CONTENTS
Synopsis
2
Introduction
3
Ideology and aesthetic idiom
8
Selected Paintings
14
1
SYNOPSIS
Rasmus Skov, Danish painter, born 10 June, 1907 in Middelfart, Denmark. Leading Neocubist
painter, active for over fifty years. Educated in Copenhagen and Munich, Skov started painting
in1929, initially based on Cezannian impressionism 1929 - 1937, developing over a span of twenty
years through several phases, integrating first Fauvism [1937 - 1945] and Proto-cubism into a
mature, personal Neocubism starting in 1948 through 1985. Thus he is the only Danish and
Scandinavian painter to have worked seriously and consistently with the Cubist paradigm of
expression for several decades.
Skov worked primarily in Denmark, interspersed by extended periods visiting and working in
France, Germany, Portugal, Brazil and USA, and his work has been exhibited since 1938
including in Paris and Nice 1938, Chicago 1957, Sao Paulo 1962, and
since 1939 periodically
in Copenhagen.
In addition to more than one thousand oil paintings, Skov has produced a similar number of
drawings and other works which include colour pencil, crayon, gouache, charcoal, paper- collage,
linoleum cuts and mixed media. His art is characterized by well balanced compositions and his
unique ability to create innovative colour harmonies. Rasmus Skov will be recognized as the
foremost Danish twentieth-century Neocubist artist based on the prolific extent of his work and his
uncompromising dedication over a forty year period to Cubism.
2
INTRODUCTION
Rasmus Skov is in a unique position as the most prolific and productive Neo-cubist painter in
Denmark. His Cubist paintings from the forty year period after the second World War demonstrate
the most comprehensive penetration in depth and duration into Cubism of any Scandinavian artist.
Skov was born in Denmark in 1907, coinciding with the initial breakthrough in France of
Cubism, the new art form which is generally acknowledged as the revolutionary step in the
development of modern art leading to the subsequent abstract art movements. His education
included decorative art school and painter's apprenticeships beginning in 1924 in Copenhagen and
continuing in Munich, Germany in 1931, followed by extensive travels in Southern Europe. He was
recognized early as a talented, creative artist and skilful draftsman with considerable inventive
powers. His work is characterized throughout by his superb sense of composition, an unfailing
attention to careful craftsmanship, and his often uniquely conceived and strikingly beautiful colour
combinations. He devoted himself entirely to artistic painting starting in 1934, but had already
begun to paint seriously at the age of 22, during his first trip to France in 1929. Within the span of
fifty-five years he created more than one thousand paintings and as many drawings, prints and
watercolours which together document his remarkably continuous aesthetic development.
While studying in Munich during 1931-1932, Skov was exposed to the philosophy of the New
Realism art movement, and he also became aware of the work by the abstract art at Bauhaus. He
initially started out as a realist painter based on the Neo-impressionism and an intuitive affinity for
Cezannian aesthetics. However, as he progressed in his development during the next fifteen years,
his work became increasingly abstract in expression. Yet, he never abandoned the figurative object
as a key element in
his work. His experimentation with the aesthetics of Cubism, beginning in the
late 1930's, led him eventually to the development of his personal version of Neo-cubism, which he
then continued to explore with prolific energy and creativity during the next fifty years. This long
dedication to the continued development of the Cubist idiom places Skov in the position of being
the foremost Neo-cubist painter in Denmark and Scandinavia.
Skov's deeply felt aesthetic ideal of beauty, expressed
through the creation of
integrated balances of composition and colour harmonies echoes throughout his work; yet he
realized before he was forty that the creative artist is inescapably an exponent of the cultural
paradigm of his epoch. He felt challenged, therefore, to try to find artistic expression for the new
ideology still evolving from the scientific and philosophical discoveries that were fundamentally
3
changing the understanding of the universe during the first part of this century. The challenge, in his
view, was to have the painting express a complex intellectual content without diminishing its
aesthetic values. He felt it was necessary to maintain the figurative motif in his paintings because
the reference to recognizable objects, and their interaction with their surrounding space, is the basis
for our sensory experience.
