52museums – Day 7

Post 1: Ingrid Vang Nyman
Today we will be focusing on The Vejen Art Museum’s interaction with present day artists and what’s going on in Vejen right now. Did you know that the iconic drawings of Pippi Longstocking – the world’s strongest girl – were made by Danish Ingrid Vang Nyman from Vejen?!

Copyright: Saltkråkan

Post 2: Concrete in modern art (video)
The Vejen Art Museum’s Troll Fountain was modelled in concrete in 1923. In recent years the museum has invited sculptors to present new work exploring concrete as an art medium. Esben Klemann made the paving stones “grow” into a Loch-Ness-like arch in 2013. Karin Lorentzen, in 2014, created a look-out-point by Kongeåen – the Danish-German boarder 1864-1920. And in 2014 Sophus Ejler Jepsen modelled the large plant pots for the town of Vejen.
Music: ‘Øster Alle’ by Anders Tærsbøl Feddersen


Post 3: Museum gates (video)
In 2013-2015 the museum garden was completely remade. Guests now enter through a series of gates modelled by present day Danish sculptors. The project was initiated by Jens Lund’s decorative gate drawings from the 1890’s. To the north are Bjørn Nørgaard’s and Eva Steen Christensen’s gates. To the east Erik Heide has created a full 14 meter long fence with gates at either end, and to the south guests pass through Marianne Jørgensen’s gate – four very different aspects of Danish sculpture. Guests now meet art right out at the curbstone.
Music: ‘Øster Alle’ by Anders Tærsbøl Feddersen

Post 4: Renovation and expansion (video)
The Vejen Art Museum has just received a grant of 28,6 mill. Dkr. from the A.P. Møller Foundation. They will be financing a new building where the long passage presently stands. 167 m2 will be turned into 1000 m2 at four levels – two of them under ground. Work may be starting as early as July 2017… The museum buildings from 1924 will stay open throughout the period of construction.

Post 5: Ingrid Vang Nyman (video)
In 1945 the Danish artist Ingrid Vang Nyman (1916-1959) created the first drawings of Pippi Longstocking and became Astrid Lindgren’s favorite illustrator. Ingrid Vang Nyman came from Vejen and her relatives have donated her artistic life’s work to the Vejen Art Museum. Her uncle was the polar explorer Peter Freuchen. In her 1948-series of lithographs of ‘The Children of the World’ she shared with the children her own dream of exploring the world, something she got to know only through research at the museums and libraries. The detail in her works often misleads visitors to think that she in fact travelled extensively, in fact the level of detail is a result of her insistence on accuracy.

Copyright: Saltkråkan

Post 6: Landscape drawing by Ingrid Vang Nyman
The Danish artist Ingrid Vang Nyman lived in Sweden from about 1943 to 1953 revolutionizing the way Swedish children’s books were illustrated. She was fond of clear, bright colours and used a strong black contour and a perspective much inspired by Japanese woodprints. Our collection holds examples of her studies of masters such as Hokusai, she has meticulously copied his penmanship so as to learn. Her landscape here is from the outskirts of Stockholm but somehow it also seems to relate to Japan.

Post 7: Bye Bye
That’s all from us. It’s been a pleasure introducing The Vejen Art Museum and Danish art to you. We hope you’ve enjoyed it. We will let Ingrid Vang Nyman and Pippi Longstocking say GOOD BYE!!!
We hope you might come visit us some day.

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.

52museum – Day 5

Post 1: Agnes Slott-Møller
Today we will be focusing on Danish woman artists of the turn of the century 1900 represented in the collections at the Vejen Arts Museum. This first post is Agnes Slott-Møller’s poppy poster. It is presumed to be from the 1890’s. She travelled to England several times and was very interested in the Pre-Raphaelite Movement.

Post 2: Gabriele Rohde
In 1888 Gabriele Rohde (->) was part of the first group of woman artists at the Royal Academy in Copenhagen. She married the sculptor Niels Hansen Jacobsen and travelled with him through Europe settling in Paris in 1892 in La Cité Fleurie at 65, boul. Arago. Luckily she was well educated; writing and speaking fluent French. She became her husband’s “agent/dealer”. Very little is known of her work – at present a count of five pieces at most!

