Wiinblad conquers the theatre scene
There was a special place in Wiinblad’s heart for the theatre, where he could experiment and unfurl his frisky imagination on a broad canvas.
The ballet and the opera in particular captured his interest, and famous actors and theatrical directors were often guests at his lively dinner parties. Wiinblad created the most fantastic and beautifully complete solutions, which maintained a consistent theme in the staging, the costumes, the posters, etc. both in Denmark and abroad.
Famous productions he worked on include: ‘The Nutcracker’, ‘The Swineherd’ and ‘Romeo and Juliet’. And to close the circle, inspiration from the world of theatre was naturally also channelled back into Wiinblad’s figures.
The women – a consistent theme
The women were a consistent theme in the Wiinblad universe and production.
His women displayed a wide range of emotional nuances, and their eyes – specifically, their gaze – were always very special. As a rule, they looked out with openness and curiosity – but with traces of dejection, melancholy and mysticism.
The eyes meant something very special to Wiinblad, so even though he employed a large number of people, he always painted the eyes himself. The personality of the women also found expression through unusual heads and strange, sprout-like ears, short arms, small breasts and angular noses. In other words, the women were intensely ‘Wiinbladian’.
Wiinblad gave them beautiful names: Eva, Cæcilia, Bolette, Celestine, Dyveke and so on.
Wiinblad the industrious employer
Bjørn Wiinblad worked all the time and slept very little. His work energised him.
Ideas and productions flowed from his hands, and his broad network of contacts and delight in creation led him to make extravagant promises. At the same time, he was hugely ambitious. ‘Nothing’s handed to you on a plate,’ was a refrain often overheard by his painter girls.
Wiinblad had the space to be creative because he employed a great many people to mould and paint figures, and to take care of the housekeeping and all the practical matters.
But that is not to say that he was not engaged; he was very much present and committed to the entire artistic process, and his child-like delight found expression in the fact that he almost always thought that the last thing he had made was the best ever – and then quickly moved on to the next project!