Objects contain indispensable keys to human perception, and the
figurative object in art is essential to meaningful communication about reality between the painter
and the observer. Skov's search for universality in art, the most comprehensive perception of reality
and the clearest expression thereof, provided a continuous challenge for his own lifelong artistic
development.
Although Skov's oeuvre can be separated into more than a dozen distinct periods, it may be
helpful to recognize the three principal phases. During the first phase, lasting from 1929 through
early 1937, his work is characterized by the integration of the Cezannian aesthetic influence into his
personal approach to Realism and Impressionism. The second phase, lasting from late 1937 through
1947, incorporated the aesthetics of Fauvism and
Cubism into his art. And during the third and
longest phase, from 1948 through 1985, Skov worked within a Neo-cubist idiom amalgamating
Synthetic and Analytic Cubism and expanding his previous aesthetic vision.
Initially, during the first phase, Skov formed his aesthetic
approach based on a strong
admiration for Impressionism combined with the ideology of the New Realism, which he had been
exposed to during his study in Munich. Even his earliest paintings from 1929, show his talent as a
painter, his sense of colour, mature grasp of composition and competent draftsman ship. The
artistic vision and aesthetic qualities of Skov's work suggest that he was influenced early by Paul
Cezanne, Claude Monet and Vincent van Gogh. This first major phase of Skov's work which
actually consists of six separate periods, documents his recurring emphasis on colour and light as a
principal artistic challenge while he continues the development of his aesthetic treatment of the
rendition of objects, form and space. Skov's artistic development is remarkably stepwise,
homogeneous and progressive, without notable discontinuities; and as he progresses, his paintings
increasingly show his perception of art as a means of personal expression and less as narrative.
During the second major phase of his work - a ten year period from 1937 to 1947 that includes
five separate periods -Skov explored the aesthetic, perceptional boundaries between abstract and
representational expressions. Building on his prior work, he now started to pursue different aspects
4
of abstract-realist and proto-cubist painting with resonances from Fauvism. While some of his most
colourful and strikingly beautiful paintings were made during this phase, it was a time of great
personal challenge for him, as he searched for alternate aesthetic solutions to the pictorial problem
of figurative rendition.
Skov's experimentation with colours led him at times to unique pictorial solutions unparalleled
in Danish art; yet he kept returning to the central painterly concern for the development of form and
space. His continued search for aesthetic reconciliation between the integrity of the pictorial plane
and a convincing
representation of objects and space, led him first into the
figurative-abstract
aesthetic expression of Fauvism, and then a few years later, while he was painting in Portugal, to a
personal reinterpretation of proto-cubist abstraction.
The achievement of Skov's artistic development came about as a result of his own painstaking,
gradually evolving work. Thus it registered stepwise his own inner needs for aesthetic progression
and, interestingly, it seems also to parallel quite accurately, within a compressed time frame,
important parts of the aesthetic revolution of modern art. However, even as Skov evidently pursued
his painting in accordance with his own personal perceptions and quite independently from any
preconceived art programs, his work from certain periods still is reminiscent of Paul Gauguin, Henri
Matisse, and, during the latter part of this phase, Georges Braque. Towards the end of this phase,
Skov's artistic instinct directed him into further analysis of figurative form-space, and this proved to
be critical for his subsequent artistic progress, since it provided the basis for his later convictions
about the validity of the Cubist vision and its aesthetic idiom.
Skov's oeuvre from 1948 onwards comprises the third phase of his prolific work, which was
dedicated to exploring and
expanding the idioms of Cubism and Neo-cubism. During 1947 he
realized that Cubism, through its aesthetic discoveries and intellectual underpinnings, could provide
a consolidated framework for his own artistic pursuit. Based on his readings of the work of Pablo
Picasso, Georges Braque, Juan Gris, Albert Gleizes and Fernand Leger, Skov now could integrate
the analytic-cubist and synthetic-cubist idioms into his own. This aesthetic reconciliation occupied
him for several years and brought him to the core of Cubism. He subsequently continued to explore
this integrated aesthetic cubist idiom, his own Neo-cubism, through several periods of diverse,
creative expression.
5
During the mid 1950s, Skov began to emphasize compositional movement in his paintings.
