natgillin/translations-raw huggingface dataset:
Gave 2009 fra kunstnerens børn.
Donation 2009 from the artist's children.
Andreas Clemmensen - villaen
Andreas Clemmensen - Villa
Andreas Clemmensen (1872-1928) var én af sin samtids førende arkitekter, hvad hans mange både private og offentlige bygninger rundt om i landet vidner om.
Andreas Clemmensen (1872-1928) was one of the leading architects among his contempories; a fact corroborated by his numerous private and public buildings around the country.
Han gik på kunstakademiet i årene 1867-75 og rejste i Italien, Frankrig, England og Holland i årene 1880-83.
He attended the Royal Danish Academy of Fine Arts during 1867-75 and later travelled extensively in Italy, France, England, and Holland during the years 1880-83.
Specielt rejserne til Italien prægede hans arkitektursyn i de første år af hans karriere.
The journeys to Italy, in particular, influenced his architectural views during the initial stage of his career.
I 1890erne fandt han sit eget arkitektoniske udtryk præget af enkelhed og homogenitet og med en udpræget sans for proportioner og helhed ofte med klassiske stilelementer indarbejdet.
In the 1890s, he developed his own personal architectural expression characterised by simplicity and homogeneity, displaying a strong sense of proportion and the unified whole, often adding classical-style elements.
Sit gennembrud fik han med 'Palæstilen', der dominerede dansk arkitektur i årene 1890-1910, og som Andreas Clemmensen var én af de første til at praktisere.
His breakthrough came with the ‘mansion style', which would dominate Danish architectural design during the years 1890-1910 and which Andreas Clemmensen was among the first to practice.
Palæstilens huse har pudsede facader, og i facadedekorationerne sammensættes elementer fra Barok og Klassicisme.
Mansion style houses have rendered façades and the façade decorations are a combination of Baroque and Classicist elements.
Som sådan er Færchvillaen i Holstebro, sammen med Statens Serum Institut i København, typiske eksempler på Andreas Clemmensens beherskelse af denne særlige danske stil.
As such, the Færch Villa in Holstebro together with Statens Serum Institut (Danish Public Health Research Inst.) in Copenhagen are typical examples of Andreas Clemmensen's command of this particularly Danish style.
En anden linje i Andreas Clemmensens værk udgør kirkebyggeriet, der overvejende er romansk inspireret.
Another line in Andreas Clemmensen's work is church building, which is predominantly inspired by the Romanesque.
Sammen med billedhuggeren Anders Bundgaard udformede han Gefionspringvandet (1907) ved Langelinie i København.
He designed Gefionspringvandet (Gefion Fountain) at Langelinie in Copenhagen together with the sculptor Anders Bundgaard (1907).
Andreas Clemmensen (1872-1928) malet af L.A.Ring 1920
Andreas Clemmensen (1872-1928) painted by L.A.Ring 1920
Abstrakt surrealisme & Cobra
Abstract Surrealisme & Cobra
Surrealismen er en af det 20. århundredes vigtigste kunstretninger.
Surrealism is one of the most important art movements of the 20th century.
Som navnet antyder, vil retningen vise en anden virkelighed, end den vi kan se med det blotte øje.
As the name suggests, the movement aims to show another reality than the one visible to the naked eye.
De surrealistiske kunstnere var fascineret af den interesse for menneskets indre sjæleliv, der blomstrede frem med psykologen Sigmund Freuds teorier om det underbevidste og om drømmetydning.
The Surrealist artists were fascinated by the interest in the inner workings of the human psyche that flourished in the wake of Sigmund Freud's theories of the unconscious mind and of dream interpretation.
Surrealismen startede i Paris først i 1920'erne og blev snart et internationalt fænomen.
Surrealism was born in Paris in the early 1920s and soon became an international phenomenon.
Menneskets underbevidsthed skulle sættes fri, og der skulle gøres op med samfundets konventionelle og rationelle normer.
Their goal was to liberate the powers of the unconscious mind and, moreover, to break with the conventional and rational norms of society.
