natgillin/translations-raw huggingface dataset:
I 1938 mødte hun sin mand, den sydafrikanske maler Ernest Mancoba.
In 1938 she met her husband, the South African painter Ernest Mancoba.
Efterkrigsårene blev turbulente for Sonja Ferlov.
The post-war years became turbulent for Sonja Ferlov.
Hun optrådte i forskellige Cobra-sammenhænge, men deltog ikke i Cobras udstillinger.
She appeared in the Cobra movement in various connections, but never participated in Cobra's exhibitions.
Uenigheder og misforståelser mellem hende og kunstnerkammeraterne fik familien til at slå sig ned i Frankrig, hvor de i lang tid isolerede sig fra kunstverdenen.
Disagreements and misunderstandings between her and her fellow artists made the family settle down in France, where they withdrew from the artistic world for a long time.
Der kendes ingen skulpturer fra denne periode.
There are no known sculptures from this period.
Først i 1960'erne - hvor hun flyttede tilbage til Paris - genoptog hun for alvor sit kunstneriske arbejde, og skabte i årene frem til sin død en lang række hovedværker.
Not until the 1960s - when she moved back to Paris - did she seriously resume her artistic work, and in the years until her death she created many major works.
Sonja Ferlov havde rod i surrealismen.
Sonja Ferlov was rooted in surrealism.
Hun arbejdede intuitivt med sine skulpturer: De blev skabt direkte, uden skitser og i dialog med materialet.
She worked with her sculptures in an intuitive manner: They were created forthright, without any sketches and in dialogue with the material.
Hendes arbejdsproces var langsom, omhyggelig og uhyre selvkritisk.
Her work process was slow, meticulous and extremely self-critical.
Det er én af grundene til, at der kun kendes omkring 110 forskellige skulpturer fra hendes hånd.
That is one of the reasons that only approx. 110 different sculptures from her hand are known.
Maskemotivet optræder i hendes skulpturer fra 1938.
The mask motif appears in her sculptures from 1938 and onward.
Sonja Ferlov troede som sine kunstnerkollegaer på, at kunsten kunne være med til at forandre verden ved at formidle værdier som tillid, ligeværd, tolerance og medmenneskelighed.
Like her fellow artists Sonja Ferlov believed that art could contribute towards changing the world by communicating values like trust, equality, tolerance and humanity.
Hun mente, det var kunstnerens opgave at skabe forbindelse mellem kunstens verden og den politiske og sociale verden, på samme måde som shamanen i såkaldt primitive religioner skaber forbindelse mellem ånderne og mennesket.
She thought it to be the duty of the artist to create a connection between the world of art and the political and social world just as the shaman in so-called primitive religions creates a connection between the spirits and man.
Efter studentereksamen begyndte Harald Leth (1899-1986) at studere medicin.
After completing upper secondary school, Harald Leth (1899-1986) began studying medicine.
I 1921 opholdt han sig hos maleren Johannes Larsen, og de følgende år var han elev hos malerne Harald Giersing og Olaf Rude.
He spent the year of 1921 with the painter Johannes Larsen, and in the following years he was a student of the painters Harald Giersing and Olaf Rude.
Også et venskab med maleren Oluf Høst, med hvem han foretog mange rejser, fik stor betydning for hans udvikling som maler.
Likewise, his acquaintance with the painter Oluf Høst, with whom he travelled a great deal, had a major influence on his development as a painter.
Og selv om han malede og udstillede hele livet, var han i den brede offentlighed bedre kendt som skribent end som maler.
Even though he continued to paint and exhibit throughout his entire life, he was better known to the general public as a writer than a painter.
Harald Leths udgangspunkt er iagttagelsen af naturen og den nære virkelighed.
The source of Harald Leth's motifs is observation of nature and his immediate environment.
Motiverne er det, der ligger lige for: landskabet og solnedgangen, opstillinger og interiører, ræven i skovbrynet og fuglene i buskene, portrætter og selvportrætter, skovarbejderne og nabohusets gavle - og de badende ved stranden.
The motifs are those which are close at hand: landscapes and sunsets, arrangements and interiors, the fox at the fringe of the wood and the birds in the bushes, portraits and self-portraits, forest workers and the gables of the house next door - and bathers at the beach.