About the same time, he also investigated how he could enhance the visual perception of the
movement that can be sensed as the represented objects seem to evolve from the painted canvas into
their perceived three-dimensionality. Since any degree of movement implies the dimension of time,
Skov realized that this embedded fourth dimension itself could constitute an additional challenge
for the modern artist.
In turn, this led him to see the importance of understanding the underlying principles of the
Einsteinian space-time continuum. The new ideology of the 20th-century, based on nonNewtonian quantum physics, was developing into an increasingly revolutionary philosophical
force, representing a break with past perceptions of the nature of things and any changing the
previous
philosophical thinking, and he felt it therefore very likely would
have important
implications also for modern painting. Skov reasoned that the changed physical-philosophical
ideology required the artist to present a correspondingly responsive aesthetic representation of
reality addressing the new consciousness. In his search for means to give visual expression to this
new ideology of relativity and space-time-continuum, Skov
found that the Neo-cubist idiom
could provide an artistically valid app roach.
Skov lived and worked for extended periods in Denmark, France and Portugal besides paying
repeated visits to Germany,
Spain, Italy, Brazil, Puerto Rico, and New Jersey, Texas and
California in the United States of America. He intended that his
work would be a
manifestation of his transnational ideology, expressing a universal commonality of the larger,
comprehensive
reality, rather than a limited, altogether subjective and
individualistic
perception of a given object or event. Through his own artistic experience, Skov saw a close
kinship between the pursuit of art and the scientific pursuit of objectivity and understanding, based
on methodical research and documentation
with each individual artist and scientist building
on their and their predecessors' experiments. In the art world of the mid-20th century, where the
expression of individualism and uniqueness of style generally have been considered to be most
important, this view of art places Skov apart from a majority of his contemporaries.
Throughout his work, Skov endeavoured to express his
personal artistic perception of
reality; but it is evident that he subordinated his search for individuality of style to the idea of a
6
larger artistic reality as well as to his desire for objectivity of
result of his creativity, lifelong
expression. Nevertheless, as a
consistent development and artistic originality, Skov's work
remains intensely personal. As the most prolific and dedicated
Neo-cubist painter among Danish
and Scandinavian artists, Skov is therefore a significant, unique exponent of the artistic revolution
of the 20th century.
7
IDEOLOGY AND AESTHETIC IDIOM
An Essay about Skov's search for an aesthetic idiom to match the
contemporary
twentieth century ideology.
An review of Skov's paintings and artistic development
did not address his lifelong quest for
specifically, the
would seem incomplete if it
incorporating meaning into his work; and more
question as to what particular focus he had regarding the concept
meaning. And right at the outset it may be well to note that Skov,
arrive at an answer that was satisfactory to
of
as most artists, did not
himself before having experimented with his
medium and matured while searching for clarity.
As a pictorial artist, Skov would be the first to emphasize, as
he often did to friends
and family, the high priority to be given to purely aesthetic concerns in art as well as the high
priority requirement for application of "prepared" artistic intuition; and he would also wish to
point out his awareness of the limitations of the
painterly medium to accept and convey
excessively complex messages of emotional or intellectual content. Yet, at the same time, he has
made it clear that the creative artist is a mirror of his or her own time and culture to the extent
assimilated by the artist.
The premise here is that without exception the prevailing cultural paradigm which, of course,
includes all aspects of
knowledge and faith, and particularly the relationship of the artist
to himself, his society and finally to his universe, inevitably and
reflected in the artist's work. This, Skov has
necessarily will be
often maintained, is unavoidable, except if the
artist has deliberately opted out of his contemporary culture. And to the extent an artist has not
understood or incorporated the evolution and contemporary status of development of his culture,
he or she will be less of a leader in the interpretation of the cultural paradigm and, therefore,
less relevant as an exponent of the contemporary epoch.
Another insight to understanding Skov's approach to his
premise of an essential unity, a holistic
individual self and
view as it were, of the relationship between the
the overall cultural context; that is, his belief that, although our
thoughts and languages are structured to only express
information, and that intellectual
made and
8
work, is provided by his
verbal
discrete and separable pieces of
analysis requires distinctive definitions and labels to be
transmitted, even so, any statements that can be made and the
very thoughts
themselves as well, these are all merely single reference points and individual aspects of an
integrated structure of beliefs, a single whole, - much like an elephant's trunk, sides, tusks and tail
are distinctively different, and yet, together, constitute
mere singularities of a complete,
organic entity.