Sådanne tegninger minder gerne om kruseduller.
Such drawings usually bring to mind haphazard doodles.
I praksis vekslede udtryksmåden mellem noget spontant og nogle bevidste, kunstneriske valg.
In practice the method alternated between spontaneity and deliberate artistic choices.
For Ejler Bille, der udtrykte sig abstrakt surrealistisk, blev arbejdsformen et livslangt projekt.
For Ejler Bille, who employed an abstract surrealist style, this approach became a life-long project.
I hans tidlige malerier ses tegningen bag kompositionen tydeligt.
In his early paintings the drawing can be seen clearly behind the composition.
Senere arbejdede han mere direkte, og spontane penselstrøg skaber motivet.
Later he painted directly on the canvas, using spontaneous brush strokes to create the motif.
På sigt bliver arbejdsmåden kendetegnende for Cobra-maleriet.
In the long term the work method became a defining feature of Cobra painting.
Cobra - dannet af forbogstaverne i Copenhagen, Bryssel og Amsterdam - var en sammenslutning af kunstnere fra Danmark, Belgien og Holland dannet efter Anden Verdenskrig.
Cobra - formed by the initials in Copenhagen, Brussels and Amsterdam - was an association of artists from Denmark, Belgium and the Netherlands established after Second World War.
Barnets sind blev set som et stadie af den menneskelige psykologi, der endnu ikke var præget af omverdenens forventninger.
The child's mind was regarded as a stage in the mental development of man, as yet uninfluenced by the expectations of the surrounding world.
Henry Heerup sammenstiller på overrumplende vis alskens fundne genstande, som minder om, når surrealisterne parrer genstande, der ikke har noget med hinanden at gøre.
Henry Heerup's astonishing juxtapositions of all sorts of found objects recall the way the Surrealists combined unrelated objects in compositions which thus achieved a dream-like quality.
Her var man vidne til urkræfter og urformer, som europæerne mente, at de havde lagt bag sig.
Here the primordial forces and original forms that the Europeans believed to have left behind were still present.
For Ejler Bille var disse udtryksformer en stadig kilde til en levende ornamentik i hans kunst, og i en periode var masken et motiv, hvoromkring det spontane udfoldede sig.
For Ejler Bille this imagery provided an everlasting source of vivid ornamentation, and for a period of time the mask was the motif around which expressions of spontaneity unfolded.
Ejler Bille, Henry Heerup, Sonja Ferlov og Erik Thommesen var alle med i Cobra-bevægelsen.
Ejler Bille, Henry Heerup, Sonja Ferlov and Erik Thommesen were all part of the Cobra movement.
Det kan være et landskab, et kig ud gennem vinduet, en opstilling eller et hjørne af stuen.
Hanne Sejrbo Nielsen depicts the world around her, for instance a landscape, a view through a window, a composition or a corner of her living-room.
De nye værktøjer åbner for andre måder at skildre verdenen på - farve og flade bliver nye elementer i Hanne Sejrbo Nielsens virkelighedsskildringer.
In addition her works can be seen in Vejle Kunstmuseum and in the Royal Collection of Graphic Art in the National Gallery of Denmark.
Afrikansk traditionel kunst
African Traditional Art
Forfatteren og kunsthistorikeren Poul Vad (1927-2003) stod bag idegrundlaget for Holstebro Kunstmuseum.
The author and art historian Poul Vad (1927-2003) formulated the conceptual basis of Holstebro Kunstmuseum.
Museet skulle anskueliggøre kunst som et universelt fænomen.
The museum was to make art intelligible as a universal phenomenon.
Derfor vises dansk kunst side om side med udenlandsk kunst og kunst fra den ikke-vestlige kultursfære.
For this reason Danish works of art are displayed side by side with foreign works of art and art from the non-Western cultural sphere.
Han blev så fascineret af den, at han begyndte at samle - en passion, som fulgte ham resten af livet.
He became fascinated by it to such a degree that he began collecting - a passion that lasted for the rest of his life.
