Post by pieter on Sept 2, 2018 5:10:49 GMT -7
Dear friends,
I post this thread as a homage to Karl's Danish mother, aunt and cousins and my dear Danish friends Kira and Monica. My connection to Denmark is first the short and superficial meeting with my Polish-Danish family in Poznań in 1984 as a rather childish 14 years old teenager who played with his Polish cousins from Poznań , Joanna Kalinowska Kuchno and her little sister, and therefor I had little to zero contact with the Danish family at that large family reunion. I remember an incredibly blond family of tall, blond, blue eyed parents and little blond, blue eyed children, a boy and a girl if I remember it well. The Polish father was as blond as his Danish wife and children and ofcourse he himself had become a succesful Danish businessman. Unfortunately there was some distance back then and I was more interested in playing with my Polish cousins in the communist Orbis state hotel (of which you had for of the same modern, cube like hotels in Poznań in that time in different parts of the city). I was a huge gathering of Polish family from several parts of Poland and the Polish Diaspora from America, Denmark and the Netherlands. Karl told his story about his Danish mother, his Danish aunt who was like a mother for him during the war (Wehrmacht) and Post War (British occupation of his area of Denmark) and his cousins who were like sisters to him. I imagined how life in Esjberg must have been to him (you Karl), and if the Danish language, culture, people, his Danish childhood, and thus Danish history and maybe Danish art or products had any influence in Karl's life. Did you ever had a Bang & Olufsen Hi-fi stereo installation or did you drank Carlsberg or Tuborg beer. I wrote before that Danish cinema, Danish tv series (sitcoms), Danish design and Danish art had some influence on me and I remember entering Dennarks Sjælland via Germany by train, the beautiful undulating hilly green Sjælland landscape on my way to Copenhagen and the large windmills for energy I saw along the Danish coast, long before they became common in the Netherlands. I remember the excitement entering Copenhagen central station for the first time in the summer of 1992 and meeting Kira and Monica again after I had seen them in Amsterdam in the summer of 1991 (where they visited my sister Carine and me) and our wonderful month together in Montpellier, in juli 1990 when we spend one month together (day and night). Until today I have an old mini audio tape on my audio recorder with Kira and Monica speaking Danish with each other after they arrived in Amsterdam, changing in English when they spoke to me and my sister (with who I shared a student apartment back then). In Montpellier I heard them speak Danish for one month with each other, next to French and English. There French and the French of my sister was better than mine to be frank. Due to the generous Danish education system they later went back to Montpellier to study there and in Geneva in Switzerland. I was very fond of Copenhagen. I liked the space in the city, the large boulevards, the streets, the squarers, the old harbour with the colourful painted houses in the old harbour area with the canals. I liked the sprawling neighbourhood of Østerbro is known for its upscale, family-oriented community. The mother of one of the girls lived in Ved Klosteret.
Exclusive Danish design stores and trendy restaurants line the main street, Østerbrogade, and its offshoots. Nearby, the national stadium, Parken, is home to FC Copenhagen soccer team and borders Fælledparken, a vast park with play areas and sports fields. The shores of Sortedam Lake are popular with joggers and cyclists. The mother of one of the girls lived there so I spend some time in that pleasent neighbourhood and the Trænings Station Jagtvej Park walking along the Filosofgangen. I liked the city and it's people, since people respected my privacy and I like to go around anonymously and just walk and cycle around and look around undistrubed and therefor Karl's explenation of the Danish respect for privacy fitted me there. It was pleasent. And I just liked to observe the Danish people, hear the sound of them speaking Danish with each other and when I wanted contact or ask something in English they would help me in finding my route (way) or the right motel, hotel, shop, pub or restaurant. I am less into the touristic things, but liked to make extremely long walks through Østerbro and Nørrebro , a hip, multicultural neighborhood, popular with students and creative types. I spend ofcourse a lot of time in the city center and went to a trendy Danish bar where Kira worked. I liked the beautiful green parks of Copenhagen, and things like Christiana and Tivoli park, something we don't have in Amsterdam. We had our squat houses with Dutch anarchists, artists and city nomands, but such a huge territory like Christiana we didn't have in Amsterdam. I liked Tivoli in the morning when it was quiet and nearly empty and I drank my coffee there with some Danish Pastry . I spend some time alone in Copenhagen when the Danish girls went up North Sjælland to Danish vacation homes (holiday houses) for the Danish family summer holiday. I liked to have spend some time with the Danish girls, but also liked to explore Copenhagen alone, cycle and walk around and the cycle for many miles along the Danish coast with Sweden up North, at a coastal bike path and car road next to the see with hills, rocks, nice green environments with plants and trees, and sometimes I cycled over the country, through green country roads, through Danish hamlets and villages.
en.wikipedia.org/wiki/Freetown_Christiania
I had a strange feeling there of feeling home in Copenhagen and in the same time being a stranger, without being lonely, but a little bit melancholic maybe. There was something in the landscape, the cultural landscape of nature and farmland, the Danish infrastructure (I am vulnerable, interested and focussed on infrastructure, roads, highways, bike paths, walking paths, viaducts, bridges, train tracks, the esthetic of it, and also the road signs, the wires, the cables, guard rails, crash barriers or road safety barriers) and marks in the landscapes left by people, animals and storms for instance. Old car and truck/bus/van tracks on a road for instance, leaked oil or petrol marks, warn away [eroded] asphalt or road stones or concrete and metal). I liked to go to the small harbour when I was in Copenhagen in the evening or early night when the tourists were gone and sit along the Little Mermaid (Danish: Den lille Havfrue) is a bronze statue by Edvard Eriksen, or stand next to tall commercial navy ships or Danish navy ships in the harbour. I went back to Copenhagen in the summer of 1994 with my sister and her South-African partner after a long train drive through Europe (Netherlands, Belgium, Luxemburg, France, Italy, Switzerland, Austria, Germany, back in Arnhem and back on the train to Copenhagen via Hamburg). We did an interrail tour back then.
Today I think back with great joy and gratitude to meeting the Danish girls in Montpellier, spending a wonderful month in Montpellier with them and my sister, and for them connecting me to Danish culture, the sound of the Danish language, due to their Danish girls (17 and 18 years old) conversations, and the fact that due to that encounter, meeting and connection I travelled to Copenhagen. Without Kira and Monica I would probably do not know Copenhagen, Sjælland and Denmark. I would probably not have something with Danish movies, tv series, art, people and culture without them. Fact is that due to the distant Danish family connection I was aware of a Danish link, but I did not connect to these people and have not connected yet with them. I don't know them.