These ideas are, of course, already widely accepted
regarding their applications to the
however,
concepts of Gestalt theory
philosophy of, for instance, history, science and religion;
their assimilation and understanding by the artists themselves may
be much less
common. One explanation which is applicable also in Skov's case, would seem to be that artists
are, and necessarily have to be, expressive-creative individuals first and integrators of
their
cultural context only second. The creative process and the psychological makeup of creativity
seem to demand this, perhaps because the artist must develop and rely on creative intuition as
early and as much as he or she can, in order to produce results while managing to maintain a
wellspring of creative enthusiasm.
Skov's approach to developing a holistic view of the
civilization and its culture, included the
with the Aristotelian
integration of its Hellenistic roots in classicism
ideology, the Judeo-Christian philosophy and ethics, the Galileo-
Newtonian physics and its resulting mechanistic determinism, and
Bohr-Heisenberg-Einstein Quantum
heralding the
contemporary Western
finally the still evolving
Mechanics with its relativity and uncertainty principle
"new weltbild" of today. And not content with accepting the
barriers to cultural and artistic development, Skov
conventional
would argue, as he often did in discussions
during the 1950's, that other cultural paradigms, e.g., Hindu, Buddhist, Dialectic Materialism, etc.,
could and actually should be included or at least
their potential compatibility
be given consideration to the extent of
and complementarity within the overall picture.
The principles of complementarities and indeterminism according to Niels Bohr and Werner
Heisenberg, were, in Skov's
between
view, potentially operable as a basis for the reconciliation
otherwise incompatible philosophies and paradigms. The point here is not the
question of validity of this approach in a
the late
generalized sense, but rather Skov's realization in
nineteen-forties that, without the incorporation into his cultural paradigm of the
latest, most significant, fundamental changes of our weltbild in this case the radical departure
from the pre-Einsteinian mechanistic philosophy which evolved during his lifetime in both a
scientific and philosophical sense - he would, in an artistic sense, in essence become a
9
spokesman for the
ideology belonging to the past century rather than being a representative of
his own time.
How well Skov can be said to have succeeded in providing
a visual interpretation of the
consciousness of a more true "mid-twentieth century expanded weltbild", is a question to be
addressed by his contemporary and future viewers; however, it
mind that to pass judgement on the
may be well to keep in
paradigm of a new ideology may at best be difficult,
and at worst impossible, for the individuals already grounded in the old paradigm - since the
new order is of value only to the extent it can destroy and expand the old, reducing it to a "special
case". And such were, of course, the revolutionary scientific discoveries that were made during the
first quarter of this century by, among
others, Einstein, Bohr, Plank and Heisenberg that
eventually would carry over into the realms of engineering, philosophy,
systems and, ultimately, the arts - and hence, with
religious belief
the passing of another generation, into
the paradigm of "every-man".
The postulates of Relativity, Quantum Mechanics, the
Uncertainty Principle and
Complementarity and the discovery of their validity in describing our natural world all took place
during
Skov’s formative years [e. g., the Theory of Complementarity was
first discussed by
Niels Bohr in 1927], and their larger relevance and philosophical implications were not immediately
obvious. It is
therefore to Skov's credit that he at least made an attempt to
understand
and incorporate the "new and significant" into his work, and by so doing also realized that
he would need to
subordinate his natural artistic impulse towards individuality of expression
to the challenge of providing an aesthetic expression that could conform his intellectual goal with
his aesthetic vision.
It may not be intuitively clear why Skov would find the Cubist idiom to be the most
appropriate vehicle to express his aesthetic and philosophical development during the post- war
years; however, a review of his prior work and the development
contemporary art movements provides informative
and content of
insights. One can then ask, as
undoubtedly also he did, if any of the other contemporary art movements and expressions at the
time would have more potential to shoulder the burden of a
comprehensive visualization of
today's ideological reality. Even now, a generation later, the answer is still negative.
