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Hans Bendix' Tegninger IND SI HÅNDSKRIFTAFDELINGEN; ARKIVREGIS TRATURER / Nr. 7 \ Hans Bendix' \ tegninger / Hans Bendix' tegninger Hans Bendix' tegninger Registratur Ved Louise Arnheim, Birte Falkenberg og Louise C. Larsen Introduktion og Curriculum Vitae ved Louise C. Larsen Det kongelige Bibliotek København 1996 © Det kongelige Bibliotek Indsigt. Håndskriftafdelingens Arkivregistraturer, nr. 7. Udgiver: Det kongelige Bibliotek Sats: Lisbet Holtse, Det kongelige Bibliotek Omslag: Kristin Wiborg Tryk: Vinderup Bogtrykkeri ISSN 0907 1989 ISBN 87-7023-646-1 Salg: Det kongelige Biblioteks Driftsafdeling Postboks 2149,1016 København K (33 93 01 11) FORORD I 1989 skænkede Karen Bendix sin afdøde mand, Hans Bendix' efterladte tegninger til Håndskriftafdelingen på Det kongelige Bibliotek. Tegningerne forelå enten som original tegninger eller i form af kopiér. Samlingen rummer 5339 tegninger og kopier af tegninger. Hertil kommer desuden nogle malerier og akvareller. I forbindelse med gaven var det familien Bendix' ønske, at der foranstaltedes en udstilling af et stort udvalg af Hans Bendix' tegninger. Med støtte fra Politikens Fond realiseredes denne udstilling i samarbejde med Køge Skitsesamling i museets lokaler i Køge i 1991. Efter modtagelsen igangsattes en registrering af de tegninger, som Karen Bendix havde givet til Det kongelige Bibliotek. Tre Bendix-eksperter stod for registre- ringen, nemlig kunsthistoriestuderende Louise C. Larsen, teaterhistorikeren, mag.art. Louise Arnheim samt Hans Bendix' mangeårige sekretær, nu afdøde fru Birte Falkenberg som sjælen i foretagendet. Det kongelige Bibliotek bringer hermed sin hjerteligste tak til Hans Bendix' familie ved Karen Bendix, der generøst skænkede Håndskriftafdelingen den store samling af tegninger. Uden fondsstøtte og medvirken fra Augustinusfon- den, Nationalbankens Jubilæumsfond og Bikuben Fondet havde projektet næp- pe kunnet realiseres. Forskningsbibliotekar, cand. phil. Jesper Diiring Jørgensen har holdt hånd om opgaven fra tegningerne blev erhvervet til registraturen forelå, mens akademisk medarbejder, mag. art. Bruno Svindborg har sørget for regi- straturens sidste redaktion, korrekturlæsning og den praktiske tilrettelæggelse af udgivelsen. Udskriftprogrammer og layout er udført af forskningsbibliotekar, mag. art. Lisbet Holtse. Det kongelige Biblioteks Håndskriftafdeling bringer alle en varm tak for indsatsen. Birgitte Possing, dr.phil., overarkivar August 1995 INDHOLDSFORTEGNELSE Introduktion til Hans Bendix 9 Curriculum Vitae 23 Registreringsprincipper 29 Forkortelser 30 Registratur 31 Danske portrætter 31 Udenlandske portrætter 149 Skuespil I. Henvisning til skuespillere, operasangere og balletdansere under danske og udenlandske portrætter 215 Skuespil II. Identificerede skuespil, balletter og opera med ikke-identificerbare personer 253 Gruppeportrætter 261 Topografi 265 Varia. Tegninger af ikke-identificerbare personer 2-81 Vignetter 287 Bogillustrationer 295 INTRODUKTION TIL HANS BENDIX Hans Bendix var som tegner og skribent karakteristisk for det tyvende århun- dredes journalistik, hvor avisen blev den almene formidler af oplysning. Han tilbragte en menneskealder på hver af morgenbladene Social-Demokraten og Politiken med et ophold i USA under besættelsen som et afgørende brud, der blev bestemmende for hans værk. Han måtte erkende, at de krav, han mødte dér, ikke kunne forenes med den tegnetradition, han var en del af. Hans mærkesag som mangeårig formand for foreningen Danske Bladtegnere var at markere bladtegnerne i forhold til den traditionelle kunstverden. Værkets udbredelse var Bendix' stolthed som journalistisk arbejdende kunstner. Han fremhævede kun- stens store mestre, der i princippet ikke havde noget imod, at deres grafiske værk nåede så stort et publikum som muligt. Men US A-opholdet understregede først og fremmest, at han havde behov for de rammer, hans avisredaktion havde afstukket. Hans liv var præget af det lange tilknytningsforhold til avisen, hvor han gennem en fortrolighed med de ydre krav kunne lege med og udnytte sin kunnen på sit særlige felt. Udvikling og erfaring At avisredaktionens krav ikke var en hindring for tegneren ses ved, at Bendix som kunstner fulgte et karakteristisk modningsforløb. Som ung koncentrerede han tegningen om motivet, for det basale krav til bladtegneren er læserens genkendelse af situationen eller den portrætterede. De grafiske virkemidler, Bendix havde til rådighed, havde derfor til funktion at indfange motivet gennem stadig forenkling, medens skyggelægning og højlys benyttes som fortællende effekter til understregning af eksempelvis en skuespillers dramatiske positur. Som tegneform krævede fremgangsmåden tid, men fordelen for den unge tegner var, at den kunne rettes til. I sin tid på Social-Demokraten benyttede han