Karl's connection to Denmark and the Frisian language and culture in Denmark and North-Germany is obvious. Karl knows Danish and I consider that an asset, because Danish is spoken and understood by very few people in the world. The Danes (Danish people) and Denmark, Danish design, Danish culture, Danish beers (Carlsberg and Tuborg), Danish blue cheese, Danish art, Danish cinema and Danish sitcoms (tv series/detectives) are very popular in the Netherlands. Maybe because we share the Wadden Islands area with the Danes and Germans, maybe because they have a kindred North-West-European, liberal, Protestant culture and history too? Maybe because there are quite a few Dutch peoples who are fond of Scandinavian cultures and countries, Norway, Sweden, Iceland and Denmark. My Amsterdam girlfriends family had a Norwegian tic. They had Norwegian names for instance, their house interior was half Norwegian and they had translated Norwegian books. Many Dutch people also migrated to Sweden and Norway, because they considered the Netherlands to be to densly populated and farmers suffered under Dutch and European bureaucracy.
So this homage is to Danmark and the Danes in particular and to the Scandinavian countries and people in general. I wonder if Danish or other Scandinavian people visit this forum at all?
Cheers,
Pieter
Danish design, art and architecture
The Royal Danish Academy of Fine Arts at the Philip De Langes Allé 10 in Copenhagen, Denmark
Danish Design is a style of functionalistic design and architecture that was developed in mid-20th century. Influenced by the German Bauhaus school, many Danish designers used the new industrial technologies, combined with ideas of simplicity and functionalism to design buildings, furniture and household objects, many of which have become iconic and are still in use and production. Prominent examples are the Egg chair, the PH lamps and the Sydney Opera House (Australia).
da.wikipedia.org/wiki/Bauhaus_(skole)
pl.wikipedia.org/wiki/Bauhaus
en.wikipedia.org/wiki/Bauhaus
de.wikipedia.org/wiki/Bauhaus
ru.wikipedia.org/wiki/%D0%91%D0%B0%D1%83%D1%85%D0%B0%D1%83%D1%81
Among the most successful designers associated with the concept are Børge Mogensen (1914–72), Finn Juhl (1912–89), Hans Wegner (1914–2007), Arne Jacobsen (1902–71), Poul Kjærholm (1929–80), Poul Henningsen (1894–1967) and Verner Panton (1926–98).
Børge Mogensen
Børge Mogensen
Poul Kjærholm
Poul Kjaerholm Pk31 Two Seat Sofa
Replica Poul Henningsen Aartichoke light (size a)
Bombardment Chandelier by Poul Henningsen for Louis Poulsen, 1930s
Amoebe Highback Chair by Verner Panton for Vitra
The Danish designer, Verner Panton (1926–1998), brought the future to 1960’s and 1970’s interior design. His signature work, Visiona 2, was a fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany. The undulating organic forms, made from bright glossy materials, captured the imagination of a free-thinking society. Houses didn’t need separate rooms with individual furniture anymore. Instead, you could lounge on almost any surface.
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton's swimming pool in his Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Other designers of note include Kristian Solmer Vedel (1923–2003) in the area of industrial design, Jens Harald Quistgaard (1919–2008) for kitchen furniture and implements, Gertrud Vasegaard (1913–2007) for ceramics, and Ole Wanscher (1903–85), who had a classical approach to furniture design.
Kristian Solmer Vedel
Kristian Solmer Vedel kids chair Orskow & Co Denmark, 1957
Jens Harald Quistgaard
Jens Harald Quistgaard, Green relief teapot
Gertrud Vasegaard
Gertrud Vasegaard
Senator 3-Seater Sofa in Teak by Ole Wanscher for France & Søn, 1960s
The Danish Culture Canon credits Thorvald Bindesbøll (1846–1908) with early contributions to design in the areas of ceramics, jewellery, bookbinding, silver and furniture although he is known in the rest of the world for creating the Carlsberg logo (1904), still in use today. The Canon also includes Knud V. Engelhardt (1882–1931) for a more industrial approach, especially in the rounded contours of his electric tramcar designs which were widely copied. In the area of textiles, Marie Gudme Leth (1895–1997) brought the screen printing process to Denmark, opening a factory in 1935 which allowed her colourful patterns to be manufactured on an industrial basis.[4] August Sandgren introduced functionalism in the design of his masterful bookbindings.
Vase by Thorvald Bindesbøll Art Nouveau, Denmark, circa 1891
Krukke af Thorvald Bindesbøll på Museet på Koldinghus
In 1904, the Carlsberg logo was created in Art Nouveau-style and has been used nearly unmodified ever since. It was designed by Thorvald Bindesbøll.
The Carlsberg logo as it is used today
In the late 1940s, shortly after the end of the Second World War, conditions in Denmark were ideally suited to success in design. The emphasis was on furniture but architecture, silver, ceramics, glass and textiles also benefitted from the trend. Denmark's late industrialisation combined with a tradition of high-quality craftsmanship formed the basis of gradual progress towards industrial production. After the end of the war, Europeans were keen to find novel approaches such as the light wood furniture from Denmark. Last but not least, support in Denmark for freedom of individual expression assisted the cause.[5]
The newly established Furniture School at the Royal Danish Academy of Art played a considerable part in the development of furniture design. Kaare Klint taught functionalism based on the size and proportions of objects, wielding considerable influence. Hans J. Wegner, who had been trained as a cabinetmaker, contributed with a unique sense of form, especially in designing chairs.
Kaare Klint 47000 Safari Chair
Cigar Chair and Footstool - Hans J Wegner
As head of the cooperative FDB furniture design studio, Børge Mogensen designed simple and robust objects of furniture for the average Danish family. Finn Juhl demonstrated an individualistic approach in designing chairs with an appealing but functional look.
Børge Mogensen 3171 Bænk
Børge Mogensen 2333 Sofa
In the early 1950s, American design also influenced Danish furniture. The American Charles Eames designed and manufactured chairs of moulded wood and steel pipes. These encouraged Arne Jacobsen to design his worldfamous Ant Chair, Denmark's first industrially manufactured chair. Furthermore, as Shaker furniture—and especially its reputation for stripped down chairs—began to be more and more known abroad, it also influenced Danish designers.