About Skov's work which is discussed in detail elsewhere,
shows from its inception a concern for the
two dimensional
10
suffice it to say, that it
dichotomy of the three dimensional reality and
representation - his unwillingness to impose illusionistic space in
his
paintings - and the capability to induce a visual reality through
the observer's spatial sub
consciousness by providing subtle clues for pictorial integration of the depicted objects, planes and
space. Early on he already was adhering to important aspects of the
Cubist idiom, albeit in
a quite subtle manner, well before he went to the root analysis of the Cubist aesthetics. And in his
view regarding the other contemporary art movements, it seems quite certain, based on close
inspection, that apparently none of them had the capability, intent or aesthetic vocabulary to
address the
objective of developing a visual expression of the evolving 20th century
ideology.
Expanding on that observation in the mid nineteen-fifties,
visualization of "objects" and
Skov maintained that the
"movement" is fundamental to the real world around us and
cannot, therefore, be abandoned when the artist's intent is to
communicate visually about
reality. And similarly, the Surrealist realist-naturalist and non-figurative expressionist-abstract
renditions of psychological phenomena cannot reach further than describing or eliciting emotional
states of mind. This view does not constitute indictments against realist art, non-figurative-abstract
art or Surrealism; but, it does point to the limitations of their capacity to communicate the
twentieth-century reality, and therefore also explains their insufficiency to provide the concepts and
tools for reinventing the visualization of movement and space that was needed for Skov's artistic
purpose.
Skov's pursuit of a Neo-cubist expression, developed through his previous personal aesthetic
experiences and
eventually incorporating the comprehensive discoveries of the
earlier
revolutionary Cubist painters, provided a viable avenue for his continued development. His artistic
aims were clear, but not without complexity; and characteristically, he thought to share his
understanding, expressed his conclusions as concisely as he could. In the exhibition catalogues from
May 1950 and January 1956, he stated [editor's clarifications of the translation is shown in
brackets]:
"Since the challenge of art is of a general humanistic nature, that is to say it is an expression of
the human ethos, cognition (knowledge and understanding) must be the basis of that challenge;
because without cognition the human soul cannot express itself, but looses itself in mystification.
The aesthetic-realistic (figurative-abstract J painting of to-day stands as a necessity created by a
need for expanded cognition as the logical consequence of aesthetic continuity; because only
through a need for the continued expanding cognition will the new realities be created.
11
The synthetic (creative, compositional) painting of the 20th century builds upon the
foundation of Cubism which is confirmed by the theories of cognition (understanding and
epistemology by (John J Lockes and (Immanuel J Kant. By resolving the conflict between the 3dimensional space-perception and the 2-dimensional pictorial surface Cubism departs from the
visual perception of the Renaissance as a consequential CBUS8-determined evolution from the
experiences and achievements of that epoch.
Since it is a requirement for every generation of painters to search. For and reclaim the
tradition of art, every tradition-seeking artist to-day must develop a position regarding Cubism,
which is the key to the pictorial language of our time, in order to reach a wider understanding
(cognition) through his own experience. The tradition-seeking artist remains inside the (artistic)
tradition due to his aesthetic realistic continuity, in contrast to the abstract ornamental (nonfigurative) painter, who is expressing a metaphysical mystical view of life.
By gaining experience in his material the artist works with his intuition (expanding) on his
conscious knowledge, whereby the
intellect and
continuity (of harmony) evolves that satisfies both
feeling. With his aesthetic-realistic manifestations (figurative
documents concretely his universal feeling
paintings the artist
(cultural paradigm) and view of life (ethos) in a
progressive manner, whereby he continues expanding his ideology (weltbild)." Skov, May 1950
"The present-day art is based on visual metaphorical manifestation of the space-timecontinuum in which the phenomena for our visual sensations are taking place.
Pictorial concretization is a sub tile expression of humanism
in which the personal
individuality shows itself as a limitation in the clarity or universality of the oeuvre.
The simplified colour vision of Neo-impressionism and the
primitivism are equally unsatisfactory, as is the
delusions of Neo-
non-figurative colour experiment for the
(development of the) drama (taking place) between content and form, which constitutes (the
essence of) life of the art.
