Danmarks Kunstbibliotek the Danish National Art Library

Total Page:16

File Type:pdf, Size:1020Kb

Danmarks Kunstbibliotek the Danish National Art Library Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk D 53.683 The Ehrich Galleries GDlö ilaøtrrø” (Exclusively) Danmarks Kunstbibliotek Examples French SpanS^^ Flemish Dutch PAINTINGS 463 and 465 Fifth Avenue At Fortieth Street N E W YO R K C IT Y Special Attention Given to the Expertising, Restoration and Framing o f “ (®li fHastrrii” EXHIBITION of CONTEMPORARY SCANDINAVIAN ART Held under the auspices of the AMERICAN-SCANDINAVIAN SOCIETY Introduction and Biographical Notes By CHRISTIAN BRINTON With the collaboration of Director KARL MADSEN Director JENS THUS, and CARL G. LAURIN The American Art Galleries New York December tenth to twenty-fifth inclusive 1912 SCANDINAVIAN ART EXHIBITION Under the Gracious Patronage of HIS MAJESTY GUSTAV V King of Sweden HIS MAJESTY CHRISTIAN X Copyright, 1912 King of Denmark By Christian Brinton [ First Impression HIS MAJESTY HAAKON VII 6,000 Copies King of Norway Held by the American-Scandinavian Society t 1912-1913 in NEW YORK, BUFFALO, TOLEDO, CHICAGO, AND BOSTON Redfield Brothers, Inc. New York INTRODUCTORY NOTE h e A m e r i c a n -Scandinavian So c ie t y was estab­ T lished primarily to cultivate closer relations be­ tween the people of the United States of America and the leading Scandinavian countries, to strengthen the bonds between Scandinavian Americans, and to advance the know­ ledge of Scandinavian culture among the American pub­ lic, particularly among the descendants of Scandinavians. T h e A m e r i c a n -Scandinavian Fo u n d a t io n is an independent institution consisting of a self-perpetuating Board of Trustees, established to hold in trust and admin­ ister an endowment of more than five hundred thousand dollars, given by the late Niels Poulson. T h e F o u n d a t io n , which is working in close sympa­ thy with the Society, being created to promote essentially the same end, has, by granting to the Society a considerable subsidy, made possible the Scandinavian Art Exhibition. The exhibition is remarkable from several points of view. It is one of the few occasions in the history of Scandinavian art that the three countries have united in exhibiting. It is the first time that most of the painters represented, although of international reputation in Europe, have ex­ hibited in the United States, and it comprises, in as far as has been possible, the best work of living artists. The Society and the Foundation have for several years desired to familiarize the American public with the remark- 7 able modern painting of Scandinavia, and have herewith AMERICAN-SCANDINAVIAN SOCIETY endeavoured to show American Scandinavians, in the most favourable and acceptable manner, the production of the OFFICERS FOR 1912 leading Swedish, Danish, and Norwegian painters. In order to interest the Scandinavian Governments and JOHN A. G A D E ....................................................................President artists in the project, the President of the American-Scandi- REV. FREDERICK L Y N C H .................................... Vice-President navian Society went to Scandinavia during the Spring. HANNA ASTRUP LAR SEN ...................................Acting Secretary Their Majesties, King Gustav V, of Sweden, King Christian REV. W. H. S H O R T ............................................................. Treasurer X, of Denmark, and King Haakon VII, of Norway, H. E. A L M B E R G ...................................................................... Counsel most graciously consented to act as Honourary Patrons, F. W. GREENFIELD ) _ _ r ........ Auditors each of their country’s art; their respective Governments EMIL F. JOHNSON | gave every possible assistance, and the artists themselves joined enthusiastically in the plan. Mr. Christian Brinton accompanied Mr. Gade and proved invaluable in his BOARD OF TRUSTEES capacity as critic and connoisseur. The Society as well as American art lovers further owe a debt of gratitude to LOUIS S. AM ONSON.............................................. Philadelphia, Pa. the brothers, Carl G. and Thorsten Laurin, of Stockholm, PROF. GISLE BOTHNE, University of Minnesota, Minneapolis,Minn to Mr. Karl Madsen, Director of the Royal Gallery at MILES M. D A W SO N ...................................New York City, N. Y. Copenhagen, to Mr. Otto Benzon, of Copenhagen, and to PROF. GEORGE T. FLOM . University of Illinois, Urbana, 111. Mr. Jens Thiis, Director of the National Gallery at Christi­ J. D. F R E D E R I K S E N ...................................Little Falls, N. Y. ania, as well as to the numerous generous and patriotic JOHN A. G A D E ........................................ New York City, N. Y. owners of paintings, both at home and abroad, who have JOHN D. H A G E ........................................ New York City, N. Y. gladly loaned from their private collections in order that J. HOVING, M .D............................................New York City, N. Y. many of their countries’ chief artistic treasures might not OVE L A N G E .............................................. New York City, N. Y. be omitted from the exhibition. It is a particular pleasure CARL L O R E N T Z E N ...................................New York City, N. Y. in this connection to mention the names of Mr. Carl Piltz, REV. FREDERICK LYNCH .... New York City, N. Y. of Stockholm, Baron Rosenkrantz, of Rosenholm, Dr. PROF. DAVID NYVALL, Washington State Univ., Seattle, Wash. Alfred Bramsen, of Copenhagen, Mrs. Joseph T. Jones and PROF. A. H. PALMER Yale University, New Haven, Conn. the Albright Art Gallery of Buffalo, Hugo Reisinger Esq., FRODE RAM BUSCH ...................................New York City, N. Y. and Robert W. de Forest Esq., of New York. P. A. REQUE, M .D....................................................Brooklyn, N. Y. The Norwegian portrait painter, Mr. Henrik Lund, REV. W. H. S H O R T ...................................New York City, N. Y. accompanies the paintings on their visit throughout this CONSUL C. A. S M I T H .............................................. Oakland, Cal. country, acting as Artistic Director of the Exhibition. HON. OSCAR M. T O R R IS O N ...................................Chicago, 111. 8 9 AMERICAN-SCANDINAVIAN FOUNDATION OFFICERS FOR 1912 REV. FREDERICK L Y N C H ............................................ President CONSUL-GENERAL CHR. RAVN .............................. Vice-President HENRY GODDARD L E A C H .............................................Secretary REV. W. H. S H O R T ..............................................................Treasurer INTRODUCTION H. E. A L M B E R G ...................................................................... Counsel By CHRISTIAN BRINTON OT the least significant phase of esthetic expression has been the constant endeavour on the one hand to BOARD OF TRUSTEES OF THE N achieve a fusion of form, line, and colour that shall commend AMERICAN-SCANDINAVIAN FOUNDATION itself as universal in appeal, and on the other to preserve those fundamental factors which may be designated as LOUIS S. AMONSON national in substance. It is a struggle that has been waged SAMUEL T. DUTTON unceasingly throughout the ages, and which repeats itself CHARLES S. HAIGHT alike in the artistic development of every nation and every HAMILTON HOLT individual. The human spirit constantly seeks