DOI Artikel:
Bröchner, Georg: Denmark
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.41869#0139
DENMARK
IT is generally admitted that Denmark has raised at least some of her
crafts to a high degree of perfection, both as regards workmanship and
intrinsic artistic merit, thanks to the willing and continuous co-opera-
tion of many of the best amongst the country’s artists. There is dis-
played in most of the work a national tone of sincerity, of balanced and
cultured self-containment, springing from sound and deep-rooted traditions.
This national character has found pregnant expression in M. Louis
Hygom’s land-houses (pp. 128 and 129), as he prefers to call them. No
one familiar with the best in Danish rural architecture would hesitate in
deciding their nationality; yet they have all been endowed with very
distinct individual features, mirroring the artistic personality of their
designer. There is over them a refined and homely simplicity which is
extremely pleasing and which fully harmonizes with their avowed pur-
pose—to serve as a summer residence, both figuratively and literally
far from the madding crowd,” in happily chosen surroundings.
The solitary example of furniture, an armchair and an occasional-table,
designed and executed by Christian Rasch (p. 127), displays a well-con-
sidered design. The lines and the discreet decorative features are on quite
good terms with each other, and the material—natural coloured birch—
has again been brought to the fore by its festive satin lustre.
From the old and well-known Clara Waver establishment, with its excel-
lent artistic associations, which has now passed into the able hands of M.
Niels Dyrlund, a wall-hanging and some cushions (p. 130) bear witness of
marked originality in design which the subtle colouring further tends to
enhance.
Danish porcelain has for years been a household word amongst lovers of
the beautiful all the world over, and both the famous Danish factories keep
evolving ever-fresh work of the highest merit. We illustrate some speci-
mens of Bing and Grondahl’s plastically moulded vases and of their
stoneware (pp. 131 and 132), burnt at a very high temperature and
possessed of wonderfully mellow tones, all the work of distinguished artists.
The porcelain has of late years been confronted with a formidable rival—
Danish silver; both can safely challenge the world. Our reproductions
refer to the two leading ” smithies,” that of Kaj Bojesen and Georg Jensen.
Both design, or in any case inspire most of the ware proceeding from their
workshops. The former is a true Bojesen in graceful and prolific ingenuity,
and of the fact that Georg Jensen is a past-master in his craft his recent
exhibition in London gave ample proof. It should be mentioned that this
artist has recently opened a gallery at 56 Maddox Street, London, where
his work will be on view.
Georg Brochner.
125
IT is generally admitted that Denmark has raised at least some of her
crafts to a high degree of perfection, both as regards workmanship and
intrinsic artistic merit, thanks to the willing and continuous co-opera-
tion of many of the best amongst the country’s artists. There is dis-
played in most of the work a national tone of sincerity, of balanced and
cultured self-containment, springing from sound and deep-rooted traditions.
This national character has found pregnant expression in M. Louis
Hygom’s land-houses (pp. 128 and 129), as he prefers to call them. No
one familiar with the best in Danish rural architecture would hesitate in
deciding their nationality; yet they have all been endowed with very
distinct individual features, mirroring the artistic personality of their
designer. There is over them a refined and homely simplicity which is
extremely pleasing and which fully harmonizes with their avowed pur-
pose—to serve as a summer residence, both figuratively and literally
far from the madding crowd,” in happily chosen surroundings.
The solitary example of furniture, an armchair and an occasional-table,
designed and executed by Christian Rasch (p. 127), displays a well-con-
sidered design. The lines and the discreet decorative features are on quite
good terms with each other, and the material—natural coloured birch—
has again been brought to the fore by its festive satin lustre.
From the old and well-known Clara Waver establishment, with its excel-
lent artistic associations, which has now passed into the able hands of M.
Niels Dyrlund, a wall-hanging and some cushions (p. 130) bear witness of
marked originality in design which the subtle colouring further tends to
enhance.
Danish porcelain has for years been a household word amongst lovers of
the beautiful all the world over, and both the famous Danish factories keep
evolving ever-fresh work of the highest merit. We illustrate some speci-
mens of Bing and Grondahl’s plastically moulded vases and of their
stoneware (pp. 131 and 132), burnt at a very high temperature and
possessed of wonderfully mellow tones, all the work of distinguished artists.
The porcelain has of late years been confronted with a formidable rival—
Danish silver; both can safely challenge the world. Our reproductions
refer to the two leading ” smithies,” that of Kaj Bojesen and Georg Jensen.
Both design, or in any case inspire most of the ware proceeding from their
workshops. The former is a true Bojesen in graceful and prolific ingenuity,
and of the fact that Georg Jensen is a past-master in his craft his recent
exhibition in London gave ample proof. It should be mentioned that this
artist has recently opened a gallery at 56 Maddox Street, London, where
his work will be on view.
Georg Brochner.
125