Post 3: Gabriele Jacobsen
Gabriele Jacobsen, née Rohde, modelled a relief portrait of her husband, the sculptor Niels Hansen Jacobsen. It was on show at the Paris World Fair 1900 and has been brought down in art history as a self-portrait – but the version in the Museum für Kunst und Gewerbe in Hamburg (@mkg.hamburg) is clearly signed by her. It also carries his initials, NHJ, most likely because he glazed and fired the stoneware mask.

Post 4: Anna E. Munch (video)
The Danish painter Anna E. Munch in 1894 studied in Paris with the French history painter Jean Paul Laurens. In 1893 and again in 1897 she travelled to Britany staying in La Pouldu where she portrayed the inn keepers Marie Therèse and Pierre Joseph Goulven. Among the fishermen families on the west coast of Jutland she later met a similar kind of intense religiousness as shown in the two devout women walking home from a sermon.

Post 5: Henriette Hahn-Brinckmann (video)
In 1899 the Danish artist Henriette Hahn cut the woodprint of the autumn beech forest with arum. While she was visiting the Paris World Fair 1900 she made her studies for the portrait of the sculptor Niels Hansen Jacobsen at the window of his home at La Cité Fleurie – 65, boul. Arago. In the mid 1890’s she was given a set of Japanese woodprint tools by the founder of the Museum für Kunst und Gewerbe in Hamburg, Justus Brinckmann – the German advocate of all things Japanese and of the Art Nouveau. They married in 1902 and her woodprint production came to a halt. After his death she later took up printing and made the flower piece in 1925 and the following year produced the print of the deer in the mist. All four prints are presently in the show on Nordic Japonism at the National Gallery in Copenhagen, Denmark.
Music: ‘Impressionisme (Impression, soleil levant) – tilegnet David Abramovitz’ by Anders Tærsbøl Feddersen

Post 6: Elise Konstantin-Hansen
Elise Konstantin-Hansen grew up in a strong artistic milieu. Her father Constantin Hansen and his colleagues were all a part of the Danish Golden Age. She took an artistic career for granted and was soon a member of the artist society “Den frie Udstilling” (@denfrieudstillingsbygning) – the Danish secessionist movement. There she in 1893 exhibited her huge watercolour drawing of the wild vulture (1,18 x 1,31 meters). It is presently a part of the show on Nordic Japonism at the National Gallery in Copenhagen.

Post 7: Susette Holten, née Skovgaard (video)
Susette Holten, née Skovgaard, grew up in the same strong artistic milieu as Elise Konstantin-Hansen (previous post). Her father P.C. Skovgaard and his colleagues were all a part of the Danish Golden Age. She also took an artistic career for granted and was a founding member of the artist society “Den frie Udstilling” – the Danish secessionist movement. A true art nouveau artist she worked as a painter and in the decorative arts. Both the bulb shaped ceramic vase and the plate decorated with a Japanese doll and a goose are signed and dated 1889. The watercolour of the vase of tulips is from 1901 and the pillow decorated with branches of rose-hips is from the mid 1930’s.
The ceramic vase is on loan to the Japonism exhibition at the National Gallery in Copenhagen.
Music: ‘Impressionisme (Impression, soleil levant) – tilegnet David Abramovitz’ by Anders Tærsbøl Feddersen

Post 8: Women Artists Working in Clay (video)
We leave you today with a very brief introduction by our museum director Teresa Nielsen to ‘Women Artists Working in clay’: From the 1910’s Cathinca Olsen was in the stoneware department of the Bing & Grøndahl Factory. One of her special effects was cutting lightly or quite deeply into the pots. Eva Stæhr-Nielsen’s iconic jug was made at SAXBO from 1932 till the workshop closed in 1968. The spout and handle are bent from a split cylindric neck. The Vejen Art Museum in 2015 made a huge SAXBO-show and a database with over 1300 pieces.

