Literature: Dorthe Falcon Møller: “Erik Raadal. Maleren fra Gjern”, 1987, no. 155, reproduced p. 60 and mentioned pp. 59–60. Exhibited: Separate Exhibition, Arnbaks Kunsthandel, Copenhagen 9–29 March 1939, cat. no. 3 (Here titled: Søndag på Heden. September). Exhibited: “Kunst og Erhvervskunst”, Aarhushallen, Aarhus14–22 June 1939, cat. no. 361 (Here titled: Landskab med figurer). Exhibited: Corner-Høst, Den Frie Udstillingsbygning, Copenhagen 8–22 October 1939. Exhibited: Corner-Høst, Vejle Museum 1939. Exhibited: “Dansk Kunst”, Fyns Forum, Odense 15–28. March 1940, cat. no. 341. Exhibited: Silkeborg Kunstforenings Jubilæumsudstilling, Silkeborg 18–25 September 1949, cat. no. 79. Exhibited: “Maleren Erik Raadal” (Aarhus Permanente Udstilling), Aarhus 1–13 September 1956, cat. no. 26. Exhibited: “Corner-Jubilæumsudstilling” (Mindeophængning), 28 December 1956–13 January 1957, cat. no. 306. Exhibited: “Jysk Landskabskunst”, Nordjyllands Kunstmuseum, Aalborg 13 March-7 April 1974, cat. no. 18. Exhibited: "Erik Raadal-og 30'ernes danske landskabsmaleri, Vejle Kunstmuseum, 9 November-29 December 1985, cat. no. 24. Exhibited: "Hjemstavn. Erik Raadal og Jeppe Madsen-Ohlsen, Nivågaards Malerisamling and Kunstmuseet Brundlund Slot, Aabenraa, 2005/2006, cat. no. 15.

In March 1939, Erik Raadal holds a solo exhibition at Arnbak on Amager Torv in Copenhagen. It is widely regarded as his true breakthrough, and the reviews are unanimously positive. A total of 37 works are on display, among them “Søndag på heden” (Sunday on the heath), his largest composition to date. The work receives particular attention, including this remark by Folmer Bendtsen in Socialdemokraten:

“... A magnificent example of how simplified pictorial structure can enhance the realistic experience.” “Søndag på heden” makes almost extreme use of the human figure as a compositional element. The flat landscape, with sharply defined dark wooded areas, forms the backdrop for a tightly constructed linear composition.

The road cuts sharply inward in perspective, with the figures arranged in a cohesive group where only differences in size convey the spatial distance between them. The painting features Raadal’s characteristic sky: bands of clouds in horizontal planes alternating with smaller blue patches—a reflection of the road’s course.

At the far end, the white-clad figure of the confirmand shines brightly, in harmony with the white shirtfronts of the men. And the Dannebrog (the Danish flag) waves above the farm.

(Dorthe Falcon Møller’; “Erik Raadal. Maleren fra Gjern”, 1987, pp. 59–60.)