Men hans billeder er ikke virkelighedsskildringer.
His pictures are not realistic paintings, though.
Virkeligheden er det, der sætter den maleriske proces i gang.
Reality is what unleashes the artistic process.
Men i løbet af processen, som trods de små formater ofte tog lang tid, flyttes fokus fra motivet til koloritten, rytmen og stofligheden.
But during the process which was often lengthy, in spite of the small sizes, focus is moved away from the motif to the colours, the rhythm and the textural effect.
På den måde bliver Harald Leths malerier til maleriske fortolkninger af det, han ser og sanser.
In this way, Harald Leth's paintings become pictorial interpretations of what he sees and senses.
Men han formår også at fange det universelle i de mere fordringsløse og simple motiver.
What is more, he is able to capture the universal aspects of unpretentious and simple motifs.
Et landskab kan således på én gang være en erkendelse af hele universet, samtidigt med at det rummer en fortrolighed med motivet, der er opstået gennem lang tids intenst arbejde med netop dette motiv.
So, a landscape can be a realisation of the whole universe and at the same time contain an intimate knowledge of the motif which has emerged after intensive work with exactly that motif over a long period.
Hans udtryk har mange lighedspunkter med impressionismen.
His form of expression has several points of resemblance to impressionism.
Harald Leth er traditionsforbundne i sit udtryk, og det var derfor naturligt, at han fandt sammen med ligesindede i Martsudstillingen fra 1950.
Harald Leth's form of expression is bound by tradition, and therefore it was only natural that he got together with like-minded artists in the group Martsudstillingen (the March Exhibition) from 1950.
Det traditionsforbundne fik et særligt udtryk hos Harald Leth i de studier efter klassikere som Tizian og Chagall, som han udførte.
The tradition-bound aspects found a special expression in Harald Leth's work in the shape of the studies after classical artists like Tizian and Chagall that he made.
Holstebro Kunstmuseum har 25 af Harald Leths oliemalerier.
Holstebro Kunstmuseum owns 25 of Harald Leth's oil paintings.
Desuden rummer samlingen et antal blyants- og farvekridtstegninger samt linoleums- og træsnit.
In addition, the collection contains a number of pencil and crayon drawings as well as linocuts and woodcuts.
Mennesket er centralt i Lisbeth Nielsens værk.
Man is a central theme in the works of Lisbeth Nielsen.
Det er specielt kvinder, både som enkeltperson og i mindre grupper, der optræder i hendes skulpturer og tegninger.
It is especially women, both as individual persons and gathered in small groups that appear in her sculptures and drawings.
Figurerne er skildret monumentalt, og ofte er de nærmest groet sammen med skulpturens sokkel.
The figures are portrayed in a monumental manner, and often they almost coalesce with the pedestal of the sculpture.
Lisbeth Nielsen modellerer sine skulpturer i ler eller gips, hvorefter de støbes i bronze.
Lisbeth Nielsen models her sculptures in clay or plaster, and later they are cast in bronze.
Figurerne er modelleret enkelt, groft og ekspressivt, men er samtidigt følsomme og intime.
The figures are modelled in a plain, rough and expressive way, yet they are sensitive and intimate.
Den grove overflade gør, at figurerne er uden detaljer - de har ingen ansigtstræk, og derfor heller ingen individualitet.
Owing to the rough surface the figures have no details - no features and therefore no individuality.
Det er gennem kroppens holdning, bevægelse og form, at Lisbeth Nielsen fortæller os om personerne.
Lisbeth Nielsen uses the posture, motion and shape of the body to tell us about the persons.
Hun tager afsæt i konkrete situationer, men hensigten er at skildre noget alment gyldigt.
She depicts concrete situations, but the intention is to describe something of universal validity.
Lisbeth Nielsen skildrer i sine skulpturer kroppen som et grundvilkår for mennesket.
In her sculptures Lisbeth Nielsen depicts the body as a fundamental condition of mankind.
Også i Lisbeth Nielsens kul- og blyantstegninger er det kroppen, dens linier, flader og form, der skildres med enkle streger og linier.
In Lisbeth Nielsen's charcoal and pencil drawings, too, it is the body, its lines, surfaces and shape that are depicted in simple strokes and lines.
