Louisiana Museum of Modern Art
Ay-O – Rainbow Hokusai (1970)
- Description
- Specifications
- The Maker
Of all foreign cultures, the Japanese is probably the one that has had the most profound impact on the sensibilities of the Western world for more than a hundred years, says Louisiana Revy in a foreword to the exhibition.
The Japanese woodcuts influenced European painting with flat painting and bold cuts of the subject and the ink art of Zen art influenced the American and European art of the 50s and 60s.
The modern architects of the West are indebted to their Japanese counterparts, whose sense of materials, intimacy and human proportions fascinated and was incorporated. For example, the Japanese modular system, which is also expressed by several of Louisiana's own buildings—a way of thinking that the architects of the Bauhaus generation, in particular, unfolded completely.
And the influence and inspiration went both ways. Both European painters and architects sent strong influences back to Japanese painting and architecture. In the same way, experiences were exchanged between Japanese and European handicrafts, from the French art deco of the 20s to the Finnish art industry of the 50s.
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-106263-FJ
- Material: Printed on paper.
- Dimensions:33.1" x 23.4" (A1)
From the beginning, the founder, Knud W. Jensen, intended for the museum to be a home for modern Danish art. But after only a few years he changed course, and instead of being a predominantly Danish collection, Louisiana became an international museum with many internationally renowned works.
Louisiana's close contact and collaboration with the international arts and cultural milieu has since been one of the museum's greatest strengths. And also one of the main reasons that it has been possible for Louisiana to present an exhibition program that has resonated so strongly with the public over the years. Louisiana has thus achieved a standing as one of the world's most respected exhibition venues, and in the future, it will be able to attract exhibitions and artists at a level that few other museums—either in Denmark or abroad—can match.
Knud W. Jensen put into action many of the period's visionary ideas about modern museum operation, including a desire for art to have a wide audience. It has always been the view at Louisiana that art is not just for an elite but includes experiences and visions for the many.
Why is it called Louisiana?
Many people wonder about the name of the museum. The short explanation is this—a nobleman and his three wives.
Knud W. Jensen chose to "take over" the name of the country house that he later converted to a museum. The property had been built and named in 1855 by Alexander Brun (1814-93), who was an officer and Master of the Royal Hunt and who married three women who were all named Louise.
Here at Louisiana, he was a pioneer in beekeeping and the cultivation of fruit trees.
From the beginning, it was Knud W. Jensen's vision to create a museum with soul, where the public could encounter artwork—not as something pretentious, but rather something that spoke directly to the viewer. And he emphasized the need for "supplementary content" that could help bring alive and enrich the environment: The more opportunities for experience that the program offers, the more Louisiana lives up to its idea—to be a 'musical meeting place' and a milieu that is engaged in contemporary life.
—Knud W. Jensen