52museums – Day 4

Post 1: Jens Lund
Welcome to day four of our takeover. Today we will present to you Jens Lund. He was a Danish draughtsman and painter. Our museum holds a rich collection of his works as his heirs donated his oeuvre to us. Lund studied at the Académie Julian in Paris. While he lived in Paris he met Niels Hansen Jacobsen, and the two formed a close friendship. Here it’s the piece “The Green Flower” from 1899.

Post 2: The Flower of the Day and The Flower of the Night (video)
Jens Lund was a strong part of the art nouveau craze for an organic decorative flow. In 1898 he painted the contrast between good and evil symbolized in “The Flower of the Day” and “The Flower of the Night” – the latter a fin-de-siecle femme fatale. As part of a synthesist entity he also wrote a text about the paintings called ‘Forvandlede Blomster’ (‘The Flowers of Transformation’).

Post 3: The Glory of God
Jens Lund’s best known work is the almost 2 meters tall painting ”Herrens Herlighed” (The Glory of God). In its abstract form – at least a decade before abstract art was “invented” – the spectator is left free to interpret the painting. The artist presents something greater than man – perhaps the connection between heaven and earth? There is a green circular shape, like a science fiction portal. The left side is bright, colourful with soft, wavy lines opposed to the right side with dark tones and sharp, rugged forms – an abstract depiction of the opposites of life, of good and evil.

Post 4: Psychedelic Landscapes
In the late 1890’s Jens Lund drew a series of psychedelic landscapes working in a very personal interpretation of the decorative art nouveau style – a harbinger of the decorative work of the hippie movement. Spectators frequently mistake them to be drawn in the 1960’s. As Paris of the 1890´s had its opium dens, so the 1960’s had other euphoriants – not to say that Jens Lund took opium, literary descriptions of psychedelic experiences were by then available, and the drawings clearly show his joy in contrasting the art nouveau waves with sharp rugged shapes like bolts of lightning.

Post 5: Forvandlede Blomster / The Flowers of Transformation (video)
Jens Lund was of a wealthy family. At his own expense he in 1899 published his first book of drawings “Forvandlede Blomster”, The Flowers of Transformation. These two leather bound versions were exhibited at the Paris World Fair 1900. Jens Lund used the flowers as metaphors in describing aspects of human nature. Starting at a floral gate the spectator meets “Devine Arrogance”, “The Flowers of Anarchy”, “The Flowers of Sorrow” (note lui/elle – the male and female version of Sorrow), “The Flower of Reproduction”, “A Cycling Flower”. The book closes with an expressively wild gate in black and gold.
Music: ‘Til Anne’ by Anders Tærsbøl Feddersen

Post 6: Title pages (video)
Jens Lund’s studies for the title pages of the three volumes of Georg Brandes’ book on Shakespeare are dated 1896-1897. They were published in 1899 as part of Jens Lund’s book “The Flowers of Transformation.” Vol. 1: “Youth”. Vol. 2: “Mature Years”. Vol. 3: “The Final Years.”

Post 7: Livets Skove / The Forrests of Life (video)
In 1901 – once again at his own expense – Jens Lund published his second book of drawings “Livets Skove”, The Forrests of Life. He shaped the trees in different ways in order to “portray” phases of life and different emotions. Here presenting “The Forrest of Despair”, “The Forrest of the Fear of Death”, “The Forrest of the Community”, “The Forrest of Hopelessness” (predating the battlefields of The First World War!) and “The Forrest of the Visions”.
Music: ‘Impressionisme (Impression, soleil levant) – tilegnet David Abramovitz’ by Anders Tærsbøl Feddersen

Post 8: Sakuntala
Towards the end of the year 1900 Jens Lund in October, November and December made three drawings in ink and watercolour based on the Hindu tale of Shakuntala. His focus was solely on the figure of Sakuntala – here in the December-version in full figure, the two earlier versions show only her head surrounded by psychedelic art nouveau ornaments.