Det er kroppens skulpturelle kvaliteter, tegningerne gør rede for - ikke den enkelte persons individualitet.
It is the sculptural qualities of the body that the drawings explain - not the individuality of the single person.
I tegningerne nærmer Lisbeth Nielsen sig abstraktionen.
In her drawings Lisbeth Nielsen comes close to abstraction.
Lisbeth Nielsen har udført mange skulpturer til det offentlige rum.
Lisbeth Nielsen has made many sculptures for the public space.
Blandt andet kan man på Holstebro Rådhus se skulpturgruppen ”To piger vasker hår” (1991).
Among others ”Two girls washing their hair” (1991), which can be seen in the Town Hall of Holstebro.
Marc Chagall (1887-1985) fødtes ind i en fattig, stærkt troende jødisk familie i den russiske provinsby Vitebsk.
Marc Chagall (1887-1985) was born into a poor, strongly believing Jewish family in the Russian town of Vitebsk.
Som ung gik han kortvarigt på en kunstskole i byen, og i 1906 flyttede han til Sct. Petersborg og studerede på forskellige kunstskoler i byen.
As a young man he briefly attended an art school in his home town, and in 1906 he moved to St Petersburg and studied at different art schools there.
I 1910 modtog han et legat, der gjorde ham i stand til at rejse til Paris.
In 1910 he received a scholarship that made it possible for him to go to Paris.
Gennem venskabet med digteren Guillaume Apollinaire, der havde kontakter til de kunstnerne, der var i fuld færd med at udvikle kubismen, blev Chagall opmærksom på den nyere franske kunst.
Through his friendship with the poet Guillaume Apollinaire, who had contacts to the artists that were developing cubism, Chagall became aware of modern French art.
Det var i denne periode Chagall malede nogle af sine berømteste billeder som f.eks. ”Violinspilleren”.
It was during this period that Chagall painted some of his most famous paintings like e.g. ”The Violinist”.
Det er billeder, der i formen er påvirket af kubismens ophævelse af det naturalistiske rum, men som samtidigt henter sit indhold og fortællinger fra barndommens russisk-jødiske folkekultur.
These are paintings, which in their form are influenced by cubism's dissolution of naturalistic space, but paintings which at the same time take their content and narrative from his childhood's Russian-Jewish folk culture.
I 1914 rejste han tilbage til Rusland.
In 1914 he returned to Russia.
Opholdet, der var planlagt til at vare et par måneder blev - på grund af udbruddet af Første Verdenskrig - til et ophold på otte år, hvor han oplevede krigen og revolutionen.
His stay there was planned to last for a few months, but - owing to the outbreak of World War I - it became a stay of eight years, where he witnessed the war and the revolution.
En kort overgang var han kunstkommissær i Vitebsk, men hans kunstsyn passede ikke ind i det kommunistiske system, og i 1923 rejste han igen til Paris og opholdt sig der resten af livet - kun afbrudt af et ophold i USA under Anden Verdenskrig.
For a short while he acted as an art commissioner in Vitebsk, but his views on art did not match the Communist system, and in 1923 he travelled back to Paris and remained there for the rest of his life - only interrupted by a stay in the USA during World War II.
Ved sit første møde med kunstsamleren og forlæggeren Ambroise Vollard fik Chagall opgaven at illustrere Gogols bog ”Døde sjæle”.
At his first meeting with the art collector and publisher Ambroise Vollard, Chagall was commissioned to illustrate Gogol's book ”Dead souls”.
Fra 1924-25 laver Chagall de i alt 107 raderinger.
From 1924-25 Chagall makes the 107 etchings.
Efter færdiggørelsen af ”Døde sjæle” opfordrede Vollard Chagall til at lave illustrationer til La Fontaines fabler, og da de var færdiggjorte, bestilte Vollard illustrationer til Bibelen - en tekst som Chagall var dybt fortrolig med.
After the completion of ”Dead souls” Vollard encouraged Chagall to create illustrations to La Fontaine's fables, and upon their completion Vollard ordered illustrations for the Bible - a text that Chagall was intimately familiar with.
I 1931 rejste han til Ægypten, Syrien og Palæstina for at opleve Biblens lande.
In 1931 he went to Egypt, Syria and Palestine to see for himself the countries of the Bible.
