Born 1964 in Copenhagen, Denmark,
where he grew up in a musical home, therefore from his childhood,
Stefan Blöndal was always surrounded by art.
From his 14th year on, Stefan
Blöndal began his artistic career, creating pencil, ink, and
charcoal drawings in a more determined manner in the drawing class
at the famous Danish museum the Glyptotek. And already this year, he
was a prize-winner in a drawing competition in Denmark. "Ever since
he began working seriously, this Danish artist has", as art critic
Alexandra Anderson-Spivy wrote, "resolutely - and consistently -
rejected the theoretical conventions of much contemporary art. He
has, as they say, "marched to his own drummer"".
During these years, his other
passion was birds of prey. He even got an education as a falconer in
England and had his own peregrine falcon at his home. And naturally,
his big detailled drawings reflected this interest.
At the age of 20, Stefan Blöndal
met his future wife, Nina Kavtaradze, a celebrated Russian pianist
from Moscow, who has had an enormous influence on his pictures, both
as a model and a critic. As a matter of fact, it was she, who set
him off with oilpainting, that opened up an entirely new dimension
to his solid background as a black-and-white artist.
In 1987, Stefan Blöndal had his first exhibition "with a collection
of powerful paintings" - (as a critic wrote) - in Copenhagen at the
renowned exhibition hall "Den Frie", (The Independent). Since then,
he has participated in numerous group- and solo exhibitions in
Denmark, Sweden, Germany, France, Monaco, the United Arab Emirates
and England. In France he has received six medals, a "Coup Art et
Création" and one "Award of the Public", at international censored
exhibitions in Nice, St.-Jean Cap Ferrat, Vittel, Nancy and
Art collector Leo Strauss writes:
"The artist shows a distinctive development towards certain ideals.
His creativeness divides into periods, each characterized by a clear
style - from a natural figurative interest, first for the portrait
and nudes, often elaborated in demonized, eroticized female shape,
through free, intuitive artistic display, to mature fascination of
the shapes multiplicity and colour combinations unlimited resources.
Through playful fantasy, richness of the senses and creativity
Stefan Blöndal conveys the gradual melting together of the
philosophy of love versus the magnetism of lust, where light, shadow
and movement, integrated into each other, creates his nonfigurative
genre, characterized by bravura of the brushstroke, enthusiasm and