Post 9: Oh Darkness… (video)
We leave you today with this seemingly dark piece by Jens Lund from 1904. However, like his many pieces we have shown you, this piece too explores good and evil. If one reads the inscription at the bottom it becomes clear that this is in fact a piece exploring resilience… “OH DARKNESS THAT DEVOUR WORLDS! CEASELESSLY RISES NEW WORLDS FROM YOUR LAP. BECAUSE THE LIGHT, THE ETERNAL, THE SECRETIVE, SHINES THROUGH YOU. OH LONGING! OH HARMONY!”

52museums – Day 3

Post 1: Niels Hansen Jacobsen – the ceramist (video)
In his lifetime Niels Hansen Jacobsen produced a sizable collection of ceramics, in fact at times it put his creation of large sculptures on the back burner. He was especially fond of exploring a variety of glazes. His stoneware production can be split, roughly, into two main categories, industrial art – like this piece – and sculptural works. Most of his industrial pieces started as classically turned on the wheel pieces. However, he would then work them into an array of shapes using his fingers, or other tools at hand.

Post 2: Stylized Mountain Landscape (video)
In Paris, Niels Hansen Jacobsen’s stoneware was on show from 1898 among “Les objects des arts décoratifs” at the Salon Nationale des Beaux-Arts. His unique contribution to the history of European ceramics is ”leaded stoneware”. “Stylized Mountain Landscape” holds an important place in the tale of Danish symbolist art. Out of the oven he took an amorph stoneware lump, partly covered in a thick shiny glaze, contrasted with a coarse, mat surface. He then added the mountain peaks, the waterfall and the base – all cast and modelled in lead!

Post 3: Leaded stoneware
In this piece Niels Hansen Jacobsen has combined a more classically turned shape with his iconic lead detail to form another beautiful “leaded stoneware” piece. Jacobsen very rarely dated his pieces, but he has signed and dated this one 1910.

Post 4: Naturalistic shaped stoneware
Niels Hansen Jacobsen’s sculptural focus was changed when he in Paris met the craze for Asiatic stoneware. Trained as a sculptor clay had till then been but a means of modelling sculptures – suddenly glaze made it possible to decide the tones! He worked with ceramics for the rest of his life producing lots of sculptural work along with pots of all shapes and sizes! Here are but a few examples of his more naturalistic stoneware pieces. Our collection has, over the years, grown to include several of his stoneware busts featuring a wide variety of glazing techniques.

Post 5: Masks (video)
In the late 1890s / early 1900s, many artists in Europe found inspiration in the Japanese artistic traditions that were coming into Europe as a result of the opening of the Japanese market. Niels Hansen Jacobsen seem to have taken inspiration from their mask tradition, here are but a few examples. “The Autumn Mask” was modelled in Paris prior to 1899 when it appeared in Julius Meier-Graefe’s article about Niels Hansen Jacobsen in the German magazine “Dekorative Kunst”. “The Spring Mask”, a rounder and softer shape, was depicted the same year in the French magazine “Art et Décoration”. His troll masks have a distinct Nordic touch – but are unthinkable without the influence of the Japanese masks of the Noh-theatre. Three of Niels Hansen Jacobsen’s stoneware masks were shown at the Musée d’Orsay in the 2008-show “Masques de Carpeaux à Picasso” curated by Édourd Papet.

Post 6: The Story of Danish Stoneware (video)
Our museum director Teresa Nielsen gives a very brief introduction into ‘The Story of Danish Stoneware’: Niels Hansen Jacobsen was one of the first Danish artist producing stoneware in Paris in the 1890’s. From about 1900 H.A. Hjorth on the island of Bornholm was the pioneer on Danish soil. His small bowl form 1911 was decorated by chance as a Seger cone fell onto the edge! Arne Bang popularized stoneware working with floral or rib decorations and an array of glazes. In 2011 The Vejen Art Museum created a large Arne Bang-show and a database with many hundreds of objects (Can be found on our Danish website).
Video: visualvvork