Siden rejste han til Holland for at studere Rembrandts billeder.
Later he travelled to Holland to study the pictures of Rembrandts.
Serien med bibelillustrationer - der rummer i alt 105 raderinger - blev først færdiggjort i 1956.
The series of Bible illustrations - encompassing altogether 105 etchings - was not finalised until 1956.
Herefter blev Biblen én af Chagalls vigtigste inspirationskilder.
After that the Bible became one of Chagall's principal sources of inspiration.
Adskillige malerier, glasarbejder, tekstiler og litografier udspringer af disse illustrationer.
Several paintings, glassworks, textiles and lithographs have their source in these illustrations.
Da Chagall døde 98 år gammel i 1985, var han én af det 20. århundredes mest kendte og elskede kunstnere.
When Chagall died at the age of 98 in 1985, he was one of the most acclaimed and beloved artists of the 20th century.
Hans billeder er som eventyr - de er finurlige og poetiske skildringer af livet og kærligheden, fulde af livsglæde.
His pictures are like fairy-tales - they are sophisticated and poetic portrayals of life and love, full of joie de vivre.
Hendes materiale er glasset, og hun har udviklet en original teknik, der kombinerer bronzestøberens cire-perdu teknik og det blæste glas.
Her material is glass, and she has developed an original technique which combines the bronze caster's cire-perdu technique and blown glass.
Udgangspunktet for Lene Bødkers værker er en model, som hun laver enten i ler eller i voks.
The starting point of Lene Bødker's works is a model produced in either clay or wax.
Uden på denne grundmodel støber hun en engangsform i gips og kvarts.
On the outside of this basic model she shapes a disposable mould in plaster and quartz.
Herefter dampes voksen væk i en ovn.
Then the wax is steamed off in a kiln.
På den måde opstår der en massiv skulpturel form.
In this way a solid sculptural form emerges.
Denne teknik kalder Lene Bødker ”Lost Wax Casting”.
Lene Bødker calls this technique "Lost Wax Casting".
Ved en anden metode blæses der en farvet glasmasse ind i formen, så det færdige objekt bliver hult.
Another technique is to blow stained molten glass into the mould so that the finished object becomes hollow.
Denne teknik kalder Lene Bødker ”Lost Wax Blowing”.
Lene Bødker calls this technique "Lost Wax Blowing".
I enkelte tilfælde bearbejdes de efterfølgende med hammer og mejsel.
In a few cases they are subsequently worked over with a hammer and chisel.
Lene Bødker arbejder i serier, hvor hun undersøger én forms muligheder.
Lene Bødker works in series examining the possibilities of a form.
I de senere år har udgangspunktet været en cylinder i voks.
In recent years her starting point has been a wax cylinder.
Uden på denne modellerer hun små trekanter eller stave i voks.
On the outer surface she models small triangles or sticks in wax.
Hun placerer også kornaks, grankogler eller overskårne legetøjs-bolde på vokscylinderen.
She also places ears of corn, fir cones or toy balls cut in two on the wax cylinder.
Disse værker rummer mange aspekter.
These works are multifaceted.
Lagenes forskellige karakter fremhæves af den omhyggeligt polerede snitflade, og de forskellige lags transparens.
The different characters of the layers are emphasised by the carefully polished cut surface and the transparency of the individual layers.
Et andet aspekt er forholdet mellem overfladens organiske vækstkarakter og den stramme og stringente cylinderform.
Another facet is the relation between the character of organic growth of the outer surface and the tight and stringent cylinder form.
Lene Bødker arbejder med at integrere spændinger og modsætninger i sine værker: stramhed overfor tilfældighed, ydre overfor indre, massivitet overfor transparens, skrøbelighed overfor robusthed og tyngde overfor lethed.
Lene Bødker works with integration of tensions and contrasts in her works: tightness as opposed to chance, outside as opposed to inside, solidity as opposed to transparency, fragility as opposed to robustness and weight as opposed to lightness.
Lene Bødker er én af Danmarks førende kunstnere inden for glas.
Lene Bødker is one of Denmark's leading glass artists.
Hun har solgt værker til Statens Kunstfond og er repræsenteret på Kunstindustrimuseet i København, Glasmuseet i Ebeltoft, Glasmuseum Hentrich i Düsseldorf og på Holstebro Kunstmuseum.