Poul Kjærholm, Verner Panton and Nanna Ditzel followed a few years later, continuing the successful story of Danish design. Kjærholm worked mainly in steel and leather, Panton left Denmark during the 1960s to continue designing imaginative but highly unconventional plastic chairs while Nanna Ditzel, who also had a strongly individualistic approach, was successful in helping to renew Danish furniture design in the 1980s.
Nanna Ditzel ND 82 Sofa
Ditzel posing with a stack of her child-friendly Toadstools and the Lulu cradle
Modern trends
In the seventies Verner Panton made some of his most important designs. The Pantonova and the 1-2-3 System. They were a rave with the critics, but the consumers at the time found it too spacey. Today however it's true value to the design tradition is obvious. Danish furniture design failed to make any new important contributions in the 1980s. By contrast, industrial designers began to prosper, making use of the basic principles of focus on the user, respect for materials and attention to detail. For example, there are well known Danish designers, like Tobias Jacobsen (the grandson of Arne Jacobsen), who focused on the single elements of a violin when creating his chair "Vio" or on a boomerang when designing his eponymous sideboard.
Verner Panton's Pantonova and the 1-2-3 System
Verner Panton's Pantonova and the 1-2-3 System
The Bernadotte & Bjørn studio, established in 1950, was the first to specialise in industrial design, with an emphasis on office machines, domestic appliances and functional articles such as the thermos jug. The electronics manufacturer Bang & Olufsen, in collaboration with Bernadotte & Bjørn and later with Jacob Jensen and David Lewis, went on to excel in modern design work. Around the same time, the Stelton company collaborated with Arne Jacobsen and Erik Magnussen to produce their iconic vacuum jug, a huge international success.
BeoLab 90 By Bang & Olufsen
Bang & Olufsen audio wall
Jacob Jensen in his studio at work on the Beomaster 1200, 1968.
Jacob Jensen Weather Station
David Lewis
Industrial designer David Whitfield Lewis, a man responsible for many of Bang & Olufsen's most iconic product designs was a British expat who relocated to Denmark in 1961, taking a job with local design firm Henning Moldenhawer, a design subcontractor for B&O. Fifteen years later Lewis started his own design firm, David Lewis Designers, subsequently heading up the Bang & Olufsen design department from a technically freelance position. Maintaining this professional distance, rather than going in-house, might seem unusual, but it served an important purpose.
David Lewis Bang & Olufsen's CD player design
David Lewis design
David Lewis design
Another successful design field is medical technology. Danish design companies like 3PART, Designit and CBD have worked in this area with individual designers such as Steve McGugan and Anders Smith.
In 2002 the Danish Government and the City of Copenhagen launched an effort to establish a world event for design in Copenhagen. Originally understood as a tool for branding traditional Danish design, the non-profit organization INDEX: shifted focus after worldwide research and coined the concept of Design to Improve Life, which rapidly became celebrated in Denmark and around the world. The organization now hands out the biggest design award in the world biannual in Copenhagen, tours large scale outdoor exhibition around the world, run educational program as well as design labs and hosts a global network.
Today, there is strong focus on design in Denmark as industry increasingly appreciates the importance of design in the business environment. In addition, as part of its trade and industry policy, the Danish government has launched the DesignDenmark initiative which aims to restore Denmark to the international design elite.
Architecture
Modern architecture has also contributed to the concept of Danish design.
Arne Jacobsen was not just a furniture designer but one of the leading architects of his times. Among his achievements are the Bellevue Theater and restaurant, Klampenborg (1936), the Århus City Hall (with Erik Møller; 1939–42) and the SAS Royal Hotel (1958–60).
The Bellevue Teatret (English: Bellevue Theatre) is a theatre in Klampenborg at the northern outskirts of Copenhagen, Denmark. Opened in 1936 to the design of Arne Jacobsen, the building is considered one of his most important architectural works and exemplar of Danish functionalism. The theatre is part of a scheme also including the adjoining Bellevue Beach and residential block and was, at the time, seen as a manifestation of "the dream of the modern lifestyle".
Arne Jacobsen theatre interior of the Bellevue theatre in Klampenborg at the northern outskirts of Copenhagen, Denmark.
Jørn Utzon (1918–2008), Denmark's most widely recognized architect, is remembered for his expressionist Sydney Opera House (1966) and the later Bagsværd Church (1976) with its wavy concrete roof.
Jørn Utzon's Bagsværd Lutheran church ( (1976) in Bagsværd on the northern outskirts of Copenhagen, Denmark.
The interior of Jørn Utzon's Bagsværd Lutheran church ( (1976) in Bagsværd on the northern outskirts of Copenhagen, Denmark.
The interior of Jørn Utzon's Bagsværd Lutheran church ( (1976) in Bagsværd on the northern outskirts of Copenhagen, Denmark.
Jørn Utzon's Sydney Opera House (1966)
Jørn Utzon's Sydney Opera House (1966)
Henning Larsen (b. 1925) is the architect who designed the boldly modern Copenhagen Opera House on the island of Holmen which was completed in 2005.
Art
Danish design in my opinion like design in for instance other countries is often influenced by the history of the country, foreign (world) influences, because the Danes are a seafaring people and Denmark is a shipping nation. The ancient Viking culture of the Scandinavians was rich in design, patterns, ornaments, forms, compositions of designs and thus artistic and creative expression. Later ofcourse the Danish art and culture got European and non-European influences like the other seafaring peoples like the British, Dutch, Northern-Germans, French, and the Spanish and Portuguese peoples. The Danes occupied parts of Great-Britian (England) and settled their Danelaw there. From there the Danes without any doubt took some Celtic and Anglo-Saxon influences back to Scandinavia (Denmark). The Danes have developped their own style, individualistic brands and typical Scandinavian, North-West-European, North Germanic culture, art and art history. That Danish Scandinavian art and culture is different than the West-Germanic Frisian, Low Saxon and Low German (linguistically and culturally Plattdeutsch, Niederdeutsch; Plattdüütsch and Neddersassisch;), Hochdeutsch (Standarddeutsch), Dutch, Flemish and English cultures and languages. Culturally and linguistically I saw links and sometimes far (distant) links between Danish and Frisian, English, German and Dutch. In a far distance there are some Dutch sounding worlds or maybe general (Pan) Germanistic words in Danish, but most words and sentences are completely strange and alien to me as a Dutchman. I wonder in the linguistically, closed in by borders of a language, sense, an language can have an influence on culture in general and fine art, architecture, design, infrastructure (which is designed by engineers, whom in my personal objective are somewhere inbetween architects, artists and designers, in the sense of urban planner, infrastructure planner, physical planner, and planning analyst).
