Louisiana Museum of Modern Art
Pablo Picasso – Still-life with Fish, Fork and Slice of Lemon (1955)
- Description
- Specifications
- The Maker
Louisiana has shown exhibitions of Picasso's paintings, drawings and graphic works several times over the years and the museum also has several works by the master in the collection. When it comes to a special focus on Picasso's ceramic production, the museum's exhibition in 2018 was the first major one of its kind in Scandinavia, with 160 works from the years 1947-64.
In the summer of 1946, Picasso stayed in Golfe-Juan in the South of France. Together with a friend, he went to a ceramics exhibition in Vallauris, an area known for its many ceramic workshops. That experience became a turning point and Picasso's curiosity and interest in ceramic objects was awakened.
Already in 1948, Picasso got a permanent place in the Madoura workshop in Vallauris and decided to move his home to the South of France. The luminous, Mediterranean nature that defined his art in these years is also reflected in the ceramic works.
In the South of France, Picasso—alongside his paintings, drawings, sculptures and graphic works—produced approximately 4000 ceramic objects. Some are painting and processing of plates, jugs and dishes that had already been put into production—like the poster's motif, the classic dinner plate, where Picasso ceramic shapes a fork, lemon slice and fish, which he applies to the plate.
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-103949-FJ
- Material: Printed on paper.
- Dimensions:11.7" x 16.5" (A3)
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