to voice in ALEXANDER E. JOHNSON expansive fashion the great, typical impressions received JOHN D. HAGE from nature and from life, and yet has at the same time PROF. WM. HOVGAARD been endowed with the precious faculty of interpreting them REV. FREDERICK LYNCH after its own specific manner and largely according to a CONSUL O. H. HAUGAN predetermined plan. If you attempt to deprive the creative PROF. WILLIAM H. SCHOFIELD impulse of its conscious or unconscious universality of PROF. ARTHUR H. PALMER utterance, or of its inherent nationality of accent, you go far CONSUL-GENERAL CHR. RAVN toward destroying its significance, for art, whether pro­ CONSUL CHAS. A. SMITH duced in obscure wayside cottage, simple hut among the REV. WILLIAM H. SHORT hills, or under the prestige of an organized institution, will instinctively seek to widen its outlook and clothe itself in a language for which it has the justification of an inalienable racial heritage. 10 11 a It is to the enduring credit of the leading Scandinavian mark, and still longer before Norway could boast an interest countries that they may be counted among those fortunate in the fine arts— apart, of course, from their most primitive peoples who, despite external influences, have stoutly and elementary application—the Swedes were familiar with guarded their native artistic birthright. Their achieve­ that which was being accomplished abroad, and were wel­ ments in the field of painting, sculpture, architecture, and coming to their shores prominent painters and architects industrial design are refreshingly and unmistakably their from Holland, Germany, France, and Italy. Protected by own. Save in rare and isolated cases they do not speak, the Court and favoured by the nobility, art flourished in and do not attempt to speak, that superficial studio Volapük, approved fashion in Stockholm and certain other of the that facile salon Esperanto, which is so utterly devoid of more important centres. Still, though a great deal has character and vitality. You will remark above all
Recommended publications
  • Årets Kunstner 2016.2017.Pdf
    Et barn er laget av hundre. Barnet har hundre språk hundre hender hundre tanker hundre måter å tenke på å leke og å snakke på hundre alltid hundre måter å lytte å undres, å synes om hundre lyster å synge og forstå hundre verdener å oppdage hundre verdener å oppfinne hundre verdener å drømme frem. Kreativitet og Glede Setter Spor Kreativitet og Glede Setter Spor Innledning Hvert år velger personalet ut en ny kunstner som skal gi barn og voksne inspirasjon til det videre prosjektarbeidet for året. Våre kriterier for å velge ut kunstner er: - Kunstneren skal være internasjonalt kjent. - Kunstneren skal ha en filosofi og kunst som er i tråd med barnehagens verdigrunnlag. - Kunstverkene skal provosere, inspirere og gi nye innfallsvinkler til prosjekttema. - Kunstneren skal ha variasjon i uttrykk og materiale. - Kunstuttrykkene skal tiltale barna og være mulig for dem å jobbe videre med. Personalet gjennomgår bilder, aktiviteter og innspill fra barna i året som har vært. Ut i fra dette reflekterer vi sammen over veien videre. Vi ser da etter; - Materiale som har inspirert barna. - Materiale vi har jobbet lite med eller har lite kjennskap til og som vi trenger å bli bedre kjent med. - Materiale som inspirerer personalet. Innimellom ber vi foreldre om innspill og hjelp til å finne aktuelle kunstnere. Dette skjer vanligvis ved skifte av 3-årig tema. 1 Kreativitet og Glede Setter Spor Ernesto Neto Bakgrunn Ernesto Neto er en brasiliansk konspetuell kunstner. Han er født i 1964 i Rio de Janerio hvor han fortsatt bor og jobber. Sin første utstilling hadde han i 2011 i Museo de Arte Contermoraneo de Monterry i Mexico.