In Denmark I experienced the warmth of feeling at home, feeling close by, feeling at the right place, but in the same time feeling alien, different and a stranger, due to the linguistic (language) factor. Even in the subtle accent differences between the Danish english accent and the Dutch English accent, the Danish english accent is very different. On the other side the Danish and Dutch cultures are very close, related in the Germanic, North-West-European sense. What fascinates me personally is the relationship, group identity and exchange between the Scandinavian countries Denmark, Sweden, Norway, Iceland, the Faroe Islands and Greenland. Sweden is an important industrial, creative and thus design country (Swedish products that must be designed) too. How large is the Swedish influence through the decades and centuries on Denmark? Denmark and Sweden have a very long history together. These countries were part of the Kalmar Union between 1397 and 1523, although, there exists an inherited cultural competition between Sweden and Denmark. Today around 21,000 Swedish people live in Denmark and around 42,000 Danish people live in Sweden.
Danish art
The Danish art critic Lisbeth Bonde studying a concrete sculpture by the young Danish artist Søren Pihlmann at Martin Asbaek's Gallery.
Danish art is the visual arts produced in Denmark or by Danish artists. It goes back thousands of years with significant artifacts from the 2nd millennium BC, such as the Trundholm sun chariot. For many early periods, it is usually considered as part of the wider Nordic art of Scandinavia. Art from what is today Denmark forms part of the art of the Nordic Bronze Age, and then Norse and Viking art. Danish medieval painting is almost entirely known from church frescos such as those from the 16th-century artist known as the Elmelunde Master.
Trundholm sun chariot, Denmark, 1800-1600 BC
The Sun Chariot of Trundholm |Museum Replica|
The (Lutheran) Reformation greatly disrupted Danish artistic traditions, and left the existing body of painters and sculptors without large markets. The requirements of the court and aristocracy were mainly for portraits, usually by imported artists, and it was not until the 18th century that large numbers of Danes were trained in contemporary styles. For an extended period of time thereafter art in Denmark either was imported from Germany and the Netherlands or Danish artists studied abroad and produced work that was seldom inspired by Denmark itself. From the late 18th century on, the situation changed radically. Beginning with the Danish Golden Age, a distinct tradition of Danish art began and has continued to flourish until today. Due to generous art subsidies, contemporary Danish art has a big production per capita.
Mountian Landscape, 1831 by the Danish painter Wilhelm Bendz (1804-1832)
Though usually not especially a major centre for art production or exporter of art, Denmark has been relatively successful in keeping its art; in particular, the relatively mild nature of the Danish Reformation, and the lack of subsequent extensive rebuilding and redecoration of churches, has meant that with other Scandinavian countries, Denmark has unusually rich survivals of medieval church paintings and fittings. One period when Nordic art exerted a strong influence over the rest of northern Europe was in Viking art, and there are many survivals, both in stone monuments left untouched around the countryside, and objects excavated in modern times.
Contemporary art
Asger Jorn (1914–1973) was a Danish artist, sculptor, writer and ceramist and an important member of the international Danish, Belgian, Dutch art group Cobra. (Cobra stands for Copenhagen, Brussels and Amsterdam.)
Asger Jorn (1914–1973) was a Danish artist, sculptor, writer and ceramist. Looking for inspiration outside Denmark, he traveled widely. After meeting artists such as Constant Nieuwenhuys, Appel and Dotremont, he became the driving force behind the Cobra group where he excelled in ceramics but also continued to paint in oils.
Asger Jorn in his studio
Asger Jorn
Asger Jorn
Asger Jorn
Danish design became of international importance in the decades after World War II, especially in furniture, where it pioneered a style sometimes known as Danish modern, the forerunner of the general Scandinavian Design style popularized by IKEA. Important designers include Finn Juhl (1912–1989), Hans Wegner (1914–2007) and Arne Jacobsen (1902–1971).
A glove-cabinet designed by the Danish designer Finn Juhl
Finn Juhl Pelican Chair
A chair of Hans Wegner
Hans Wegner plank sofa
Swan chair by Arne Jacobsen- leather platinum replica
Arne Jacobsen - Radisson Blu suite pink redesign by Arne Jacobsen, room interior with chairs
Collections of modern art enjoy unusually attractive settings at the Louisiana Museum north of Copenhagen and at the North Jutland Art Museum in Aalborg. The National Museum of Art and the Glyptotek, both in Copenhagen, contain treasures of Danish and international art.
Another Danish contemporary Modern (Fine) artist was Per Kirkeby (1 September 1938 – 9 May 2018) who was a painter, poet, film maker and sculptor. I saw his work in Copenhagen and in the Netherlands in art collections of museums and sculpture parks. By the time Kirkeby completed a masters of education degree in arctic geology at the University of Copenhagen in 1964, Per Kirkeby was already part of the important experimental art school "eks-skolen" and worked primarily as a painter, sculptor, writer and a lithographic artist. Kirkeby’s interest in geology and nature in general played a crucial role in his artistic expressions, these themes being therefore very characteristic in the works of the artist. Kirkeby’s works have been shown at many art exhibitions worldwide and are represented in many public collections such as Tate, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York, Centre Pompidou, Paris. Kirkeby taught as a professor at the Art Academy in Karlsruhe (1978–89) and Frankfurter Städelschule (1989–2000). Kirkeby had four children, two daughters, two sons. From 2005, until the time of his death, he was married to Mari Anne Duus Jørgensen.