Post 7: Artists Working in Clay (video)
Our museum director Teresa Nielsen gives a very brief introduction into ‘Artists Working in Clay’: Th. Bindesbøll was a pioneer of European modernism designing furniture, silver and decorating ceramics in the scrafitto-manner with a scratched outline. At the Kähler workshop Karl Hansen-Reistrup in the 1890’s gave the calabas shaped vase an art nouveau decoration. Susanna stepping out of the bath was made in 1917 by the painter-sculptor Jais Nielsen – and the COBRA-painter Asger Jorn in 1953 decorated the plate and in the 1960’s presented the pair of Bindesbøll vases to The Vejen Art Museum.
Video: visualvvork


52museums – Day 2

Post 1: Introducing artist Niels Hansen Jacobsen (video)
Niels Hansen Jacobsen and his wife Gabriele arrived in Paris in 1892 and were lucky to settle in one of the studio-homes at 65, boul. Arago. Their neighbour Eugène Grasset introduced Niels Hansen Jacobsen to Auguste Rodin, and their private collection held work by their neighbour, artist-sculptor Jean Carriès. Among the Scandinavian colleagues were Agnes de Frumerie, Henriette Hahn-Brinckmann, Emil Wikström, Carolina Benedicks and her Canadian husband William Blair Bruce.


Post 2: Death and the Mother
The turning-point of Niels Hansen Jacobsen’s career was the 1893-presentation of “Death and the Mother” – based on a tale by Hans Christian Andersen about a woman seeking to bring her child back from the ‘Garden of Death’. However, towards the end of the story she acknowledges that the decision is not for her to make.
In the piece the artist presents a unique merging of well-trained naturalism and a new symbolist vocabulary. Who is to say what Death looks like? But there is a long tradition to draw on… The jury of the Société Nationale des Beaux-Arts voted to show the sculpture and invited Jacobsen to become a member – from then on free to exhibited two objects pr. year “hors concours” (free of jury)!

Post 3: The Shadow
Niels Hansen Jacobsen’s absolute masterpiece is “The Shadow” exhibited at the Salon Nationale des Beaux-Arts in 1898. In year 2000 it was exhibited at Grand Palais in Paris surrounded by sculptural architecture by French Hector Guimard and Spanish Antonio Gaudi – the three artists each representing distinct interpretations of the organic art nouveau style. Following a tale by Hans Christian Andersen the shadow is turned into a memento mori (a symbol of mortality) – the face part cranium and holding an hour glass illustrating the passage of time.

Post 4: Milistarismen (video)
The 3,8 meter high “Militarismen” (militarization) stands to the right in Niels Hansen Jacobsen’s one man show in Copenhagen in 1901. It was first presented in Paris at the 1899 Salon Nationale des Beaux-Arts. The sculptor was accused of commenting on the Dreyfus affair. In the 1960’s the Danish COBRA-painter Asger Jorn noted the sculpture as a harbinger of cubism – but figuratively Hansen Jacobsen used the sharp, spiky shapes to describe the aggressiveness of war and may have been commenting on the militarization of the Copenhagen-area. The plaster figure has later been cast in bronze and placed close to the town hall for all to see.

Post 5: Study in glazed stoneware of Militarismen
‘Militarismen’ was cast in bronze in 1967, 26 years after Niels Hansen Jacobsen’s death (check out our stories where the bronze features). Wanting to know what the face and deep set eyes would look like in bronze, the sculptor modeled a small ceramic version of the head and glazed it in tones eluding bronze. The piece is on show in the ceramic collection at the museum.
Foto: Pernille Klemp

Post 6: Niels Hansen Jacobsen’s studio (video)
A few kilometres from Vejen, Niels Hansen Jacobsen in 1914 opened an octagonal studio-museum in Skibelund Krat – a historic meeting place, from 1864 to 1920 on the southern Danish border to Germany. Many important national rallies were held there. In 1938 the building was taken down and rebuilt in Vejen at the southern end of the museum. The artistic relief over the entrance is Niels Hansen Jacobsen’s interpretation of the spirit of sculpture. At the corners stand a couple of Nordic titans.