Poul Holm Olsens Samling - som museet for største delen har fået som gave af samleren - omfatter ca. 1000 genstande.
Poul Holm Olsen's Collection - most of which the museum has received as a gift from the collector - comprises approx. 1000 objects.
De fleste stammer fra Vestafrika - et kolossalt område, der strækker sig fra Sahara til Congo-bækkenet.
Most of the objects are from West Africa - an enormous area stretching from Sahara to the Congo basin.
Det var genstandenes skulpturelle og æstetiske kvaliteter, Poul Holm Olsen var optaget af - ikke så meget deres etnografiske betydning.
Poul Holm Olsen was concerned with the sculptural and aesthetic qualities of the objects - not so much their ethnographical meaning.
Europæiske kunstnere fik i begyndelsen af det 20. århundrede øjnene op for de afrikanske kunstgenstandes anderledes æstetik, og disse bliver en væsentlige inspirationskilde for det nybrud, der sker i europæisk kunst omkring år 1900.
At the beginning of the 20th century European artists awoke to the different aesthetics of the African objects of art, and these become an essential source of inspiration of the new departure that takes place in European art around year 1900.
Picassos bruger masken i sit epokegørende maleri ”Frøkenerne fra Avignon” (1907), og kunstnere som Matisse og Giacometti bliver også påvirket af afrikansk kunst.
Picasso makes use of the mask in his epoch-making painting ”Les Demoiselles d'Avignon” (1907), and artists like Matisse and Giacometti are also influenced by African traditional art.
I 1920'rne og 30'rne fik danske kunstnere som Sonja Ferlov Mancoba og Ejler Bille kendskab til afrikansk kunst gennem samleren Carl Kjersmeiers store samling.
In the 1920s and 30s Danish artists like Sonja Ferlov Mancoba and Ejler Bille became acquainted with African tribal art through the collector Carl Kjersmeier's large collection.
Også Erik Thommesen og senere malerne i Cobra-bevægelsen lod sig inspirere af afrikanske kunst.
Moreover, Erik Thommesen and later on the painters of the Cobra movement took inspiration from African traditional art.
Afrikaneren forbandt ikke maskerne med noget æstetisk i vesterlandsk forstand.
The African did not associate the masks with anything aesthetic in the Western sense.
Det vigtige var, hvad genstanden repræsenterede.
What mattered was what the object represented.
Genstandenes udseende var bestemt af deres funktion, og de indgik i religiøse, sociale og samfundsmæssige riter.
The appearance of the objects was determined by their function, and they formed part of religious and social rites.
De rummede magiske kræfter, som var uadskilleligt forbundet med opretholdelsen af livet.
They held magic powers, which were inseparably bound up with the sustenance of life.
Der er flere hovedgrupper i samlingen.
The collection contains several main groups.
Feticherne beskyttede ejermanden mod sygdomme og rummer ofte et lille kammer, hvor en negl eller hår fra personen var gemt.
Fetishes protected the owner against illness and often hold a small chamber hiding a nail or some hair of the person.
Ahnefigurerne repræsenterede forfædrene, der via figurerne var til stede i virkeligheden.
The ancestor figures represented the ancestors, who were present in reality through the figures.
Maskerne - der var en del af en hel dragt (der sjældent er bevaret) - blev blandt andet brugt ved indvielsen af de unge til voksenlivet, ved frugtbarhedsriter og af de hemmelige selskaber.
The masks - which were parts of a complete costume (that is rarely preserved) - was used, among others, in the rites of passage of young people to adult life, in fertility rites and by the secret societies.
Stolene udtrykte status og indgik desuden i ritualer.
The chairs expressed status and also formed part of rites.
Gertrud Vasegaard - udvalgte værker
Gertrud Vasegaard - selected works
Foto: Knud Sejersen, Inferno
Photo: Knud Sejersen, Inferno
Krukke med gekko.
Pot with Gecko.
Drejet og formet, glaseret lertøj.
Wheel-thrown and altered, glazed earthenware.
