DOI Heft:
No. 254 (June 1914)
DOI Artikel:Studio-talk
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.21210#0090
Studio- Talk
COPENHAGEN. — The movement in long been working, representing a centaur clothed
Danish ceramics inaugurated some time in a scaberac, was destroyed by him one night in
ago by Arnold Krogh still continues desperation at not being able to embody what he
because of its power and beauty. It is, considered the right expression. The design was
however, none the less interesting to notice how conceived with rare imagination, and unfortunately
younger and, if one may use the expression, "newly it is lost to the world. One of his last pieces is a
discovered," artists, carried along by the same group representing a semi-rococo figure with a nude
impetus, are at the present day 'striking out in new girl, alluring by reason of its beautiful modelling
directions, though still embodying in their work and the decoration in harmonious combination,
the best traditions of the Royal Copenhagen His over-glaze decoration inaugurates a new style
Porcelain Factory. and is surely destined to make its mark in the
future.
One of the most conspicious of these younger
artists is undoubtedly Gerhardt Henning, and the Gerhardt Henning strikes out a new path for
story of his first connection with Danish ceramic art himself, actuated by his knowledge of modem art
is highly interesting. Of Swedish ancestry, he and past triumphs. His visits to many of the
received his artistic training in Copenhagen. European collections have set before him standards
^Vhile staying in Rome some five
or six years ago, he saw in a shop
window a figure of a nodding
mandarin which had taken his fancy.
Being unable to afford the high price
demanded by the shop-keeper, he
resolved to make a similar figure for
himself. An artist connected with
the Royal Copenhagen Porcelain
Factory, who by chance saw this
figure, persuaded Henning to send
it to the factory, where it was at
once recognised as an artistic work
of rare merit, and negotiations were
at once opened to enlist his services.
Gerhardt Henning's productions
are inspired by the passionate love
which he bears for his work. Rarely
has an artist shown such exquisite
refinement of expression, such con-
scientiousness in technique and such
reverence and love of his art. The
fact that he is not particularly pro-
lific is hardly surprising, but on the
other hand, the artistic value of his
work is so much the greater.
following his early figure of the
mandarin, the next work which
Henning created was the well-known
Nymph and Faun, and this was
succeeded by the little Weeping
Faun, the Girl with a Mirror,
Chinaman and Woman, and last but .<0„l m a mirror.'
not least The Princess and the
Pea. A figure on which he had (Royal Copenhagen Porcelain Factory)
70
MODELLED AND PAINTED BY GERHARDT
HENNING
COPENHAGEN. — The movement in long been working, representing a centaur clothed
Danish ceramics inaugurated some time in a scaberac, was destroyed by him one night in
ago by Arnold Krogh still continues desperation at not being able to embody what he
because of its power and beauty. It is, considered the right expression. The design was
however, none the less interesting to notice how conceived with rare imagination, and unfortunately
younger and, if one may use the expression, "newly it is lost to the world. One of his last pieces is a
discovered," artists, carried along by the same group representing a semi-rococo figure with a nude
impetus, are at the present day 'striking out in new girl, alluring by reason of its beautiful modelling
directions, though still embodying in their work and the decoration in harmonious combination,
the best traditions of the Royal Copenhagen His over-glaze decoration inaugurates a new style
Porcelain Factory. and is surely destined to make its mark in the
future.
One of the most conspicious of these younger
artists is undoubtedly Gerhardt Henning, and the Gerhardt Henning strikes out a new path for
story of his first connection with Danish ceramic art himself, actuated by his knowledge of modem art
is highly interesting. Of Swedish ancestry, he and past triumphs. His visits to many of the
received his artistic training in Copenhagen. European collections have set before him standards
^Vhile staying in Rome some five
or six years ago, he saw in a shop
window a figure of a nodding
mandarin which had taken his fancy.
Being unable to afford the high price
demanded by the shop-keeper, he
resolved to make a similar figure for
himself. An artist connected with
the Royal Copenhagen Porcelain
Factory, who by chance saw this
figure, persuaded Henning to send
it to the factory, where it was at
once recognised as an artistic work
of rare merit, and negotiations were
at once opened to enlist his services.
Gerhardt Henning's productions
are inspired by the passionate love
which he bears for his work. Rarely
has an artist shown such exquisite
refinement of expression, such con-
scientiousness in technique and such
reverence and love of his art. The
fact that he is not particularly pro-
lific is hardly surprising, but on the
other hand, the artistic value of his
work is so much the greater.
following his early figure of the
mandarin, the next work which
Henning created was the well-known
Nymph and Faun, and this was
succeeded by the little Weeping
Faun, the Girl with a Mirror,
Chinaman and Woman, and last but .<0„l m a mirror.'
not least The Princess and the
Pea. A figure on which he had (Royal Copenhagen Porcelain Factory)
70
MODELLED AND PAINTED BY GERHARDT
HENNING