52museums – Day 6

Post 1: Niels Skovgaard (video)
Today we will share a few more of Niels Hansen Jacobsen’s contemporaries – starting here with Niels Skovgaard. In 1898 Skovgaard’s monument commemorating the historic event when ‘Magnus the Good’ beat the Venders was unveiled at the historic rallying point Skibelund Krat a few kilometers from Vejen. The Vejen Art Museum’s collections hold a plaster version of his “Seahorse-fountain”. It was part of a 1908-competition for a fountain on a square in Copenhagen and was put up in full scale in 1916 and can be seen in the garden of Designmuseum Denmark (@designmuseumdanmark). Niels Skovgaard, like Niels Hansen Jacobsen, also worked in clay, creating several ceramic pieces. He modelled these weasel-candlesticks in January 1888.
Music: ‘Trold’ by Anders Tærsbøl Feddersen

Post 2: Karl Schrøder
Karl Schrøder trained as a painter but worked in ceramics from the 1890’s to the mid 1910’s. He worked with traditional potters creating a uniquely different kind of decoration. Sometimes he worked in a cloisonné-style with scratched contours. On the very special pieces his decorations seem to be drawn with a pointed finger working between layers of slipware. On the large pot in the middle the mistletoe berries are small mounds of white slipware. Karl Schrøder was the nephew of the founder of Askov Højskole – one of the most important Danish ”højskoler” in the mid 1860’s bringing culture and education to the Vejen-area and the farmhands of Jutland.
Photo: Pernille Klemp

Post 3: Mogens Ballin
The Danish artist Mogens Ballin was a part of the French Nabi-movement – a friend of Paul Gauguin, Jan Verkade, Maurice Denis, Pierre Bonnard and portrayed by Félix Vallotton. He was of a wealthy family and an avid collector. In the late 1890’s he started, inspired by the arts and crafts movement, to produce metal ware of high artistic quality at affordable prices. Instead of silver and gemstones he used pewter, brass, coral and amber. Among his apprentices was the later world renowned silversmith George Jensen – here are shown brooches and belt buckles from the Mogens Ballin Workshop which must have been of great inspiration to the young talent.

Post 4: Ejnar Nielsen
In the 1930s the Danish symbolist painter Ejnar Nielsen created Scandinavia’s second largest stone glass mosaic. It was mounted in the vault under “Stærekassen” a part of the Royal Theatre at Kongens Nytorv in Copenhagen. Two test pieces from the 1920’s are to be found on the eastern façade of The Vejen Art Museum. The museum holds a fine collection of Ejnar Nielsens symbolist paintings and drawings.

Post 5: Jens Vige (video)
The Danish painter Jens Vige was a part of the artist colony at Hammer Bakker north of Aalborg in Jutland, where also the sculptor Niels Hansen Jacobsen had a summerhouse. The wide, barren landscapes of northern Jutland were among Vige’s favorite subjects – the inland heaths portrayed in 1901 and the moon lit costal marshlands in 1909. He died young in 1912 – seven years after painting the self-portrait seen here.

Post 6: Axel Hou (video)
The Danish painter Axel Hou, at intervals of 7 years, created three very different portraits of the sculptor Niels Hansen Jacobsen. The 1892 portrait was made in the sculptors studio in Paris showing part of his break-through-piece at the Salon Nationale des Beaux Arts, “Death and the Mother”. The 1899-portrait is a masterpiece of Danish symbolist graphics. Axel Hou uses Hansen Jacobsen’s sculptures “Freedom” and “The Shadow” in describing the sculptor’s search for a new “language”. In the portrait from 1906 the sculptor seems to be looking inwards – here the visible part of his oeuvre is now the experimental ceramic pieces on the bookcase. The fourth piece is a sketch for the third painting.
Music: ‘Øster Alle’ by Anders Tærsbøl Feddersen

Post 7: Vilhelm Hammershøi
Today Vilhelm Hammershøi is the internationally best known Danish painter of the turn of the century 1900. Into his sparingly furnished interiors he often painted only a single person – and the models most often have their back to the spectator. That tradition is said to have started with his study from 1888 of this woman in a bakery. It has been in the collections of The Vejen Art Museum since 1971 – a gift from the New Carlsberg Foundation. That’s all for today, tomorrow – our last day – we will look at the museum’s current exhibition and our work with present day artists.

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