    [Show full text]
  • Malerier Og Tegninger Af Johannes Larsen
    FORTEGNELSE OVER DE I UDSTILLINGSBYGNINGEN VED CHARLOTTENBORG UDSTILLEDE MALERIER OG TEGNINGER AF JOHANNES LARSEN Kunstakademiets Bibliotek 300000022091 /.— / 5. FEBRUAR I92<l , ^ KØBENHAVN TRYKT HOS J. JØRGENSEN & GO. * IVAR JANTZEN 1929 FORTEGNELSK OVER DE I UDSTILLINGSBYGNINGEN VED CHARLOTTENBORG UDSTILLEDE MALERIER OG TEGNINGER AI-' JOHANNES LARSEN /.— ^5. FEBRUAR 1929 KØBENHAVN TRYKT HOS J. JØRGENSEN & CO. * IVAR JANTZEN 1929 DET KONGELIGE KUNSTAKADEMIS BIBLIOTEK ALHEI) LAHSEi\ 7 Billeder frci Håxhiill i Småland April-Maj 1927 ^ m § W . f > |-u >^, O'? p f ri^'V . ?fi i: . ■*• ^K'-- . - 1885 - Portræl al en lille Pige. Tilh. Fru (Christine Swane. Blomstrende Kaktus. Privateje. 1 7 Lundsgaards Klint. Tilh. Kunstneren. 3^y X Silderøgeriet. Tilh. Fru A. T.arsen. X /^/S ~ • * /S'^ )c C / - 1880 - ;■) Korshavns Toldjolle. Tilh. Kunstneren. 'ixs- G Aften ved Fyenshoved. Tilh. Kunstneren. JL$ y‘ i s - - 1887 - 7 Læsende ung Pige. Tilh. Frk. Marie Larsen. JL, 8 Landevej efter Regn. Tilh. Overretssagf. E. Falck-Jensen. - 1887-88 - 9 Modelligur. Tilh. Kunstneren. S T y i 7 j - - 1888 - 10 Tyr i en Stald. Tilh. Kunstneren. 2 .7 y ' i i - - 1890 - 11 Badende Drenge. Tilh. Ingeniør D. Berg. - 1891 - 12 Portræt af Carl Schou. Lampelys. Tilh. ,1 ørgen Schou. 13 Vinterdag i Zoologisk Have. Tilh. Etatsraad Wilh. Hansen, ^ - 1892 - 14 Peter Hansen maler. Tilh. Kunstneren. 15 Oktoberaften. Andetræk. Tilh. Fru A.sto Krohn. - 1893 - 16 Blomstrende Pæretræ. Tilh, Kunstneren. 17 Hvid Azalia. Tilh. Kunstneren. VI. 18 Zinneraria. Tilh, Fru Syberg. 19 Studie efter en Sangsvane. Tilh. Tritz Syberg. - 1895 - 20 Lundsgaard Klint. Tilh. Fru Christine Swane . 21 Tulipaner i et Glas. Tilh. Billedhugger Brand-¥7 strup.
    [Show full text]
  • 2014 Statens 127
    2014 Statens 127. Kunstutstilling Høstutstillingen 2014 * Richard Alexandersson [57] * Irina Haugane [77] * Heidi Kennedy Skjerve [42] [1] Ben Allal [27] Bjørn Erik Haugen og * Dan Skjæveland [41] André Larsen Avelin [9] * Aleksander Johan * Daniel Slåttnes [43] Andreassen [58] * Marit Justine Haugen [53] Marianne Wiig Storaas [47] * Ana Rita Antonio [38] * Barbora Hollan [24] Randi Annie Strand [44] Ina Bache-Wiig [51] * Liv Kristin Holmberg * Annika Ström Vanessa Baird [6] Kaia Hugin [69] Lisa Stålspets [34] * Signe Becker [59] * Gunnhilde Høyer [7] * Heidi Sundby [73] * Solveig Bergene [22] * Matilda Höög [68] * Tsarsten & the Freudian Slippers * Esther Maria Bjørneboe [3] * Moa Håkansson [40] * Marianne Bjørnmyr [10] * Verena Issel [52] * Kristin Tårnes [74] * Martinka Bobrikova * Jonas Ib F. H. Jensen [19] * Linn Cecilie Ulvin [55] & Oscar de Carmen [56] Tommy Johansson [16] Geir Yttervik [48] * bull.miletic [60] Stein Koksvik [28] * Johan Øvergård [33] * Mattias Cantzler [61] Tom S. Kosmo [46] * & Co. Cathrine Dahl Jannicke Kristoffersen [45] * ^O^ v/ Ann Holmgren og Ørjan Aas [14] og Nikolai Aurebekk [67] * Mona Sjo Leirkjær [31] Kristian Øverland Lotte Konow Lund [29] Dahl [13], [50] Pierre Lionel Matte [8] * Debutant Leander Djønne [62] Trine Mauritz [15] Performance * Karin Eklund * Tonje Moe [11] og Madelen Rensmo [70] Svein Møxvold [1], [78] Julie Engaas [63] * Grete Johanne Neseblod [75] * Berivan Erdogan [64] * Magnus Oledal [26] Marthe Aune Eriksen [50] * Sven-Erik Olsen [35] Jo Michael de Figueiredo [12] Julie Oredam [32] Terje Finnsen [36] Kari Merete Paulsen [25] Jacqueline Forzelius [79], [80] Erik Pirolt [39] * Hilde Frantzen [23] John K. Raustein [37] Sissel Fredriksen [17] Jóhanna Ellen Ríkharðsdóttir [71] Guro Giske [76] Ingwill Gjelsvik [5] Nina Katrine Risåsen [2] * Christer Glein [18] * Marit Roland [54] * Gyrid Gunnes * Linda Kristin Røed [30] Ole Hagen [65], [66] * Samvirket Fjordfrakt [72] * Mari Meen Halsøy [20] * Andrea Scholze [49] Mona Orstad Hansen [21] * Solveig Settemsdal [4] [1] Svein Møxvold f.
