Early Life, Family and Training

Egon Mathiesen was born on 25 November 1907 in Esbjerg. He was the son of a master tailor. While his lineage was rooted in craft, his own trajectory moved toward the intellectual and the visual. He did not follow a traditional apprenticeship in fine arts; instead, he pursued art history at the University of Copenhagen between 1929 and 1931. This academic grounding provided a structural understanding of the visual language he would later manipulate as a painter, illustrator, and author.

His personal life was inextricably linked to the art world through his marriage. In 1931, he married the artist Else Fischer-Hansen. This partnership was more than a domestic arrangement; it was a professional alignment that shaped his environment. By 1934, the couple moved to Værløse, establishing a base for the diverse output that would define his career.

The foundations of his career were built on these specific pillars:

• Birth in Esbjerg to a master tailor.
• Academic study of art history in Copenhagen.
• Marriage to artist Else Fischer-Hansen.
• Relocation to Værløse in 1934.

Artistic Style and Technique

Mathiesen’s visual language underwent a clear evolution from his early experiments to his mature output. He began with a naturalistic approach, utilizing clear and bright colors to define his subjects. As his career progressed, his work moved toward more abstract imagery. This transition allowed him to master a diverse range of styles, including abstract painting, figurative and dynamic models, and a sense of constructivist clarity. His work often balanced naive and expressive elements, creating a tension between simplicity and complexity.

His technical repertoire was grounded in fundamental methods, primarily utilizing oil on canvas and drawing. This versatility allowed him to move between large-scale compositions and the intimate scale of book illustration. In his literary work, he utilized simple, colorful drawings that functioned in direct complement to the text. He did not rely on decoration; instead, his illustrations were essential to the narrative structure of the picture books he created.

• Oil on canvas
• Drawing
• Abstract painting
• Figurative and dynamic models
• Constructivist clarity
• Naive and expressive elements

Key Works and Literary Contributions

Mathiesen’s impact on the Danish picture book is measurable and concrete. He debuted in 1939 with Vi Vil Flyve, a work that signaled his intent to treat the picture book as a serious, independent literary genre. Following this debut, he produced 17 subsequent books. His ability to marry simple, colorful drawings with text helped define the modern format of the medium. This was not a matter of mere decoration; the illustrations and text functioned as equal components of the narrative.

His most significant contributions are found in several specific titles that have maintained their relevance through decades of use. These include:

• Frederik med bilen
• Aben Osvald
• Mis med de blå øjne

The 1977 original release of Mis med de blå øjne remains a central part of his legacy. The book focuses on a cat whose blue eyes make him different from other cats, a theme that reflects a recurring focus on the acceptance of difference throughout his body of work. This specific work, along with his other major publications, led to his inclusion in the Danish school's literary canon in 2004. His work is characterized by a directness that avoids unnecessary complexity, making his stories functional and enduring.

Commissions and Public Works

Mathiesen’s influence extended far beyond the printed page and the private canvas. He applied his visual language to the physical infrastructure of Danish civic and cultural life. His work was not merely decorative; it was integrated into the functional architecture of the state and the city. This ability to translate his specific aesthetic into large-scale, permanent installations demonstrates a versatility that many of his contemporaries lacked.

His public footprint is marked by several distinct structural contributions:

• A three-part mosaic frieze created for Sønderborg Statsskole.
• Wrought iron gates designed for the Zoo in Copenhagen.
• The decoration of the foyer for the Tivoli Concert Hall.
• The design of the council chamber in Varde Town Hall.

Beyond static architecture, Mathiesen engaged with the ephemeral nature of performance. He moved into the realm of scenography, handling both the visual and tactile elements of the stage. This included the conceptualization of costumes and the creation of stage decorations for the Royal Theatre's production of the ballet Den tykke mand. His work in these spaces shows a command over how art interacts with movement and public assembly.

Awards, Exhibitions and Legacy

Mathiesen’s standing in the Danish art scene was solidified through specific institutional recognition rather than mere popularity. His work earned him the Eckersberg Medal in 1949, a clear indicator of his technical merit. By 1954, his impact on literature was quantified when he received the Danish Children's Book Prize from the Ministry of Culture. These were not just accolades; they were markers of a career that successfully bridged the gap between fine art and functional illustration.

His exhibition history reveals a consistent presence within the established Danish art circles. He was a member of Grønningen from 1944 to 1959, a period that defined much of his professional output. His influence extended to the administrative side of the art world as well, evidenced by his role as chairman of the Autumn Exhibition at Tivoli in 1966. This leadership position confirms his authority within the contemporary Danish landscape of that era.

The legacy of his work remains tied to his ability to treat the picture book as a serious, independent medium. His contributions helped establish the genre's legitimacy through a combination of:

• The integration of text and image in a way that defined the modern picture book.
• A body of work that remains part of the Danish literary canon.
• A diverse output spanning from abstract painting to public decorative commissions.