Drejet, indridset mønster, delvis glaseret lertøj.
Wheel-thrown, scratched pattern, partly glazed earthenware.
23 cm (højde), 14 cm (diameter)
23 cm (height), 14 cm (diameter)
Glaseret (indvendig) stentøj.
Glazed (on the inside) earthenware.
Foto: Per Andersen
Photo: Per Andersen
Drejet glaseret stentøj.
Wheel-thrown, glazed stoneware.
17 cm (højde) x 28 cm (diameter)
17 cm (height) x 28 cm (diameter)
Foto: Knud Sejersen, Infernå
Photo: Knud Sejersen, Inferno
Foto: Ole Mortensen
Photo: Knud Sejersen, Inferno
Drejet og formet, glaseret stentøj.
Wheel-thrown and altered, glazed stoneware.
Deponeret 1986 og overdraget 1998.
On loan 1986 and received 1998.
Ready-made, koncept-, pop- og installationskunst
Ready-made, Concept, Pop & Installation Art
Tidligt i det 20. århundrede skabte Duchamp en række såkaldte ready-mades, der var med til at forandre kunstens udtryksformer og kunstnerrollen.
Early in the 20th century, Duchamp created a number of so-called ready-mades that played a part in changing artistic modes of expression as well as changing the role of the artist.
En sådan kunstpraksis inviterer publikum til en anderledes type dialog med kunstværket end førhen.
This kind of artistic practice invites the audience to enter into a new and unusual type of dialogue with the artwork.
Danske Albert Mertz (1920-90) var tidligt eksperimenterende, f.eks. med konkret kunst, abstraktion og siden hen Fluxus.
The Danish artist Albert Mertz (1920-90) was an early experimentalist working with concrete art, abstraction and, eventually, Fluxus.
Da Albert Mertz i 1962-76 var bosiddende i Paris, blev han desuden vidne til de glidende overgange mellem kunst og populærkultur og ikke mindst en vigtig formidler af nye internationale strømninger til den hjemlige kunstscene.
From 1962-76 when Albert Mertz was living in Paris, he also witnessed the blurring of boundaries between art and popular culture and he was, not least, an important messenger carrying the new international currents back to his native art scene.
Interessant bliver popkunsten, især i forbindelse med Albert Mertz, fordi den - helt i tråd med Duchamp - lægger ironisk distance til den romantiske forestilling om kunstnergeniet.
Pop art becomes especially interesting in connection with Albert Mertz, because it - in line with Duchamp - distances itself to the romantic notion of the artistic genius.
Devalueringen af kunstværkets ophøjede status forstærkes også af popkunstens genintroduktion af hverdagsemner og figurative motiver.
The devaluation of the elevated status of artwork is further intensified by pop art reintroducing everyday objects and figurative motifs.
Det er med andre ord værkets effekt, der er det afgørende, ikke det kunstneriske temperament.
In other words, the effect is the crucial element and not the artistic temperament.
Med tiden udvikler Albert Mertz sine rød-blå malerier, der både har elementer fra Op Art og konceptkunst i sig.
Over time, Albert Mertz developed his red-blue paintings which contain elements of both op art and conceptual art.
Udover ready-mades udtænkte Duchamp også rumspecifikke værker med henblik på at inddrage og aktivere beskuerens mangfoldige sansninger - såkaldt installationskunst.
Apart from the ready-mades, Duchamp also conceived spatial works with a view to involve and activate the viewer's manifold perceptions of sense - the so-called installation art. Martin Erik Andersen (b.
Martin Erik Andersen (f. 1964) arbejder i denne tradition, og han står i dag som en af landets mest fremtrædende repræsentanter inden for dette felt.
1964) works in this tradition, and he is viewed today as one of Denmark's most prominent representatives within this field.
Kønnet er normalt én af de faste kategorier, vi definerer os selv og andre ud fra.
The biological gender is usually one of the standard categories we use to define ourselves and others.