Mari Anne Duus Jørgensen, Per Kirkeby's wife from 2005 until his death on 9 May 2018
For Karl in Danish
www.pryds.com/2015/12/faelles-musikalitet/
Sources:
en.wikipedia.org/wiki/Danish_art
brooklynrail.org/special/ART_CRIT_EUROPE/reports-and-interviews-from/on-the-danish-contemporary-art-scene-and-art-criticism
I post this thread as a homage to Karl's Danish mother, aunt and cousins and my dear Danish friends Kira and Monica. My connection to Denmark is first the short and superficial meeting with my Polish-Danish family in Poznań in 1984 as a rather childish 14 years old teenager who played with his Polish cousins from Poznań , Joanna Kalinowska Kuchno and her little sister, and therefor I had little to zero contact with the Danish family at that large family reunion. I remember an incredibly blond family of tall, blond, blue eyed parents and little blond, blue eyed children, a boy and a girl if I remember it well. The Polish father was as blond as his Danish wife and children and ofcourse he himself had become a succesful Danish businessman. Unfortunately there was some distance back then and I was more interested in playing with my Polish cousins in the communist Orbis state hotel (of which you had for of the same modern, cube like hotels in Poznań in that time in different parts of the city). I was a huge gathering of Polish family from several parts of Poland and the Polish Diaspora from America, Denmark and the Netherlands. Karl told his story about his Danish mother, his Danish aunt who was like a mother for him during the war (Wehrmacht) and Post War (British occupation of his area of Denmark) and his cousins who were like sisters to him. I imagined how life in Esjberg must have been to him (you Karl), and if the Danish language, culture, people, his Danish childhood, and thus Danish history and maybe Danish art or products had any influence in Karl's life. Did you ever had a Bang & Olufsen Hi-fi stereo installation or did you drank Carlsberg or Tuborg beer. I wrote before that Danish cinema, Danish tv series (sitcoms), Danish design and Danish art had some influence on me and I remember entering Dennarks Sjælland via Germany by train, the beautiful undulating hilly green Sjælland landscape on my way to Copenhagen and the large windmills for energy I saw along the Danish coast, long before they became common in the Netherlands. I remember the excitement entering Copenhagen central station for the first time in the summer of 1992 and meeting Kira and Monica again after I had seen them in Amsterdam in the summer of 1991 (where they visited my sister Carine and me) and our wonderful month together in Montpellier, in juli 1990 when we spend one month together (day and night). Until today I have an old mini audio tape on my audio recorder with Kira and Monica speaking Danish with each other after they arrived in Amsterdam, changing in English when they spoke to me and my sister (with who I shared a student apartment back then). In Montpellier I heard them speak Danish for one month with each other, next to French and English. There French and the French of my sister was better than mine to be frank. Due to the generous Danish education system they later went back to Montpellier to study there and in Geneva in Switzerland. I was very fond of Copenhagen. I liked the space in the city, the large boulevards, the streets, the squarers, the old harbour with the colourful painted houses in the old harbour area with the canals. I liked the sprawling neighbourhood of Østerbro is known for its upscale, family-oriented community. The mother of one of the girls lived in Ved Klosteret.
Exclusive Danish design stores and trendy restaurants line the main street, Østerbrogade, and its offshoots. Nearby, the national stadium, Parken, is home to FC Copenhagen soccer team and borders Fælledparken, a vast park with play areas and sports fields. The shores of Sortedam Lake are popular with joggers and cyclists. The mother of one of the girls lived there so I spend some time in that pleasent neighbourhood and the Trænings Station Jagtvej Park walking along the Filosofgangen. I liked the city and it's people, since people respected my privacy and I like to go around anonymously and just walk and cycle around and look around undistrubed and therefor Karl's explenation of the Danish respect for privacy fitted me there. It was pleasent. And I just liked to observe the Danish people, hear the sound of them speaking Danish with each other and when I wanted contact or ask something in English they would help me in finding my route (way) or the right motel, hotel, shop, pub or restaurant. I am less into the touristic things, but liked to make extremely long walks through Østerbro and Nørrebro , a hip, multicultural neighborhood, popular with students and creative types. I spend ofcourse a lot of time in the city center and went to a trendy Danish bar where Kira worked. I liked the beautiful green parks of Copenhagen, and things like Christiana and Tivoli park, something we don't have in Amsterdam. We had our squat houses with Dutch anarchists, artists and city nomands, but such a huge territory like Christiana we didn't have in Amsterdam. I liked Tivoli in the morning when it was quiet and nearly empty and I drank my coffee there with some Danish Pastry . I spend some time alone in Copenhagen when the Danish girls went up North Sjælland to Danish vacation homes (holiday houses) for the Danish family summer holiday. I liked to have spend some time with the Danish girls, but also liked to explore Copenhagen alone, cycle and walk around and the cycle for many miles along the Danish coast with Sweden up North, at a coastal bike path and car road next to the see with hills, rocks, nice green environments with plants and trees, and sometimes I cycled over the country, through green country roads, through Danish hamlets and villages.
en.wikipedia.org/wiki/Freetown_Christiania
I had a strange feeling there of feeling home in Copenhagen and in the same time being a stranger, without being lonely, but a little bit melancholic maybe. There was something in the landscape, the cultural landscape of nature and farmland, the Danish infrastructure (I am vulnerable, interested and focussed on infrastructure, roads, highways, bike paths, walking paths, viaducts, bridges, train tracks, the esthetic of it, and also the road signs, the wires, the cables, guard rails, crash barriers or road safety barriers) and marks in the landscapes left by people, animals and storms for instance. Old car and truck/bus/van tracks on a road for instance, leaked oil or petrol marks, warn away [eroded] asphalt or road stones or concrete and metal). I liked to go to the small harbour when I was in Copenhagen in the evening or early night when the tourists were gone and sit along the Little Mermaid (Danish: Den lille Havfrue) is a bronze statue by Edvard Eriksen, or stand next to tall commercial navy ships or Danish navy ships in the harbour. I went back to Copenhagen in the summer of 1994 with my sister and her South-African partner after a long train drive through Europe (Netherlands, Belgium, Luxemburg, France, Italy, Switzerland, Austria, Germany, back in Arnhem and back on the train to Copenhagen via Hamburg). We did an interrail tour back then.
Today I think back with great joy and gratitude to meeting the Danish girls in Montpellier, spending a wonderful month in Montpellier with them and my sister, and for them connecting me to Danish culture, the sound of the Danish language, due to their Danish girls (17 and 18 years old) conversations, and the fact that due to that encounter, meeting and connection I travelled to Copenhagen. Without Kira and Monica I would probably do not know Copenhagen, Sjælland and Denmark. I would probably not have something with Danish movies, tv series, art, people and culture without them. Fact is that due to the distant Danish family connection I was aware of a Danish link, but I did not connect to these people and have not connected yet with them. I don't know them.