    [Show full text]
  • No.72 – July 2013
    No.72 – July 2013 Normal day, let me be aware of the treasure you are. Let me learn from you, love you, bless you before you depart. Let me not pass you by in quest of some rare and perfect tomorrow. Let me hold you while I may, for it may not always be so. One day I shall dig my nails into the earth, or bury my face in the pillow, or stretch myself taut, or raise my hands to the sky and want, more than all the world, your return. Mary Jean Irion (American author of essays and poetry) by Evelina Kvartunaite “The only obsession everyone wants: ‘love’. People July 2nd @ 18.00 to 21.00 think that in falling in love they make themselves Italian Cooking Night whole? The Platonic union of souls? I think otherwise. Learn to make Ravioli with Wine I think you’re whole before you begin. And the love Tasting at Pasta Fresca, Nedergade fractures you. You’re whole, and then you’re cracked 20, 5000 Odense C. open.” ~ Philip Roth Cost: 220kr/person – min/max. number of participants is 12. Pay on If you ask me about the moments that open us, arriva l. After making pasta, there will I would probably say that they are usually those be a sit-down dinner with the owner, moments that make you run far away and come back Ida. She needs all 12 places to be to where you belong instantly. booked to run the event, so please sign up and support this great Life is in the fullest, smallest moments and in evening! its cracks in time.
    [Show full text]
  • A History of German-Scandinavian Relations
    A History of German – Scandinavian Relations A History of German-Scandinavian Relations By Raimund Wolfert A History of German – Scandinavian Relations Raimund Wolfert 2 A History of German – Scandinavian Relations Table of contents 1. The Rise and Fall of the Hanseatic League.............................................................5 2. The Thirty Years’ War............................................................................................11 3. Prussia en route to becoming a Great Power........................................................15 4. After the Napoleonic Wars.....................................................................................18 5. The German Empire..............................................................................................23 6. The Interwar Period...............................................................................................29 7. The Aftermath of War............................................................................................33 First version 12/2006 2 A History of German – Scandinavian Relations This essay contemplates the history of German-Scandinavian relations from the Hanseatic period through to the present day, focussing upon the Berlin- Brandenburg region and the northeastern part of Germany that lies to the south of the Baltic Sea. A geographic area whose topography has been shaped by the great Scandinavian glacier of the Vistula ice age from 20000 BC to 13 000 BC will thus be reflected upon. According to the linguistic usage of the term
