Louisiana Museum of Modern Art
Remedios Varo – Tailleur pour Dames (1957)
- Description
- Specifications
- The Maker
Louisiana's extensive exhibition of female surrealists, many of whom have been overlooked and forgotten until now, testified that women played a more important and vocal role in surrealism than in any other artistic avant-garde movement.
Several of the female artists shown were initially partners, muses or models for the male Surrealists, but also—which has often been understated—actively performing artists themselves who contributed important works to the great Surrealism exhibitions of the time.
The exhibition showed, on the one hand, that the female artists worked within themes that in many cases were already associated with surrealism, but at the same time also how they differ from their male colleagues—not least in their search for a (new) female identity model. This often involved an examination of one's own reflection and a play with different roles and female sexuality.
Remedios Varo, Tailleur pour Dames, 1957. (Women's Tailor). Oil and tempera on canvas. Modern Art International Foundation. Courtesy: Maria and Manuel Reyero Collection, New York. ©Remedios Varo/VISDA
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-104188-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
