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Press release September 1, 2014

Exhibition: “À la Grecque! The Sculptors and Antiquity 1898-1962”

New exhibition at Thorvaldsens Museum about Danish sculpture in the first half of the 20th century and its connections with the Archaic sculpture of antiquity. From 11 September until 14 December 2014.

Like the Mona Lisa’s Inscrutable Smile

“The Archaic Smile is like the Mona Lisa’s – inscrutable,” says the art historian Mikael Wivel. During his many years of work with Danish art history he has observed how the inspiration from the Archaic style of Greek art (c. 600-480 BC) and the epoch-making new departure in Danish sculpture in the 1890s that heralded Danish modernism are inextricably linked. His observations are now gathered in the exhibition “À la Grecque! The Sculptors and Antiquity 1898-1962”.

About the Exhibition “À la Grecque!”
While Bertel Thorvaldsen primarily took his artistic point of departure in Classical Greek art and its Roman copies, it was now the earlier, more ‘primitive’, Archaic art that came into focus. Niels Skovgaard was the first artist to be struck by a ‘transfiguring light’ on seeing Archaic sculpture. Skovgaard saw the Archaic sculptures as individualizing – unlike the Classical ones, which were idealizing. The recognition of this true-to-nature feature of Archaic art subsequently became a guiding principle for his art, beginning with the sculpture The Magnus Stone from 1898, in which he introduced a brand new style in Danish art, and the Archaic inspiration quickly became one of the most fertile strands of Danish modernism. It continued with sculptors such as Anne Marie Carl-Nielsen, Niels Larsen Stevns and Svend Rathsack, and made its impact in earnest in the 1920s, when artists like Astrid Noack, Adam Fischer and Henrik Starcke engaged in dialogue with the Archaic style. Later Axel Salto and Svend Wiig Hansen followed suit.

Several of the sculptors represented in the exhibition are not so well known today – for example Adam Fischer and Henrik Starcke – but their works deserve renewed attention from both an artistic and arthistorical perspective. Others, like Astrid Noack, made some of the most iconic works in Danish art. The range of expression from Niels Skovgaard to Svend Wiig Hansen is wide, but it is quite clear that the inspiration from the Archaic art of antiquity links them together.

The exhibition is built up as a series of dialogues, such that the modern works are shown together with the ancient works, which have been borrowed from the Royal Collection of Plaster Casts. This brings out obvious, but also surprising connections and meanings that have never before been presented as a totality in an exhibition.

The Continued Influence of Antiquity

Bertel Thorvaldsen became one of the most important artists of Neoclassicism, a movement that gave the formal idioms of antiquity and ancient culture a presence and an impact in his time. It is thus also an important mission for Thorvaldsens Museum constantly to investigate and communicate how the art and culture of antiquity have influenced later art. In 2002 the museum showed the exhibition “Powerless. Danish Sculptural Art 1850-1900”, which presented a wide segment of the sculptural works of the half century after the death of Thorvaldsen in 1844. In this period the memory of Thorvaldsen himself and respect for his huge contribution as a sculptor were still great. Two generations of sculptors in the second half of the 19th century were in fact engaged in a constant struggle to escape from the shadow of Thorvaldsen and at the same time find their own, contemporary statements in art. It was not easy for the sculptors in that period – hence the title of the older exhibition.

The exhibition “À la Grecque! The Sculptors and Antiquity 1898-1962” continues chronologically where “Powerless” left off. And it shows how the break with Thorvaldsen’s artistic expression was now finally effectuated. But the new exhibition also shows how the sculptors, precisely in order to implement this break, turned once more to antiquity to find new inspiration for independent paths and a new awareness in their own artistic idioms. And – to get back to that smile – that is exactly what makes all the difference. “The Archaic sculptures smile – the Classical sculptures and Thorvaldsen’s do not,” as Wivel puts it.

The exhibition is to be shown afterwards at the Bornholm Art Museum in the period from 18 January until 6 April 2015. The exhibition has received support from the foundations 15. Juni Fonden, A.P. Mortensen og Hustrus Legat, Augustinus Fonden and Ny Carlsbergfondet. A 112-page exhibition catalogue with texts by Mikael Wivel, Paul La Cour, Rainer Maria Rilke and others is to be published. Price DKK 149.


For further information contact Museum Director Stig Miss or Museum Curator Kristine Bøggild Johannsen, who have organized the exhibition in collaboration with the art historian Mikael Wivel, dr. phil. (contact via the museum) or Head of Communications Bettina Weiland, phone +45 33 32 15 32.

Bettina Weiland
Head of Communications

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På Græsk
Anne Marie Carl-Nielsen: Typhon. 1905. Odense City Museums.
Photo: Jens G. Aagaard, Odense City Museums.

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På Græsk
Svend Wiig Hansen: The City. 1962. Photo: Jakob Mydtskov.
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På Græsk
Niels Skovgaard: The Magnus Stone. 1898. Skibelund Krat, Vejen.
Photo: Pernille Klemp.

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På Græsk
Niels Skovgaard: Rolf’s Battle in Lejre. 1933. The Skovgaard Museum.
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Press photos are to be accredited to Thorvaldsens Museum if no other source is stated.

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