Research

SMK Art Journal 2005

Please note that not all images are shown in the PDF version of the publication. To view the publication in full, please refer to the printed version available from the museum bookshop; price: DKK 175.

Per Kirkeby, Et romantisk billede, 1965

© Per Kirkeby, Et romantisk billede, 1965

Birgitte Anderberg

"A Romantic Phantasm - Per Kirkeby's A Romantic Picture (1965) in a gender perspective."

Per Kirkeby’s pictures from the 1960s teem with women. But we do not learn very much about these women in the literature about Kirkeby. And even though they are strikingly sexual as clichés, we learn even less about the importance of gender in his art. Download and read the article (pdf 506 KB)

Gunnar Aagaard Andersen, Stående mandlig model på Grafisk skole, Kunstakademiet, 1943

© Gunnar Aagaard Andersen, Stående mandlig model på Grafisk skole, Kunstakademiet, 1943

Anne Duer

"Gunnar Aagaard Andersen - a ground-breaking hybrid artist."

The artistic activity of Gunnar Aagaard Andersen (1919-82) has been characterised by complexity and
versatility. His education at Skolen for Kunsthåndværk (The School of Arts and Crafts) and later work as a painter and architect contributed to him being one of few artists to realise the Bauhaus dream of removing the boundaries between architecture, sculpture and painting – and instead be ‘an inspired craftsman’.

Aagaard Andersen’s production includes among other things drawing, graphics, painting, sculpture,architecture, textiles, design, furniture design, and experiments with music and performance.Download and read the article (pdf 504 KB)

John Marin, Brooklyn Bridge, nr.6 (i bevægelse), 1913

© John Marin, Brooklyn Bridge, nr.6 (i bevægelse), 1913

Inger Krog

"Brooklyn Bridge and the Urban Landscape - Breakthrough in John Marin's graphic art."

John Marin (1870-1953) is considered to be a central figure among American modernists, honoured with
comprehensive retrospectives at the most renowned American museums and besides singled out as an artist who paved the way for the later Abstract Expressionists.

In 2004, the Department of Prints and Drawings at Statens Museum for Kunst received ten graphic sheets and seven watercolours by John Marin, thanks to a testamentary gift of Herbert J. Seligmann and his wife Lise Rueff Seligmann. Download and read the article (pdf 400 KB)

J.Th. Lundbye, En dansk kyst. Motiv fra Kitnæs ved Roskilde Fjord, 1843

© J.Th. Lundbye, En dansk kyst. Motiv fra Kitnæs ved Roskilde Fjord, 1843

Britta Tøndborg

Hanging the Danes: Danish Golden Age art in a nineteenth century museum context.

Not all canons in art occur or materialise as a result of a slow process that resembles Darwinian evolution which occurs over the years, gradually eliminating the lesser works of art to give room for the winners. Canons are not always a retrospective account or selective view of the past that can enable us to create coherence or identify a body of work which art historians consider the prize winners of high art in the struggle for survival in posterity. Download and read the article (pdf 518 KB)

Nicolaes Eliasz Pickenoy, Mandsportræt, 1635

© Nicolaes Eliasz Pickenoy, Mandsportræt, 1635

David Burmeister Kaaring

Nicolaes Eliasz Pickenoy (1588-1650/56) and Portraiture in Amsterdam around 1620-45.

In the first decades of the 17th century, a number of Dutch artists began to produce landscapes in drawings, etchings and later paintings, which depicted local landscape in an apparently realistic fashion. The depiction of simple and usually dilapidated rustic dwellings plays an important role in the landscapes of these naturalists. The aim of this essay, which takes its point of departure in a number of drawings and etchings from the Department of Prints and Drawings at Statens Museum for Kunst, is to throw light on the meanings the motif could contain and which made it particularly interesting for the naturalists. Download and read the article (pdf 440 KB)

Mesteren for Palazzo Venezia Madonna, Skt. Corona, ca. 1350

© Mesteren for Palazzo Venezia Madonna, Skt. Corona, ca. 1350

Troels Filtenborg

The Pinting Technique of Two Panels from the Saint Victor Altarpiece in Siena Cathedral.

Two Sienese altarpieces from the middle of the 14th century were restored in 2003-4, and in this process underwent a technical examination with the purpose of exploring their relationship to the painting tradition of Siena. The two altarpieces, depicting St. Victor of Siena and Santa Corona have been ascribed to different artists in the past.

Today the Master of the Palazzo Venezia Madonna is regarded as responsible for the work, and it has been demonstrated that the panels must have been part of the St. Victor altarpiece which was set up in Siena Cathedral in 1351. Download and read the article (pdf 650 KB)

Updated: 11.apr.2014
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