By (providing)
visualization of his philosophy of life and (his
evolving artistic)
developmental concerns (problems and objectives) the artist solves his assignment through (the
presentation of visionary metaphors, through which he advances
the limits of his sensations
and comprehension towards contemplative perception." Skov, January 1958
12
Rasmus Skov did not pursue his artistic work as a physicist
course, but rather as a painter with wide ranging
or philosopher, of
humanistic interests. These interests
included equal amounts of aesthetic and intellectual curiosity, combined with a deep sense of
beauty and a profound feeling of freedom; freedom to travel, paint
and live as he pleased,
and freedom to develop his own insights and experiences.
As an artist he was not afraid of travelling an untested path or of being a loner if that was
necessary; and neither was he too proud to learn from previous artistic traditions, nor
particularly adverse to appear to be conventional. One of his primary
characteristics, was his
dedication to expanding his artistic-aesthetic horizon and giving expression to any newfound
territory.
His respect for the artistic tradition - from the contemporary post- Impressionists
to as far back as before antiquity and including the
was profound without being
pre- and post- Renaissance masters -
stifling of his creativity; and he maintained that any new and
revolutionary idea, even as it swept aside the previous basis for
creativity, should be able to address any
theories. During
understanding and
previous traditional visualization, as do scientific
the mature phase of his work, his artistic motivation was the pursuit of
visual expressions of an accurate understandings of physical reality, a sensory-analytical duality of
an aesthetic-intellectual ideal; as complex and elusive, perhaps, as the wave-particle
duality
concept of physics discovered by his countryman Niels Bohr, and, regarding visual art, maybe as
wide reaching.
13
SELECTED PAINTINGS
Street scene
1930 - Cagnes – France
oil on canvas, 67x50 cm
SFT, Copenhagen
Cat. No. 31-04
14
Group of houses with seated Man
1930 - Cagnes - France
oil on canvas, 65x55 cm
SFT, Copenhagen
Cat. No. 30-07
15
Coastal Landscape
1934 - Ollerup – Denmark
oil on canvas, 80x57 cm
M. Simon - Los Angeles - California
Cat. No. 34-30
16
Landscape with Tile Kiln
1934 - Provence – France
oil on canvas, 44x55 cm
SFT, Copenhagen
Cat. No. 34-17
17
Landscape with view from Daaleren at Noon II
1935 - Knebel - Mols – Denmark
oil on canvas, 71x84 cm
Ellen Skov - Svendborg - Denmark
18
Still-life with Pear and Piled Dishes
1935 - Knebel - Mols – Denmark
oil on plywood, 67x57 cm
SFT, Copenhagen
Cat. No. 35-03
19
Autumn Landscape with Blackbirds
1936 - Svaneke – Denmark
oil on canvas, 66x65 cm
Los Angeles – California
Cat. No. 36-10
20
Still-life with Jug and Sunflower
1936 - Knebel - Mols – Denmark
oil on canvas, 41x46 cm
SFT, Copenhagen
Cat. No. 36-27
21
Woman with Red Blouse
1938 - La Colle - France
oil on canvas, 80x61 cm
SFT, Copenhagen
Cat. No. 38-2
22
Landscape: View of La Colle with Mountain
1938 - Provence – France
oil on canvas, 51x66 cm
SFT, Copenhagen
Cat. No. 38-36
23
Landscape with House Group and Two Trees near the Sea