    [Show full text]
  • Find 11 Malerier I Et Af Fyns Smukkeste Landskaber Fynske
    Malernes Fyn Fyns Hoved Find 11 malerier i et af Fyns smukkeste landskaber Fynske Fodspor 1 Planlæg din rute Ruten er ca. 6 km. Vejledende tid 3 timer. Fyn er kendt for sin storslåede natur og smukke landskaber. Træd i billedkunstnernes fodspor og oplev de landskaber, der inspirerede dem. Denne rute er en kombineret cykel- , gå- og bilrute. Ud over Fyns Hoved, kan du vælge at besøge Svanninge Bakker efterfølgende for, at se næste del af malernes Fyn. Bemærk, at en del steder på denne rute, ligger i naturen, hvilket betyder, at de kan være udfordrende for gangbesværede. Rute introduktion “Jeg har nu endelig fundet det jeg hele min levetid har ledt efter,” skrev kunstneren Fritz Syberg til sin kone efter sit første besøg på Fyns Hoved. Fyns Hoved ligger helt ude på spidsen af halvøen Hindsholm. Med vand til alle sider ændrer lyset sig konstant og landskabets duvende bakker, vige, laguner, gravhøje, slotte, idylliske landsbyer og engdrag, har betydet, at Hindsholm og Fyns Hoved har været et attraktivt udflugtsmål for malere de sidste 150 år. Her er nogle af de smukkeste malerier på Fyn blevet til. Johannes Larsen og Fritz Syberg er blandt de mest kendte malere som arbejdede på Fyns Hoved. De tilhørte kunstnergruppen “Fynbomalerne” som eksisterede fra omkring 1900 til 1930. Fælles for Fynbomalerne var, at de i deres malerier udtrykte en dyb kærlighed til naturen og til det simple liv med familien. Mange af malerierne kan tolkes som en modreaktion på tidens industrialisering, men Fynbomalerne ønskede også at vise, at det man ofte tager for givet i livet i virkeligheden er det vigtigste.
    [Show full text]
  • Udstillingen I Grønningen 1916 ----Paa Tourné
    UDSTILLINGEN I GRØNNINGEN 1916 ----PAA TOURNÉ---- Udstillingen i Grønningen 1916 paa Tourné. Magnus A. Schultz' Boghandel, Aalborg. Nordjyllands Bogtr. Aalborg IVAR BENTSEN 1. Konkurrence-Tegninger og Planer til -Østifternes Kreditforening«. JOHS. C. BJERG 2. Kvindestatuette i Gibs. Trekantet Hovedmotiv. 3. Kvindestatuette. 4. Lucretia. 5. Rosseherre. 6. Rytteren. 7. St. Georg og Dragen. HARALD GIERSING 8. Ung Mand med Haanden under Hovedet. 1916 9. Læsende Dame i Haven. 1915 10. Ung Dame i lyserødt Liv. 1916 11. Vibeke. 1915 12. Selvportræt. 1915 13. Portrætskitse. 1916 14. 1 Skoven ved Sorø. 1915 15. Stien ved Mosen. 1915 16. I Lysningen. 1915 17. Jernbanen igennem Skoven. 1915 18. I Lavskoven. 1915 19. Ung Pige. Akvarel. 20. Ung Pige, der syr. 1916 ERNST GOLDSCHMIDT 21. Bilen venter. Privateje. 22. To Damer ved Stranden. Bygevejr. 3 23. Aftenbillede ved Strandkanten Privateje. 24. Bygevejr over Gilleleje. 25. Ved Søborg Kanalen. 26. Vintersport i Sneen. 27. Pastel. Moderne Rokokodame Privateje. 28. Pastel. Portræt af Madame T. Privateje. 29. Pastel. Ved Sybordet. 30. Pastel. Landskabsskitse. 31. Pastel. Ung Pige. 32. Ved Stranden. Privateje. 33. Pastelskitse. PETER HANSEN 34. Præsten Hans Madsen fra Svaninge stager over til Horneland paa Vej til Johan Rantzau for at forraade sine Sognebørn Freske. 1916. 35. Landskab fra Faaborg. Olje. 1916. 36. Landskab fra Holte. Olje. 1915. 37. Pigen med Katten. Olje. 1915. AXEL P. JENSEN 38. Efteraarslandskab. 39. To Drenge med Snog. 1916. 40. Pigehovede. 41. Klitter ved Blokhus. 42. Pige, der spiller Harmonika. 1916. 43. Bondemand. 1915. 44. Bondemand. 1915. 45. Landskab, Vendsyssel. 1914. KNUD KYHN Olje: 46. Knortegæs. 1915. 47. Skalleslugere.