Karl's connection to Denmark and the Frisian language and culture in Denmark and North-Germany is obvious. Karl knows Danish and I consider that an asset, because Danish is spoken and understood by very few people in the world. The Danes (Danish people) and Denmark, Danish design, Danish culture, Danish beers (Carlsberg and Tuborg), Danish blue cheese, Danish art, Danish cinema and Danish sitcoms (tv series/detectives) are very popular in the Netherlands. Maybe because we share the Wadden Islands area with the Danes and Germans, maybe because they have a kindred North-West-European, liberal, Protestant culture and history too? Maybe because there are quite a few Dutch peoples who are fond of Scandinavian cultures and countries, Norway, Sweden, Iceland and Denmark. My Amsterdam girlfriends family had a Norwegian tic. They had Norwegian names for instance, their house interior was half Norwegian and they had translated Norwegian books. Many Dutch people also migrated to Sweden and Norway, because they considered the Netherlands to be to densly populated and farmers suffered under Dutch and European bureaucracy.
So this homage is to Danmark and the Danes in particular and to the Scandinavian countries and people in general. I wonder if Danish or other Scandinavian people visit this forum at all?
Cheers,
Pieter
Danish design, art and architecture
The Royal Danish Academy of Fine Arts at the Philip De Langes Allé 10 in Copenhagen, Denmark
Danish Design is a style of functionalistic design and architecture that was developed in mid-20th century. Influenced by the German Bauhaus school, many Danish designers used the new industrial technologies, combined with ideas of simplicity and functionalism to design buildings, furniture and household objects, many of which have become iconic and are still in use and production. Prominent examples are the Egg chair, the PH lamps and the Sydney Opera House (Australia).
da.wikipedia.org/wiki/Bauhaus_(skole)
pl.wikipedia.org/wiki/Bauhaus
en.wikipedia.org/wiki/Bauhaus
de.wikipedia.org/wiki/Bauhaus
ru.wikipedia.org/wiki/%D0%91%D0%B0%D1%83%D1%85%D0%B0%D1%83%D1%81
Among the most successful designers associated with the concept are Børge Mogensen (1914–72), Finn Juhl (1912–89), Hans Wegner (1914–2007), Arne Jacobsen (1902–71), Poul Kjærholm (1929–80), Poul Henningsen (1894–1967) and Verner Panton (1926–98).
Børge Mogensen
Børge Mogensen
Poul Kjærholm
Poul Kjaerholm Pk31 Two Seat Sofa
Replica Poul Henningsen Aartichoke light (size a)
Bombardment Chandelier by Poul Henningsen for Louis Poulsen, 1930s
Amoebe Highback Chair by Verner Panton for Vitra
The Danish designer, Verner Panton (1926–1998), brought the future to 1960’s and 1970’s interior design. His signature work, Visiona 2, was a fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany. The undulating organic forms, made from bright glossy materials, captured the imagination of a free-thinking society. Houses didn’t need separate rooms with individual furniture anymore. Instead, you could lounge on almost any surface.
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton's swimming pool in his Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Verner Panton Visiona 2 fantasy landscape constructed for the 1970 Furniture Fair in Cologne, Germany
Other designers of note include Kristian Solmer Vedel (1923–2003) in the area of industrial design, Jens Harald Quistgaard (1919–2008) for kitchen furniture and implements, Gertrud Vasegaard (1913–2007) for ceramics, and Ole Wanscher (1903–85), who had a classical approach to furniture design.
Kristian Solmer Vedel
Kristian Solmer Vedel kids chair Orskow & Co Denmark, 1957
Jens Harald Quistgaard
Jens Harald Quistgaard, Green relief teapot
Gertrud Vasegaard
Gertrud Vasegaard
Senator 3-Seater Sofa in Teak by Ole Wanscher for France & Søn, 1960s
The Danish Culture Canon credits Thorvald Bindesbøll (1846–1908) with early contributions to design in the areas of ceramics, jewellery, bookbinding, silver and furniture although he is known in the rest of the world for creating the Carlsberg logo (1904), still in use today. The Canon also includes Knud V. Engelhardt (1882–1931) for a more industrial approach, especially in the rounded contours of his electric tramcar designs which were widely copied. In the area of textiles, Marie Gudme Leth (1895–1997) brought the screen printing process to Denmark, opening a factory in 1935 which allowed her colourful patterns to be manufactured on an industrial basis.[4] August Sandgren introduced functionalism in the design of his masterful bookbindings.
Vase by Thorvald Bindesbøll Art Nouveau, Denmark, circa 1891
Krukke af Thorvald Bindesbøll på Museet på Koldinghus
In 1904, the Carlsberg logo was created in Art Nouveau-style and has been used nearly unmodified ever since. It was designed by Thorvald Bindesbøll.
The Carlsberg logo as it is used today
In the late 1940s, shortly after the end of the Second World War, conditions in Denmark were ideally suited to success in design. The emphasis was on furniture but architecture, silver, ceramics, glass and textiles also benefitted from the trend. Denmark's late industrialisation combined with a tradition of high-quality craftsmanship formed the basis of gradual progress towards industrial production. After the end of the war, Europeans were keen to find novel approaches such as the light wood furniture from Denmark. Last but not least, support in Denmark for freedom of individual expression assisted the cause.[5]
The newly established Furniture School at the Royal Danish Academy of Art played a considerable part in the development of furniture design. Kaare Klint taught functionalism based on the size and proportions of objects, wielding considerable influence. Hans J. Wegner, who had been trained as a cabinetmaker, contributed with a unique sense of form, especially in designing chairs.
Kaare Klint 47000 Safari Chair
Cigar Chair and Footstool - Hans J Wegner
As head of the cooperative FDB furniture design studio, Børge Mogensen designed simple and robust objects of furniture for the average Danish family. Finn Juhl demonstrated an individualistic approach in designing chairs with an appealing but functional look.
Børge Mogensen 3171 Bænk
Børge Mogensen 2333 Sofa
In the early 1950s, American design also influenced Danish furniture. The American Charles Eames designed and manufactured chairs of moulded wood and steel pipes. These encouraged Arne Jacobsen to design his worldfamous Ant Chair, Denmark's first industrially manufactured chair. Furthermore, as Shaker furniture—and especially its reputation for stripped down chairs—began to be more and more known abroad, it also influenced Danish designers.