1938 - La Colle – France
oil on canvas, 66x51 cm
SFT, Copenhagen
24
Harbor Fortifications seen against the Sun
1938 - Christiansoe – Demnark
oil on canvas, 70x70 cm
SFT, Copenhagen
Cat. No. 38-24
25
Two boys At Aarsdale
Bornholm – Demnark
oil on canvas, 106x75 cm
SFT, Copenhagen
Cat. No. 38-39
26
Garden with Shadows in Spring
1939 - Aarsdale - Bomholm – Denmark
oil on canvas, 65x65 cm
SFT, Copenhagen
Cat. No. 39-15
27
Portrait of Dr. Norman Hansen
1938 - Christiansoe – Denmark
oil on canvas, 65x65 cm
SFT, Copenhagen
Cat. No. 37-49
28
Still-life with Orange Peel in a bowl I
1939 - Aarsdale – Denmark
oil on canvas, 34x41 cm
SFT, Copenhagen
Cat. No. 38-44
29
Woman resting on Couch with Sunflowers
1942 - Bakkeboelle – Denmark
casein on plywood, 50x61 cm
SFT, Copenhagen
Cat. No. 42-07
30
Two Women Resting in Field
1943 - Bakkeboelle – Denmark
casein on plywood, 35x28 cm
SFT, Copenhagen
Cat. No. 43-20
31
Still-life with Palette, Flask and Straw Hat
1946 - Santa Cruz – Madeira
oil on plywood, 50x58 cm
SFT, Copenhagen
Cat. No. 46-25
32
Still life with string instrument
Copenhagen, Denmark
oil on cardboard, 55x58 cm
Cat. No. 49-12
33
Still life with bottles and glass
Copenhagen, Denmark
oil on plywood, 62x50 cm
Cat. No. 50-05
34
Still-life with Glass Pitcher and Chalk-pipe
1947 - Jaegersborg – Denmark
oil on collage on plywood, 50x38 cm
SFT, Copenhagen
Cat. No. 47-34
35
Still-life with White Pitcher and two green Fruit Bowl
1948 – Copenhagen
oil on plywood, 63x51 cm
SFT, Copenhagen
Cat. No. 47-24
36
Still-life with Glass and Fruit Bowl with Oranges on red Tablecloth
1949 – Copenhagen
oil on canvas, 54x75 cm
SFT, Copenhagen
Cat. No. 49-10
37
Still-life with Fish and Knife on Table
1949 – Copenhagen
oil on canvas, 100x74 cm
SFT, Copenhagen
Cat. No. 49-17
38
Cyclones and Smoke-stack of Coffee Roasting Plant
1949 – Copenhagen
oil on plywood, 73x76 cm
SFT, Copenhagen
Cat. No. 48-09
39
Still life with string instrument, playing cards
Copenhagen, Denmark
Oil/collage on plywood, 61x76 cm
Cat. No. 49-19
40
Two Bottles, Glasses and Violin on Table
1950 – Copenhagen
pencil on paper
41
Still-life with Mandolin on Table
1950 – Copenhagen
oil on plywood, 58x68 cm
SFT, Copenhagen
Cat. No. 50-28
42
Still-life with Violin on Table
1950 – Copenhagen
oil on plywood, 72x61 cm
SFT, Copenhagen
Cat. No. 50-02
43
Landscape with smoke houses
Svaneke, Denmark
oil on plywood, 40x50 cm
Cat. No. 50-02
44
Still-life with Coffeepot, two Cups and Slice of Cake on Table
1951 – Copenhagen
oil on canvas, 74x94 cm
ERS Collection, Mission Viejo California
Cat. No. 51-28
45
Still-life with fish near window
Copenhagen, Denmark
oil on canvas, 50x65 cm
Cat. No. 50-04
46
Still life with bottle and grapes
Copenhagen, Denmark
oil on plywood, 51x61 cm
Cat. No. 51-08
47
Still-life with Ocarina, Mandolin, Glass and Musicscore on Table
1951 – Copenhagen
oil on canvas, 81x80 cm
SFT, Copenhagen
Cat. No. 51-25
48
Woman Torso with folded Arms
1951 – Copenhagen
pencil on paper, 30x42 cm
49
Still life with guitar on table 2
Copenhagen, Denmark
Oil on canvas, 74x100 cm
Cat. No. 51-26
50
Still life with musical instrument and cards
Copenhagen, Denmark
Oil on canvas, 80x100 cm
Cat. No. 51-03
51
Still life with mandolin and glass
