Louisiana Museum of Modern Art
Sophie Tauber-Arp – Untitled (1932)
- Description
- Specifications
- The Maker
With the exhibition, Louisiana shed light on a number of significant artists who were driving forces in the avant-garde movements that characterized Europe in the post-war period: Dada, Constructivism and Surrealism.
Two of the exhibited artists are in Louisiana's collection, Sophie Taeuber-Arp and Sonia Delaunay. Based on handicrafts, the two developed a new and different sensibility for, among other things, color composition, where Taeuber-Art gave geometric-abstract art its own voice.
Louisiana's exhibition helped to develop awareness of strong, female artists in an otherwise male-dominated art history. The women of the avant-garde helped to redefine art and at the same time also challenged the notion of what women can, should and must.
The women did not, like the male artists, have a historically grounded platform in academies and in artist groups, which of course presented them in the art world. They had to create a path for themselves, and independence, openness and mobility recur as a red thread in the lives and works of all eight female artists.
- Brand:Louisiana Museum of Modern Art Denmark
- Country: Printed in Denmark
- SKU: LA-103972-FJ
- Material: Printed on paper.
- Dimensions:33.4" x 24.4"
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