    [Show full text]
  • A Danish Museum Art Library: the Danish Museum of Decorative Art Library*
    INSPEL 33(1999)4, pp. 229-235 A DANISH MUSEUM ART LIBRARY: THE DANISH MUSEUM OF DECORATIVE ART LIBRARY* By Anja Lollesgaard Denmark’s library system Most libraries in Denmark are public, or provide public access. The two main categories are the public, local municipal libraries, and the public governmental research libraries. Besides these, there is a group of special and private libraries. The public municipal libraries are financed by the municipal government. The research libraries are financed by their parent institution; in the case of the art libraries, that is, ultimately, the Ministry of Culture. Most libraries are part of the Danish library system, that is the official library network of municipal and governmental libraries, and they profit from and contribute to the library system as a whole. The Danish library system is founded on an extensive use of inter-library lending, deriving from the democratic principle that any citizen anywhere in the country can borrow any particular book through the local public library, free of charge, never mind where, or in which library the book is held. Some research libraries, the national main subject libraries, are obliged to cover a certain subject by acquiring the most important scholarly publications, for the benefit not only of its own users but also for the entire Danish library system. Danish art libraries Art libraries in Denmark mostly fall into one of two categories: art departments in public libraries, and research libraries attached to colleges, universities, and museums. Danish art museum libraries In general art museum libraries are research libraries. Primarily they serve the curatorial staff in their scholarly work of documenting artefacts and art historical * Paper presented at the Art Library Conference Moscow –St.
    [Show full text]
  • Britain's Hype for British Hygge
    Scandinavica Vol 57 No 2 2018 What the Hygge? Britain’s Hype for British Hygge Ellen Kythor UCL Abstract Since late 2016, some middle-class Brits have been wearing Nordic- patterned leg warmers and Hygge-branded headbands while practising yoga in candlelight and sipping ‘Hoogly’ tea. Publishers in London isolated hygge as an appealing topic for a glut of non-fiction books published in time for Christmas 2016. This article elucidates the origins of this British enthusiasm for consuming a particular aspect of ostensibly Danish culture. It is argued that British hype for hygge is an extension of the early twenty-first century’s Nordic Noir publishing and marketing craze, but additionally that the concept captured the imaginations of journalists, businesses, and consumers as a fitting label for activities and products of which a particular section of the culturally white-British middle-classes were already partaking. Keywords Hygge, United Kingdom, white culture, Nordic Noir, publishing, cultural studies 68 Scandinavica Vol 57 No 2 2018 A December 2015 print advertisement in The Guardian for Arrow Films’ The Bridge DVDs reads: ‘Gettin’ Hygge With It!’, undoubtedly a play on the phrase from 1990s pop music hit ‘Gettin’ Jiggy Wit It’ (HMV ad 2015). Arrow Films’ Marketing Director Jon Sadler perceived the marketing enthusiasm for hygge¹ that hit Britain a year later with slight envy: ‘we’ve been talking about hygge for several years, it’s not a new thing for us [...] it’s a surprise it’s so big all of a sudden’ (Sadler 2017). Arrow Films was a year too early in its attempt to use hygge as a marketing trope.