en underliggende optegning i kul. Hver tegning korrigeredes, til han havde opnået det udtryk, han ønskede. Først derefter lagde han den våde tusch på med pensel samt eventuelle skygger i kul. Dette gav et stramt, kontrolleret, men også markant udtryk, der var kraftigt influeret af forbillederne Honoré Daumier og J. F. Willumsen. Det bemærkelsesværdige i Bendix' udvikling er, at han i løbet af sit femårige ophold i USA under krigen ikke syntes at være inspireret af andre kunstnere. Fra midten af trediverne var der sket en forskydning, hvor hovedpar- ten af tegningerne udelukkende bestod af en enkel sort tuschstreg med under- K) INTRODUKTION TIL HANS BENDIX tegning i kul. Men det er næsten umuligt at skelne, om en tegning er fra sidst i 1930'erne eller sidst i 1940'erne. Først da han i 1950 blev ansat på Politiken, benyttede han skiftet til at forsøge en anderledes udtryksform. Stregen blev gradvis løsere og lettere, idet han fra første tegning benyttede en spinkel pen, og tegningerne kunne derfor ikke længere rettes ind. I stedet tegnede han en række løse tegninger, og begyndte på nyt papir, hvis idéen ikke var indfanget fra start. En forskel i holdningen til den oprindelige tegning i forhold til den trykte ses dog af, at vildfarne linier skjules med hvid dækfarve, der ikke ses i avistrykket. En fremgangsmåde der var bandlyst i kunstverdenen, da den ødelægger origi- nalen, idet dækfarven bliver stadig mere dominerende i takt med, at papiret gulner. Desuden havde han i en række tilfælde fotokopieret og indsat ansigter fra forudgående vellykkede portrætter. Hans Bendix' blik var aldrig malerens. Han forblev uden fornemmelse for farven, men havde til gengæld en instinktiv fornemmelse for liniens bevægelse i alt, hvad han skildrede. Bendix' udvikling som kunstner var præget af en fuldstændig mangel på grafisk viden og kunnen, idet han aldrig fulgte en egentlig undervisning, men løbende tilegnede sig en passende teknik til sit formål. Hans drøm og indædte kamp var dog engang at mestre brugen af farven. At det ikke lykkedes, skyldtes først og fremmest, at hans personlige stil var uforenelig med enhver form for farvelægning. Bendix graduerede, skyggelagde ikke sit motiv, men lod det forblive en del af papiret. Papiret brydes ikke. Det er en kontinuerlig, todimensional flade. Han behøvede således ikke at lægge en lyskilde ind, idet papiret fik lov at stå lysende ved at bevare den gennemskinnelighed, der er en del af det hvide papirs karakter. Derfor ville enhver farvelægning blive mislyk- ket, lyset i papiret ville mistes, da hans stregteknik netop undgik en stram præcisering af motivet. Når betydningen i hans modne streg derfor var at finde i det antydende, er det fordi stregen fik værdi i sig selv. Preben Zahle karakte- riserede i 1950'erne Bendix' streg som en nervestreg. Motivet blev ikke forladt, men stregen havde fået sit eget betydningsniveau gennem sin intensitet og bevægelse ved et umiddelbart løst spil af linier. Et illustrativt eksempel er Bendix' portrætter af solodanseren Margrethe Schanne. Der var tale om en interviewsituation, hvor han under dialogen på samme tid tegnede og nedskrev stikord. På denne måde er den portrætterede i bevægelse og glemmer at sætte sig i bevidst positur. Hans første tegning er i 3/4-profil, der uundgåeligt er bladtegnerens foretrukne, da den giver dybde til ansigtet. Derudover fordybede han sig i en mængde mindre detaljer: linierne i hendes dragt, hendes ur og ørenring. Den værdighed hendes personlighed hvilede i, blev understreget ved enkelte kraftige tuschstreger langs kroppens linier. Helhedsindtrykket var en 1 Det har ikke været muligt at opspore, hvor eller ved hvilken lejlighed, termen blev introduceret. Se eksempelvis: Hans Bendix, Krop og Kontrafejer, Kbh. 1974, introduktion af Erik Lassen, p. INTRODUKTION TIL HANS BENDIX U_ traditionelt arrangeret positur, hvor den portrætterede syntes hensat i kontem- plation. Men fordi Bendix er fortrolig med hendes træk, fik hans følgende tegning en ganske anden karakter. Et portræt af denne art kunne udelukkende skabes på et mangeårigt erfaringsgrundlag: et Matisse-inspireret en face-portræt formet med et minimum af kraftige tuschstrøg. Ved de virkemidler, tegneren har til rådighed, er denne form den sværeste. En pen kan ikke skyggelægge og derved skabe dybde og bevægelse til et en face-portræt. Den kan kun aftegne ansigtets yderlinie, medens han lader Margrethe Schannes udtryksfulde øjne bære hele tegningen. Derved blev fremstillingen bygget op af modsætningen mellem den fortællende linie og papirets lysende klarhed. Ved fremstillingens ekstreme enkelhed fik blikkets ro en yderligere betydningsdimension. At fremhæve det væsentlige Bladtegningen var placeret i et spændingsforhold mellem kunst og fotografi. Kunstverdenen havde i mange årtier lagt
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