Christen Asbj\u00f8rnsen and J\u00f8rgen Engebretsen Moe, who had spent years in the mid-nineteenth century journeying across the fjords to remote fishing, farming, and mining villages to transcribe the local lore. A cast of trolls, ogres, and witches roots the stories clearly in Norse pagan mythology, but what makes them distinctly Scandinavian, Taschen\u2019s editor Noel Daniel told me, is the outsized, often personified role of the natural world: the North Wind is a character, brawny and menacing, and nature itself is a character, alternately gloomy and glowing. After a four-hundred-year sleep in which Norway had been subjugated to Denmark, tales from the vernacular like these helped to form the country\u2019s national identity. As the art historian Colin White writes in an introduction to the new edition, \u201cSnow, ice, and brittleness determined the character of these northern legends. The clash of sword blades echoed the crack of ice. The crunch of frozen ground was all the more sinister when it was made with an armored foot or a heavily shod battle charger.\u201d\u00a0<\/p>\n

In 1914, the London publishing house Hodder & Stoughton decided to release a lavish, gift-book edition of the tales under the title East of the Sun and West of the Moon<\/em>; they tapped Nielsen\u2014a Dane, ironically, though by then no one seems to have minded much\u2014to contribute illustrations. He contributed a series of watercolors and pen-and-ink drawings that are arguably his finest work. \u201cThe contrast between the seemingly endless winter and the suddenness\u00a0of spring was the world of Nielsen\u2019s upbringing,\u201d White writes, \u201cand he remembered it in his illustrations \u2026 The breadth of Nielsen\u2019s invention can be seen in the many incidental touches.\u201d His drawings are for the most part flat; their depth comes from their dusky, warm colors and patterns. And his figures are almost stereotypically Nordic: pale and idealized, somewhat androgynous.<\/p>\n

\u201cNielsen was attracted to tales of formation, to people striking out on their own\u2014there\u2019s lot of that in this book,\u201d Daniel told me. The work he contributed to East of the Sun <\/em>found him a wide, appreciative new readership. \u201cIn the 1910s and 20s, printing technology was exploding,\u201d Daniel said. \u201cPublishers were invested in representing the artwork: they really wanted to show how great it was. There was a huge diversity in illustration at the time. You had all these artists thriving particularly in European cities, coming out of these art academies, and finally they had a place to show their work to a large audience.\u201d<\/p>\n

These artists didn\u2019t make money on their books; they made money on the art shows that accompanied the launch of the book, where they sold all the originals. Of course, that disperses them to different people\u00ad, which made Daniel\u2019s task a difficult one; she had to track down Nielsen\u2019s originals from private collectors. She was able to find eleven of them, all told.<\/p>\n

Like Arthur Rackham and Aubrey Beardsley, Nielsen was well-suited for gift-book illustration; in 1939, though, when he moved to Los Angeles to pursue work in film, his fortunes began to turn. Daniel explained:<\/p>\n

\n

Artistically speaking, he had a hard time following the drum of the studio. You had certain deadlines, you had certain volume you had to produce, you had a lot of other cooks in the kitchen. And that wasn\u2019t a natural fit for someone like him. It didn\u2019t match the way in which he interprets a story. There\u2019s a lightness and a darkness, a sense of community and a sense of apartness, of isolation, in his illustrations. His sensitivity to that, I\u2019m convinced, came from personal experience. He had these artistic abilities that allowed him to be in conversation with an artistic community\u2014publishers, gallerists, other artists, institutions\u2014but he was also apart from them. He was a very solitary, complex man, and ultimately, as we know from his biography, he did not end life in a very happy place.<\/p>\n<\/blockquote>\n

After Disney laid him off in 1941, Nielsen lived out his remaining years as a chicken farmer; he turned his artistic efforts to murals. \u201cHe died in poverty,\u201d Daniel told me, He had a partner in his wife, but that was basically it. And several attempts to revive his artistic career failed. He knew loneliness. But the work shows his ability to retract and focus entirely on his project, on his vision\u2014that extreme concentration of the line. Nielsen was a man who was able to shut the world out.\u201d<\/p>\n

You can see more of Nielsen\u2019s work below, and\u00a0here<\/a>.<\/p>\n

\"\"<\/a>

From \u201cThe Widow’s Son\u201d (“The Lad in the battle\u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201cThe Widow\u2019s Son\u201d (\u201cAnd this time she whisked off the wig … \u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201cThe Widow\u2019s Son” (\u201cBut still the Horse begged him … \u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201cThe Three Princesses of Whiteland\u201d (\u201cSo the man gave him a pair of snowshoes\u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201cThe Lassie and her Godmother\u201d (\u201cHe too saw the image in the water … \u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201cThe Blue Belt\u201d (\u201cThe Lad in the Bear’s skin … \u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201cEast of the Sun and West of the Moon\u201d (\u201cAnd flitted away as far as they could … \u201d), 1914.<\/p><\/div>

\"\"<\/a>

From \u201dEast of the Sun and West of the Moon\u201d (\u201cThe North Wind goes over the sea\u201d), 1914.<\/p><\/div><\/p>\n

\"\"<\/p>\n

Dan Piepenbring is the web editor of <\/em>The Paris Review.<\/p>\n","protected":false},"excerpt":{"rendered":"

If you\u2019ve seen Fantasia, you are, whether you know it or not, familiar with the work of Kay Nielsen, a Danish artist whose illustrations collide light and dark in sublime, often disquieting quantities, with patterns of feverish detail abutting vast stretches of negative space. His work was used in Fantasia\u2019s \u201cAve Maria\u201d and \u201cNight on […]<\/p>\n","protected":false},"author":38,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[2384],"tags":[1831,12976,20427,20428,20429,9680,20426,228,20425,9609,6122,272,17006,10808,15016],"class_list":["post-92149","post","type-post","status-publish","format-standard","hentry","category-look","tag-disney","tag-drawings","tag-east-of-the-sun-and-west-of-the-moon","tag-fantasia","tag-folk-tales","tag-folklore","tag-gift-books","tag-illustration","tag-kay-nielsen","tag-norse-mythology","tag-norway","tag-publishing","tag-scandinavia","tag-taschen","tag-watercolors"],"acf":[],"yoast_head":"\nKay Nielsen\u2019s Stunning Illustrations for \u201cEast of the Sun...\u201d<\/title>\n<meta name=\"description\" content=\"December 3, 2015 \u2013 If you\u2019ve seen Fantasia, you are, whether you 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