Se billeder fra udstillingen her
See pictures from the exhibition here
De fleste opfatter køn som noget, vi er født med.
Most people think of gender as something we are born with.
Vi er enten piger eller drenge - mænd eller kvinder.
We are either girls or boys - men or women.
En begrænsning som mange unge ikke vil underkaste sig, men som de arbejder på at bryde ned - enten på et personligt plan, eller aktivistisk for at skabe plads til et mere nuanceret menneskesyn.
A limitation which many young people refuse to submit to and consequently attempt to break down - either on a personal level or in an activist manner in order to create room for a more nuanced view of humanity.
Begrebet 'queer' benyttes af mange af dem, der ikke føler sig tilpas indenfor de traditionelle kønskategorier, og i stedet eksperimenterer med, og udfordrer, heteronormativiteten.
The concept of 'queerness' is used by many who do not feel comfortable with traditional gender categories and instead experiment with and challenge heteronormativity.
Unge, som drømmer om at leve i et samfund, hvor vi kan se mennesket før kønnet; hvor vores blik på hinanden ikke er farvet af fordomme om køn, norm og seksualitet.
Young people who dream of living in a society that appreciates the person before the sex; a society in which our gaze is not colored by prejudices about gender norms and sexuality.
Begrebet LGBT er på det seneste blevet udvidet til LGBTQ*.
The concept of LGBT has recently been extended to LGBTQ*.
Det er disse unge, som definerer sig som 'queer', som Lærke Posselt portrætterer i sin fotografiske serie Q* Flydende Køn.
In her photographic series Q* Bending Gender, Lærke Posselt has portrayed a number of young people who precisely define themselves as queer.
Lærke Posselt skildrer i sine portrætter de forskellige modeller med nærvær, samtidig med at vi indfanges af det ubestemmelige i den portrætteredes udseende.
Posselt renders her subjects with a strong presence while capturing at the same time their indefinable appearance.
Dermed konfronteres vi med vores egne forestillinger om køn og samfund.
In turn, we as viewers are confronted with our own ideas about gender and society.
Jeg synes ikke det er meget ubehageligt, men jeg synes heller ikke at det er behageligt.
I do not experience this as overtly uncomfortable, nor is it decidedly pleasant.
Det er synd, at vi ikke har fantasi til at forestille os at en person med makeup kan være andet end en kvinde.”
It is a pity that we cannot imagine someone wearing makeup as something other than a woman."
Gennem sine portrætter og de tilknyttede citater, afsøger Lærke Posselt grænserne for køn.
Through her portraits and accompanying quotes, Lærke Posselt not only questions the boundaries of gender.
Dermed udfordrer hun samtidigt vores opfattelse af kønnet som fundamentalt og afgørende for vores forståelse af hinanden som mennesker.
She also challenges our perception of gender as fundamental and essential to our understanding of each other as individuals.
Portrætfotografiet spiller en central rolle i Lærke Posselts arbejde.
Portrait photography plays a central role in Lærke Posselt's work.
På det seneste har Lærke Posselt udvidet serien med nye billeder fra både Sverige og Norge, som ikke har været vist tidligere, og på Holstebro Kunstmuseum viser Lærke Posselt for første gang hele serien samlet.
Only recently Lærke Posselt has completed the series with new images from both Sweden and Norway that have not been exhibited until now.
Lærke Posselt er født og opvokset i Vestjylland.
Lærke Posselt was born and raised in West Jutland.
Olivia Holm-Møller (1875-1970) blev født i Homå på Djursland.
Olivia Holm-Møller (1875-1970) was born in the Danish village of Homå on Djursland.
Hjemmet var grundtvigsk præget og som ung underviste hun i dansk, håndgerning og gymnastik på forskellige grundtvigske fri- og højskoler.
Her childhood home was influenced by Grundtvigian thoughts, and as a young woman Olivia Holm-Møller taught Danish, needlework and gymnastics at different Grundtvigian private, independent schools and folk high schools.
