Freedom and impulsiveness
It is remarkable to see how Andersen’s talent for drawing develops parallel with his descriptive literary skill. It is reflected in the fine drawings and vignettes with which he illustrated his diary of the Harz journey in 1831. He is here beginning to rise above the literary models which characterize his work in earlier years. And here, as agraphic artist, his pen gains the enchanting freedom and impulsiveness which are his distinguishing mark. One sees this in the brilliant vignette of the coach and horses at Liineburg, and especially in the vivid drawing from Rosstrappe where the few bold strokes of the pen are full of flowing life, giving the tension between the steep mountain masses and the view of the distant, sparsely grown landscape. It is done with masterly skill and few means.
Ink-spot fantasy resembling a turban-clad Oriental. Probably from the mature years of the poet. Kilde: Odense Bys Museer
The fact that Andersen’s style has often been called graphic stems from his particular vision, from his feeling for nature, landscape, space and its lighting. He is undoubtedly one of the world writers who have best succeeded in imbuing and enriching his narrative style with qualities and characteristics otherwise known chiefly from painting. It goes without saying that the notes made wherever he went played no small part in his writing, especially as regards the nature-descriptive aspect of his work. And the critical sense and economy evident in the selection of particular themes recorded with the immediacy of first experience in the diaries, when he came to work them up for various purposes afterwards, as in The Improvisatore, A Poet’s Bazaar and The Fairy Tale of My Life, are wholly admirable. Indeed, this side of his writing puts him fully on a level with the finest Romantic landscape painting.