    [Show full text]
  • Edvard Munch : [Brochure] the Modern Life of the Soul : the Museum of Modern Art, February 19-May 8, 2006
    Edvard Munch : [brochure] the modern life of the soul : the Museum of Modern Art, February 19-May 8, 2006 Author Munch, Edvard, 1863-1944 Date 2006 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/85 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art Edvard Munch the modern life of the soul The Museum of Modern Art February 19-May 8, 2006 EDVARD MUNCH, the internationally renowned Norwegian painter, printmaker, and draftsman, sought to translate personal trauma into universal terms and, in the process, to comprehend the fundamental components of human existence: birth, love, and death. Munch's pri mary source of inspiration was his own life history, which was marked by romantic suffering, illness, and the death of some of his closest family members. But Munch was also a product of his time, inspired first by the bohemian community of his native Kristiania (now Oslo) and later by his association with the Parisian and Berlin avant-gardes. In the end, painting became a kind of religious endeavor for Munch, a means through which he hoped to "understand the meaning of life [and] help others gain an understanding of their lives." Munch was born in 1863, on a farm outside of Kristiania. His early work, consisting primarily of family portraits, was inspired by the art of the Norwegian naturalist painters, among them his mentor Christian Krohg.
    [Show full text]
  • Between Journalism and Fiction: Three Founders of Modern Norwegian Literary Reportage
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by NORA - Norwegian Open Research Archives This file was downloaded from the institutional repository BI Brage - http://brage.bibsys.no/bi (Open Access) Between journalism and fiction: three founders of modern Norwegian literary reportage Jo Bech-Karlsen BI Norwegian Business School Literary Journalism Studies, 5(2013)1: 11-25 This is an open access journal, peer-reviewed, sponsored by the International Association for Literary Journalism Studies (IALJS) 11 Between Journalism and Fiction: Three Founders of Modern Norwegian Literary Reportage Jo Bech-Karlsen BI Norwegian Business School, Norway The modern origins of literary reportage in Norway can be traced back to the second half of the nineteenth century and a time of uncertain generic boundaries. n the ongoing effort to excavate the different traditions of literary report- Iage globally, Norway has its own history. To understand it I will examine three influential Norwegian reporters with origins in the nineteenth century: A. O. Vinje (1818-1870), Christian Krohg (1852-1925), and Knut Hamsun (1859-1952).1 I have chosen them because they were innovative in their time and worked as reporters for decades. They have “survived”; they are still pres- ent in discussions of journalism in Norway, written about in textbooks and biographies, and admired as models. Indeed, we can consider them to be the founders of the modern Norwegian tradition of literary reportage, a term I use in deference to Norwegian and indeed Continental usage, as opposed to the American usage of literary journalism. Vinje, Krohg, and Hamsun were not only journalists, however.
    [Show full text]
  • Danmarks Kunstbibliotek the Danish National Art Library
    Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk . o. (ORPORATfON OF Londoi 7IRTG7ILLE1? IgpLO G U i OF THE LOAN COLLECTIO o f Picture 1907 PfeiCE Sixpence <Art Gallery of the (Corporation o f London. w C a t a l o g u e of the Exhibition of Works by Danish Painters. BY A. G. TEMPLE, F.S.A., Director of the 'Art Gallery of the Corporation of London. THOMAS HENRY ELLIS, E sq., D eputy , Chairman. 1907. 3ntrobuction By A. G. T e m p l e , F.S.A, H E earliest pictures in the present collection are T those of C arl' Gustav Pilo, and Jens Juel. Painted at a time in the 1 8 th century when the prevalent and popular manner was that better known to us by the works o f the notable Frenchmen, Largillibre, Nattier, De Troy and others, these two painters caught something o f the naivété and grace which marked the productions of these men. In so clear a degree is this observed, not so much in genre, as in portraiture, that the presumption is, although it is not on record, at any rate as regards Pilo, that they must both have studied at some time in the French capital. N o other painters of note, indigenous to the soil o f Denmark, had allowed their sense of grace such freedom to so express itself.
    [Show full text]