expression, but softness.'
She nodded and smiled at him.
'Yes,' she said, 'it's lovely. But it's not for me,' she added, 'I'm looking for a present for a friend who's turning fifty. She'll probably like this.'
She said this in a tone, which clearly indicated that her own taste differed. She did not dismiss the print, but it was not her type of art.
'Personally I prefer a somewhat stronger expression,' she admitted.
Alvar nodded.
'Have you seen the paintings by Krantz?' he asked, thinking that she might enjoy the strong latex pictures.
'Yes, they're impressive,' she said, 'but they won't last.'
Alvar agreed completely, but he did not say so. Ole Krantz's painting got your attention instantly, but what they had to say, they said in a moment.
She had made up her mind and decided on the print. As the picture was a present he took it downstairs to the workshop to gift-wrap it. He cut a piece of corrugated cardboard and folded it around the picture, then he wrapped it in tissue paper. Finally he covered it in wrapping paper and made a rosette from some gold ribbon. She paid with a credit card as people always did, then she said goodbye and Alvar was once more left to his own devices. If only Ole Krantz had heard that, he thought, that he won't last. On the other hand it was unlikely that he would have been offended, because Krantz did not consider himself to be a proper artist, more a decorator. Alvar poured himself another cup of coffee and pondered his lack of goodness once more. The thought kept returning and had now begun to torment him in earnest. Here he was sitting by the kitchen table enjoying a cup of coffee, he was at work, he performed his job well in every way, so why would he reproach himself on account of his absent goodness? He who had never hurt a fly.
He drank big gulps of coffee as his brain began to spin. Was there anything he could do about it? And if he were to do something, would that make the thought go away or would it grow worse? You could never be certain when it came to human psychology. After all, weren't there stories about aid workers who became totally caught up by all the misery they witnessed in foreign countries? They ended up consumed by despair at the world's bloodthirsty injustice and when they returned to Norway developed huge problems just eating a meal without feeling racked with guilt. He did not want his life upset like that.
He got up and decided to start work on some frames. He left the kitchen and went down to the workshop, to the little pile of small pictures. The chubby children were ready and he thought the photo was good, but not striking. The children had round cheeks and large soft mouths. He had never understood the appeal of children or why people became so fascinated by them. Children always made him feel anxious and awkward and they had a habit of gawping at him in a cannibalistic manner. When it came to children he felt as if they shone a spotlight directly at him and they stared with large, bright eyes right into his soul. Obviously he did not believe that they had this power, but that was how they made him feel. He preferred adults, if he was forced to deal with other people. But most of all he preferred the elderly. The secretive, wrinkled faces, the slow movements. Nothing unpredictable ever happened in their company. That in turn made him relaxed and calm, it meant he was in control. He selected another picture. It was a drawing, made by an amateur, who clearly felt that he had surpassed himself given that he had asked for the drawing to be framed. The subject was a very muscular horse. And it was presumably these muscles which had inspired him to make the drawing to begin with, perhaps it was his own horse, or his daughter's, because in the bottom left-hand corner he had written in pencil underneath his signature 'Sir Elliot, 4 June 2005'. The paper had a faint yellow tint, which meant that it was good quality, and the drawing was not at all bad. However, the actual soul of the animal was lost in the formidable mass of muscles and that was the proof that he was, in fact, not a good artist at all. Alvar cut glass and cardboard for the picture. The customer had requested a gold frame. Alvar was not a huge fan of gold frames, personally he would have chosen a narrow black or grey list for the picture. However, he always sided with the customer and would give him what he had asked for. He finished framing the drawing and returned to the kitchen. He felt like having his packed lunch now, it was half past twelve and he had not eaten since breakfast. He had three open sandwiches with slices of cold cuts and slivers of cucumber wrapped in greaseproof paper. He made another pot of coffee and found a plate in the cupboard, placed his sandwiches on a chopping board and halved them. Just then the downstairs bell repeated its fragile and wistful greeting. A young man entered. Alvar saw him on the left monitor, he was wearing a fashionable light-coloured coat. Once more he left the kitchen and went downstairs.
The man had stopped in front of a painting by Reidar Fritzwold. He was looking at it closely now, his hands in his coat pockets, leaning slightly forward, eager. The painting was challenging: it depicted a roaring waterfall with chunks of ice and snow in the surrounding landscape. It was magnificent, Alvar thought, impressive and grand in every way, but it needed a lot of space. As a result it had been in the gallery for a long time. The man appeared to be in his early thirties. He had taken a few steps back and placed his hands on his hips. Now he was standing with his legs apart inspecting the painting.
'Quite overwhelming, don't you think?' Alvar nodded, indicating the foaming water. You could almost feel the spray from the waterfall in your face. The colours were extraordinary, all shades of blue, green, turquoise, purple, yellow and white.
'Is it by a Norwegian artist?' the man wanted to know. He filled out the light-coloured coat. He had broad shoulders, a trendy short haircut with a few blond highlights in it. Alvar nodded.
'Norwegian born and bred,' he said. 'Name's Fritzwold. He paints landscapes. This is one of his most dramatic paintings. He usually paints mountain scenes, calm, blue paintings with a great deal of harmony.'
'I'm buying a painting for my living room,' the man said, 'and I would like the painting to be a good investment. My point being that if it's not going to go up in value, it's of no interest.'
Alvar moved forward very cautiously. He recognised the man's attitude and prepared for battle.
'But you like it?' he said lightly.
'Christ, yeah,' the man said, moving closer. 'Very, very good,' he muttered, nodding to himself. His eyes grew distant as if he had disappeared into another room and Alvar understood that he had mentally gone to his own living room where this painting might hang one day. Now he was trying to visualise it. The ice-cold torrents of water cascading down his wall.
'There are times when it is very important to make a good investment,' Alvar said in that light, amiable voice he always used. 'However, it's terribly important that you like the painting, that it gives you something unique. Always follow your heart,' he said, 'don't intellectualise the process. Remember it's a relationship for life, it might even be passed on to the next generation.'
'It's huge at any rate,' said the younger man, 'it's bound to create a stir.'
Right, Alvar thought to himself. He wants attention, possibly from the guests, who would enter his living room and see the roaring waterfall, clap their hands with excitement, as they toasted their host's exquisite and dramatic taste.
'Surely it's possible to buy with your head as well your heart,' he ventured, giving Alvar a challenging look. His eyes were blue and sharp.
'Indeed it is,' nodded Alvar. 'But the fact is that this painting is not primarily a good investment.'
The young man fell silent for a moment and his brows contracted while he thought hard. His eyes, however, could not bear to leave the colossal water masses on the wall.
'So why isn't it a good investment?' he demanded to know. His voice had acquired a sulking touch, he hated that things were not going his way. He had taken a fancy to the painting now and it felt like his living room would be nothing without this work of art.
'It will most certainly increase in value,' Alvar stated, 'but not to the same extent as other paintings. Partly because it is not an oil painting,' he continued. 'It's an aquarelle and it has been painted using an opaque technique.'
The man was taken aback, but did not want to admit to his ignorance when it came to the visual arts.
'I see.' He hesitated. 'I was wondering why the painting was behind glass.'
'Plexiglass,' Alvar said. 'Regular glass would have been too heavy. And watercolours need more protection than oils.'
'Watercolours?' He gave Alvar a confused look.
'They're sun-resistant,' Alvar said quickly, 'but the painting ought to hang on a wall which is never exposed to direct sunlight.'