Poul Kjærholm, Verner Panton and Nanna Ditzel followed a few years later, continuing the successful story of Danish design. Kjærholm worked mainly in steel and leather, Panton left Denmark during the 1960s to continue designing imaginative but highly unconventional plastic chairs while Nanna Ditzel, who also had a strongly individualistic approach, was successful in helping to renew Danish furniture design in the 1980s.
Nanna Ditzel ND 82 Sofa
Ditzel posing with a stack of her child-friendly Toadstools and the Lulu cradle
Modern trends
In the seventies Verner Panton made some of his most important designs. The Pantonova and the 1-2-3 System. They were a rave with the critics, but the consumers at the time found it too spacey. Today however it's true value to the design tradition is obvious. Danish furniture design failed to make any new important contributions in the 1980s. By contrast, industrial designers began to prosper, making use of the basic principles of focus on the user, respect for materials and attention to detail. For example, there are well known Danish designers, like Tobias Jacobsen (the grandson of Arne Jacobsen), who focused on the single elements of a violin when creating his chair "Vio" or on a boomerang when designing his eponymous sideboard.
Verner Panton's Pantonova and the 1-2-3 System
Verner Panton's Pantonova and the 1-2-3 System
The Bernadotte & Bjørn studio, established in 1950, was the first to specialise in industrial design, with an emphasis on office machines, domestic appliances and functional articles such as the thermos jug. The electronics manufacturer Bang & Olufsen, in collaboration with Bernadotte & Bjørn and later with Jacob Jensen and David Lewis, went on to excel in modern design work. Around the same time, the Stelton company collaborated with Arne Jacobsen and Erik Magnussen to produce their iconic vacuum jug, a huge international success.
BeoLab 90 By Bang & Olufsen
Bang & Olufsen audio wall
Jacob Jensen in his studio at work on the Beomaster 1200, 1968.
Jacob Jensen Weather Station
David Lewis
Industrial designer David Whitfield Lewis, a man responsible for many of Bang & Olufsen's most iconic product designs was a British expat who relocated to Denmark in 1961, taking a job with local design firm Henning Moldenhawer, a design subcontractor for B&O. Fifteen years later Lewis started his own design firm, David Lewis Designers, subsequently heading up the Bang & Olufsen design department from a technically freelance position. Maintaining this professional distance, rather than going in-house, might seem unusual, but it served an important purpose.
David Lewis Bang & Olufsen's CD player design
David Lewis design
David Lewis design
Another successful design field is medical technology. Danish design companies like 3PART, Designit and CBD have worked in this area with individual designers such as Steve McGugan and Anders Smith.
In 2002 the Danish Government and the City of Copenhagen launched an effort to establish a world event for design in Copenhagen. Originally understood as a tool for branding traditional Danish design, the non-profit organization INDEX: shifted focus after worldwide research and coined the concept of Design to Improve Life, which rapidly became celebrated in Denmark and around the world. The organization now hands out the biggest design award in the world biannual in Copenhagen, tours large scale outdoor exhibition around the world, run educational program as well as design labs and hosts a global network.
Today, there is strong focus on design in Denmark as industry increasingly appreciates the importance of design in the business environment. In addition, as part of its trade and industry policy, the Danish government has launched the DesignDenmark initiative which aims to restore Denmark to the international design elite.
Architecture
Modern architecture has also contributed to the concept of Danish design.
Arne Jacobsen was not just a furniture designer but one of the leading architects of his times. Among his achievements are the Bellevue Theater and restaurant, Klampenborg (1936), the Århus City Hall (with Erik Møller; 1939–42) and the SAS Royal Hotel (1958–60).
The Bellevue Teatret (English: Bellevue Theatre) is a theatre in Klampenborg at the northern outskirts of Copenhagen, Denmark. Opened in 1936 to the design of Arne Jacobsen, the building is considered one of his most important architectural works and exemplar of Danish functionalism. The theatre is part of a scheme also including the adjoining Bellevue Beach and residential block and was, at the time, seen as a manifestation of "the dream of the modern lifestyle".
Arne Jacobsen theatre interior of the Bellevue theatre in Klampenborg at the northern outskirts of Copenhagen, Denmark.
Jørn Utzon (1918–2008), Denmark's most widely recognized architect, is remembered for his expressionist Sydney Opera House (1966) and the later Bagsværd Church (1976) with its wavy concrete roof.
Jørn Utzon's Bagsværd Lutheran church ( (1976) in Bagsværd on the northern outskirts of Copenhagen, Denmark.
The interior of Jørn Utzon's Bagsværd Lutheran church ( (1976) in Bagsværd on the northern outskirts of Copenhagen, Denmark.
The interior of Jørn Utzon's Bagsværd Lutheran church ( (1976) in Bagsværd on the northern outskirts of Copenhagen, Denmark.
Jørn Utzon's Sydney Opera House (1966)
Jørn Utzon's Sydney Opera House (1966)
Henning Larsen (b. 1925) is the architect who designed the boldly modern Copenhagen Opera House on the island of Holmen which was completed in 2005.
Art
Danish design in my opinion like design in for instance other countries is often influenced by the history of the country, foreign (world) influences, because the Danes are a seafaring people and Denmark is a shipping nation. The ancient Viking culture of the Scandinavians was rich in design, patterns, ornaments, forms, compositions of designs and thus artistic and creative expression. Later ofcourse the Danish art and culture got European and non-European influences like the other seafaring peoples like the British, Dutch, Northern-Germans, French, and the Spanish and Portuguese peoples. The Danes occupied parts of Great-Britian (England) and settled their Danelaw there. From there the Danes without any doubt took some Celtic and Anglo-Saxon influences back to Scandinavia (Denmark). The Danes have developped their own style, individualistic brands and typical Scandinavian, North-West-European, North Germanic culture, art and art history. That Danish Scandinavian art and culture is different than the West-Germanic Frisian, Low Saxon and Low German (linguistically and culturally Plattdeutsch, Niederdeutsch; Plattdüütsch and Neddersassisch;), Hochdeutsch (Standarddeutsch), Dutch, Flemish and English cultures and languages. Culturally and linguistically I saw links and sometimes far (distant) links between Danish and Frisian, English, German and Dutch. In a far distance there are some Dutch sounding worlds or maybe general (Pan) Germanistic words in Danish, but most words and sentences are completely strange and alien to me as a Dutchman. I wonder in the linguistically, closed in by borders of a language, sense, an language can have an influence on culture in general and fine art, architecture, design, infrastructure (which is designed by engineers, whom in my personal objective are somewhere inbetween architects, artists and designers, in the sense of urban planner, infrastructure planner, physical planner, and planning analyst).