52museums – Day 1

Post 1: Introduction to our Troll Fountain (video)
HELLO! Welcome to a week with The Vejen Art Museum. We are proud to be the first Danish art museum on 52museums. We look forward to giving you glimpses of Danish art at the turn of the century, 1900, Danish symbolism and art nouveau. Our Troll Fountain, made by Niels Hansen Jacobsen, was unveiled in 1923. It was used for cooling hot water from the nearby power station. Until the 1950’s the burning hot water circulated all hours of the day, all year round – even when ice gave the Troll what the sculptor called “Winter Fur”.
Music: ‘Trold’ by Anders Tærsbøl Feddersen

Post 2: The Troll (video)
The Danish sculptor Niels Hansen Jacobsen lived in Paris in the 1890’s, but was on vacation in Copenhagen in the summer of 1896. Having no studio, he rented part of the basement under the newly built National Gallery (@SMK). It was there he modelled The Troll – a figure from his childhood memories. In 1923 a bronze version was placed in the centre of the fountain in Vejen. The cascading water was boiling hot and on cool days a steamy haze enveloped the fountain.


Post 3: Introducing the Vejen Art Museum building
The citizens of Vejen cofinanced The Vejen Art Museum for the sculptor Niels Hansen Jacobsen. He was born in Vejen in 1861 and died there in 1941. The museum was inaugurated on the 1st of July 1924 with three purposes in mind. The huge Sculpture Chamber (1) became his exhibition space, to the north was his private home (2) and to the south his studio (3).

Post 4: The Vejen Art Museum buildings (video)
The Vejen Art Museum opened in 1924 presenting the life’s work of Niels Hansen Jacobsen in the octagonal Sculpture Chamber. In 1938 the octagonal chamber to the south was added and in 1975 the long narrow passage was built in order to connect to the neighboring building from 1940. Since 1983/2000 it has housed the museum’s temporary exhibitions, storage of collections and workshops.
The museum recently received a grant of 28,6 mill. Dkr. from The A.P. Møller Foundation. They will be financing a new building where the long passage presently stands.
Arial footage: LLN Press, Vejen

Post 5: Niels Hansen Jacobsen in his livingroom
In a photograph from the late 1930’s the sculptor Niels Hansen Jacobsen is seen in his private sitting room in the northern end of the museum. He is reading a book about the Dutch sculptor Joseph Mendes da Costa. About 1905 Jacobsen and his colleagues wanted to invite the Dutch artist to exhibit in Copenhagen. The plans never matured, but in 2005 a selection of Mendes da Costas works visited the Vejen Art Museum on loan from the collections of the Kröller-Müller Museum in Otterloo.

Post 6: Old photos of the museum (video)
The museum collections hold a fine collection of old photographs from The Vejen Art Museum. We can see how the sculptor Niels Hansen Jacobsen wanted us to experience his life’s work – crammed tight and showing as many aspects as possible with the green plants to give a break from all the white plaster! His studio to the south soon became a part of the museum with the collection of paintings – gifts from The New Carlsberg Foundation (@nycarlsbergfondet). The brewer Carl Jacobsen insisted that a large part of the factories income was to be spent on bringing art out to as many people as possible in the Copenhagen area as well as in Vejen!


Post 7: The museum at present (video)
We leave you today with a look at the museum at present. The top lit octagonal Sculpture Chamber rises to 12 meters, holding the life’s work of Niels Hansen Jacobsen. The interplay between the plants and the sculptures in plaster, bronze and marble was a tradition he brought home with him from the salons in Paris. His home stands as he left it in 1941 and – as you might have seen in our previous post – his studio was already in his lifetime turned into an art gallery.
Music: ‘Til Anne’ by Anders Tærsbøl Feddersen


Welcome to The Vejen Art Museum’s English website.

This will be the home of hopefully many pages of inspiration drawn from our collections of art nouveau and symbolist art. We are currently working on translating some of all the information that is available on our Danish platform and hope to share more with you over the coming months. For now the site will offer you a chance to follow along with our posts on the @52museums instagram. At the end of each day (GMT) you will be able to find a post here on our blog with the photos and information from the day’s instagram uploads.