Copenhagen, Denmark
Oil on plywood, 75x58 cm
Cat. No. 50-12
52
French coast with boat
Copenhagen, Denmark
Oil on plywood, 61x51 cm
Cat. No. 52-13
53
Standing Heron with Fish I
1953 – Copenhagen
oil on canvas, 100x70 cm
SFT, Copenhagen
Cat. No. 53-08
54
Swimming Fish Tablau with Snails XI
1953 – Copenhagen
oil on wood-panel, 25x31 cm
SFT, Copenhagen
Cat. No. 53-56
55
Swimming Fish Tablau I
1953 – Copenhagen
oil on plywood, 61x76 cm
SFT, Copenhagen
Cat. No. 53-11
56
Still life with table with fish 1
Copenhagen, Denmark
oil on plywood, 76x61 cm
Cat. No. 53-06
57
Figtree in front of house
Villifranche
oil on canvas, 80x65 cm
Cat. No. 52-04
58
Still life with fruit basket
Copenhagen, Denmark
oil on plywood, 50x61 cm
Cat. No. 50-15
59
Still life with melon and grapes
Copenhagen, Denmark
oil on canvas, 65x65 cm
Cat. No. 53-14
60
Still-life with Bottle, Fruit Bowl and Wine Carafe on a Pedestal Table
1954 – Copenhagen
oil on canvas, 118x96 cm
SFT, Copenhagen
Cat. No. 54-44
61
Still life with flowers and glass
Copenhagen, Denmark
oil on canvas, 50x61 cm
Cat. No. 52-18
62
Boy’s portrait 3
Copenhagen, Denmark
oil on canvas, 56x65 cm
Cat. No. 54-36
63
Girl’s portrait
Copenhagen, Denmark
oil on canvas, 56x65 cm
Cat. No. 55-12
64
Man with round eyes
oil on canvas, 50x64 cm
Cat. No. 50-40
65
Still-life with Glass, Grapes and Fruit Bowl with Melon on Table
1955 – Copenhagen
oil on canvas, 86x70 cm
SFT, Copenhagen
Cat. No. 55-04
66
Still life with melon in bowl
Copenhagen, Denmark
oil on plywood, 50x61 cm
Cat. No. 53-17
67
Still-life with Greek Bust and Flower Glass
1956 – Copenhagen
oil on canvas, 56x50 cm
SFT, Copenhagen
Cat. No. 56-08
68
Sunflower in bloom
Copenhagen, Denmark
oil on canvas, 58x80 cm
Cat. No. 51-12
69
Still life with autumn flowers in ceramic pot
Copenhagen, Denmark
oil on canvas, 50x65 cm
Cat. No. 55-18
70
Still life with pitcher with leaves and fruit bowl
Copenhagen, Denmark
oil on masonite, 81x100 cm
Cat. No. 56-05
71
Still-life with Fruit Bowl, two Oranges and Plums on the Table
1956 – Copenhagen
oil on canvas, 65-92 cm
SFT, Copenhagen
Cat. No. 56-02
72
Still-life with greek bust and flowers
Copenhagen, Denmark
oil on plywood, 76-61 cm
Cat. No. 53-13
73
Still life with bottle and pitcher
Copenhagen, Denmark
oil on masonite, 46x38 cm
Cat. No. 55-24
74
Landscape with trees in Provence
Copenhagen, Denmark
oil on plywood, 65x50 cm
Cat. No. 53-49
75
Still life mandolin and fruit bowl 1
Copenhagen, Denmark
oil on canvas, 49x38 cm
Cat. No. 57-02
76
Still-life w/Bread-slicer and Wine Carafe
1958 - Copenhagen – Denmark
oil on canvas, 63x81 cm
SFT, Copenhagen
Cat. No. 58-12
77
Still-life w/Bread-slicer, Wine Carafe and Pears III
1958 – Copenhagen
oil on canvas, 63x81 cm
SFT, Copenhagen
Cat. No. 58-13
78
Still-life with Red Cabbage, Cheese, Knife and bottle on the table II
1958 – Copenhagen
oil on canvas, 65x92 cm
SFT, Copenhagen
Cat. No. 58-10
79
Fishwife seated at Gammel Strand VI
1958 – Copenhagen
oil on canvas, 81x66 cm
SFT, Copenhagen
Cat. No. 58-23
80
Still life with red cabbage, cheese and bottle
Copenhagen, Denmark
oil on canvas, 65x55 cm
Cat. No. 53-51
81
Still-life with Pitcher, Lemon and Sprouting Onion in Glass
1957 – Copenhagen
oil on canvas, 53x68 cm
Cat. No. 57-28
82