I begyndelsen af sin kunstneriske karriere arbejdede Olivia Holm-Møller mest med skulpturen og relieffet, der motivisk for en stor dels vedkommende tog udgangspunkt i familien og slægten.
In her early career as an artist, Olivia Holm-Møller mostly worked with sculpture and relief, and the source of her motifs was largely her family and relatives.
Men fra 1914 blev maleriet hendes centrale udtryksmiddel.
From 1914, however, painting became her primary means of expression.
Samme år flytter hun tilbage til Homå.
This same year, Olivia Holm-Møller returned to Homå.
Da hendes svigerinde dør i barselsseng, påtager hun rollen som plejemor for to små nevøer.
When her sister-in-law died in childbirth, Olivia Holm-Møller took responsibility as foster mother of two small nephews.
Olivia Holm-Møllers maleri er ekspressivt, dristigt og fuld af voldsomme følelser.
Olivia Holm-Møller's paintings are expressive, audacious and full of intense emotions.
Rene, stærke og klare farver - i de første mange år særligt den gule farve - er et centralt virkemiddel i hendes maleri.
Pure, strong and bright colours - during the first many years especially yellow - are a central, artistic effect in her paintings.
I maleriet henter hun sine motiver i den nordiske mytologi og bibelhistorien.
The motifs are inspired by Nordic mythology and the Bible.
Inden Første Verdenskrig foretog hun flere udenlandsrejser bl.
The motifs always refer to a greater and more common theme.
På rejserne lavede hun skitser i form af akvareller, raderinger og tegninger.
When travelling, she made sketches in the form of water colours, etchings and drawings.
Hjemme blev skitserne bearbejdet til malerier, som ikke var eksakte registreringer af turistattraktioner men skildringer af hendes personlige oplevelser af de fremmede landes farver, natur og mennesker.
Back home the sketches were turned into paintings, which were not exact recordings of tourist attractions, but depictions of her personal experiences of the colours, sceneries and people of foreign countries.
En særlig plads i Olivia Holm-Møllers maleriske univers er en række billeder fra 1930erne og 1950erne med titler som ”Kun farve og rytme”.
A special space in her artistic universe features a number of paintings from the 1930s and 1950s with titles such as ”Just colour and rhythm”.
Hun forestillede sig, at alt kunne udtrykkes med farver, uden at billedet forestiller noget.
Olivia Holm-Møller imagined that everything could be expressed in colours without the picture representing anything.
Disse genstandsløse billeder med eksplosive udladninger af farve kan ses som skildringer af sindsstemninger, oplevelser af musik eller essensen af en naturoplevelse, hvor kun farverne står tilbage.
These non-objective pictures with explosive eruptions of colour can be seen as descriptions of moods, musical experiences or the essence of an experience of nature with only the colours left.
Olivia Holm-Møller arbejdede med maleri, tegning og grafik helt op i sin høje alderdom, men havde i mange år svært ved at blive anerkendt.
Olivia Holm-Møller worked with painting, drawing and etching in extreme old age, but had difficulties being recognised.
Lauritz Hartz, der ikke før havde interesseret sig for kunst, blev grebet af at tegne.
Lauritz Hartz, who had not previously been interested in art, became fascinated by drawing.
I 1925 blev Lauritz Hartz optaget på Kunstakademiet i København, hvor han havde lærerne Sigurd Wandel og Aksel Jørgensen.
In 1925 Lauritz Hartz was admitted to Kunstakademiet (the Royal Danish Academy of Fine Arts) in Copenhagen, where he was trained by the masters Sigurd Wandel and Aksel Jørgensen.
Samme år debuterede han på Kunstnernes Efterårsudstilling.
The same year he made his début at the Kunstnernes Efterårsudstilling.
Allerede mens gik Lauritz Hartz på Kunstakademiet, blev han anset for et stort talent.
Already while attending the Academy of Fine Arts Lauritz Hartz was regarded as a very talented artist.
Han blev hurtigt et kendt og vellidt navn blandt kunstnerkollegerne.
He quickly became a well-known and popular name among his fellow artists.