In Denmark I experienced the warmth of feeling at home, feeling close by, feeling at the right place, but in the same time feeling alien, different and a stranger, due to the linguistic (language) factor. Even in the subtle accent differences between the Danish english accent and the Dutch English accent, the Danish english accent is very different. On the other side the Danish and Dutch cultures are very close, related in the Germanic, North-West-European sense. What fascinates me personally is the relationship, group identity and exchange between the Scandinavian countries Denmark, Sweden, Norway, Iceland, the Faroe Islands and Greenland. Sweden is an important industrial, creative and thus design country (Swedish products that must be designed) too. How large is the Swedish influence through the decades and centuries on Denmark? Denmark and Sweden have a very long history together. These countries were part of the Kalmar Union between 1397 and 1523, although, there exists an inherited cultural competition between Sweden and Denmark. Today around 21,000 Swedish people live in Denmark and around 42,000 Danish people live in Sweden.
Danish art
The Danish art critic Lisbeth Bonde studying a concrete sculpture by the young Danish artist Søren Pihlmann at Martin Asbaek's Gallery.
Danish art is the visual arts produced in Denmark or by Danish artists. It goes back thousands of years with significant artifacts from the 2nd millennium BC, such as the Trundholm sun chariot. For many early periods, it is usually considered as part of the wider Nordic art of Scandinavia. Art from what is today Denmark forms part of the art of the Nordic Bronze Age, and then Norse and Viking art. Danish medieval painting is almost entirely known from church frescos such as those from the 16th-century artist known as the Elmelunde Master.
Trundholm sun chariot, Denmark, 1800-1600 BC
The Sun Chariot of Trundholm |Museum Replica|
The (Lutheran) Reformation greatly disrupted Danish artistic traditions, and left the existing body of painters and sculptors without large markets. The requirements of the court and aristocracy were mainly for portraits, usually by imported artists, and it was not until the 18th century that large numbers of Danes were trained in contemporary styles. For an extended period of time thereafter art in Denmark either was imported from Germany and the Netherlands or Danish artists studied abroad and produced work that was seldom inspired by Denmark itself. From the late 18th century on, the situation changed radically. Beginning with the Danish Golden Age, a distinct tradition of Danish art began and has continued to flourish until today. Due to generous art subsidies, contemporary Danish art has a big production per capita.
Mountian Landscape, 1831 by the Danish painter Wilhelm Bendz (1804-1832)
Though usually not especially a major centre for art production or exporter of art, Denmark has been relatively successful in keeping its art; in particular, the relatively mild nature of the Danish Reformation, and the lack of subsequent extensive rebuilding and redecoration of churches, has meant that with other Scandinavian countries, Denmark has unusually rich survivals of medieval church paintings and fittings. One period when Nordic art exerted a strong influence over the rest of northern Europe was in Viking art, and there are many survivals, both in stone monuments left untouched around the countryside, and objects excavated in modern times.
Contemporary art
Asger Jorn (1914–1973) was a Danish artist, sculptor, writer and ceramist and an important member of the international Danish, Belgian, Dutch art group Cobra. (Cobra stands for Copenhagen, Brussels and Amsterdam.)
Asger Jorn (1914–1973) was a Danish artist, sculptor, writer and ceramist. Looking for inspiration outside Denmark, he traveled widely. After meeting artists such as Constant Nieuwenhuys, Appel and Dotremont, he became the driving force behind the Cobra group where he excelled in ceramics but also continued to paint in oils.
Asger Jorn in his studio
Asger Jorn
Asger Jorn
Asger Jorn
Danish design became of international importance in the decades after World War II, especially in furniture, where it pioneered a style sometimes known as Danish modern, the forerunner of the general Scandinavian Design style popularized by IKEA. Important designers include Finn Juhl (1912–1989), Hans Wegner (1914–2007) and Arne Jacobsen (1902–1971).
A glove-cabinet designed by the Danish designer Finn Juhl
Finn Juhl Pelican Chair
A chair of Hans Wegner
Hans Wegner plank sofa
Swan chair by Arne Jacobsen- leather platinum replica
Arne Jacobsen - Radisson Blu suite pink redesign by Arne Jacobsen, room interior with chairs
Collections of modern art enjoy unusually attractive settings at the Louisiana Museum north of Copenhagen and at the North Jutland Art Museum in Aalborg. The National Museum of Art and the Glyptotek, both in Copenhagen, contain treasures of Danish and international art.
Another Danish contemporary Modern (Fine) artist was Per Kirkeby (1 September 1938 – 9 May 2018) who was a painter, poet, film maker and sculptor. I saw his work in Copenhagen and in the Netherlands in art collections of museums and sculpture parks. By the time Kirkeby completed a masters of education degree in arctic geology at the University of Copenhagen in 1964, Per Kirkeby was already part of the important experimental art school "eks-skolen" and worked primarily as a painter, sculptor, writer and a lithographic artist. Kirkeby’s interest in geology and nature in general played a crucial role in his artistic expressions, these themes being therefore very characteristic in the works of the artist. Kirkeby’s works have been shown at many art exhibitions worldwide and are represented in many public collections such as Tate, London; Metropolitan Museum of Art, New York; Museum of Modern Art, New York, Centre Pompidou, Paris. Kirkeby taught as a professor at the Art Academy in Karlsruhe (1978–89) and Frankfurter Städelschule (1989–2000). Kirkeby had four children, two daughters, two sons. From 2005, until the time of his death, he was married to Mari Anne Duus Jørgensen.
Mari Anne Duus Jørgensen, Per Kirkeby's wife from 2005 until his death on 9 May 2018
For Karl in Danish
www.pryds.com/2015/12/faelles-musikalitet/
Sources:
en.wikipedia.org/wiki/Danish_art
brooklynrail.org/special/ART_CRIT_EUROPE/reports-and-interviews-from/on-the-danish-contemporary-art-scene-and-art-criticism