She has sold works to the Danish Arts Foundation and is represented at the Danish Museum of Art & Design in Copenhagen, Glasmuseet Ebeltoft, the Hentrich Glass Museum in Düsseldorf and Holstebro Kunstmuseum.
I 2007 modtog Lene Bødker den eftertragtede, japanske glaspris ”Kanazawa Glass Award”, der kun bliver uddelt hvert tredje år.
In 2007 Lene Bødker won the coveted, Japanese glass award "Kanazawa Glass Award", which is only awarded every three years.
Museets præcolumbianske samling viser keramik, der stammer fra det område, der i dag kendes som Peru og Bolivia samt dele af Ecuador, Colombia og Chile.
The museum's Pre-Columbian collection shows ceramics originating from the region today known as Peru, Bolivia and parts of Ecuador, Columbia and Chile.
Denne mere intensive dyrkningsform førte til, at samfundene efterhånden fik overskud i produktion af fødevarer.
As a result of such improved methods of cultivation, these communities gradually achieved a surplus in the production of foods.
Dermed blev der frigjort resurser, som kunne omsættes til kunstnerisk produktion.
This freed resources which could be converted to artistic production.
Det er fra denne periode, de første keramiske fund stammer.
The first ceramic finds are from this period.
De bestod af simple skåle og rundbundede krukker i sort lertøj med indridsede dekorationer.
They consisted of simple bowls and round-bottomed pots of black earthenware with scratched-in decorations.
Fra højkulturen Chavin, der eksisterede i perioden 1600-500 f.kr., bredte den for området karakteristiske krukke med to tude sig.
The characteristic double-spout vessel spread from the Chavin culture which existed in the period 1600-500 BC.
I syd blev den udformet med to korte, koniske tude forbundet med et buet håndtag, mens den i nord udvikledes til den karakteristiske 'stigbøjlehank'.
In the south, it was shaped with two short, taper spouts connected by a curved handle, while in the north it was developed into the characteristic 'stirrup handle'.
Mod nord dominerede Mochia-kulturen i tiden omkring år 0.
To the north, the Mochia culture was dominating around the year 0.
Denne kulturs keramik udviklede kraftfulde, enkelt modellerede former med beskedne dekorationer.
The ceramics of this culture developed into powerful, plainly modelled shapes with simple decorations.
Samtidig dominerede Nazca-kulturen i syd.
At the same time, the Nazca culture dominated in the south.
Keramikken her bestod af enkle former med naturalistiske dekorationer, der senere blev mere og mere abstrakte.
The ceramics here consisted of plain shapes with naturalistic decorations, which later became still more abstract.
Begge traditioner hører til områdets vigtigste.
These are among the most important traditions in the region.
Fra 600-1000 e.kr. gik keramikken i forfald.
Between 600 and 1.000 AD, ceramics suffered a decline.
I 1534 bukkede Inka-riget under for de spanske erobrere, og dermed gik Perus store indianerkulturer til grunde.
In 1534, the Inca Empire succumbed to the Spanish conquerors, and with that the great Indian cultures of Peru perished.
De 79 stykker keramik, der er i samlingen, er indsamlet af zoologerne Marie og Ole Hammer på en række forskningsrejser til Latinamerika, som de foretog fra midten af 1950'erne og frem.
The 79 ceramic items comprising the collection were gathered by the zoologists Marie and Ole Hammer during a number of research travels to Latin America, which they made from the mid-1950s and onwards.
I 1976 skænkede ægteparret samlingen til Holstebro Kunstmuseum.
In 1976, the couple donated the collection to Holstebro Kunstmuseum.
Som mange andre af sin generations malere gik Viggo Jensen (1886-1973) i lære som malersvend.
Like many other painters of his generation Viggo Jensen (1886-1973) apprenticed as a journeyman painter.
Her blev han dog kun få måneder, hvorefter han resten af sit liv arbejdede på sine egne præmisser og temmelig ubemærket.
He only stayed there for a few months, however, and he spent the rest of his life working on his own terms and passing fairly unnoticed.
Således gik der helt frem til 1924 før han udstillede første gang med Frie jyske Malere, og han sendte først billeder til Kunstnernes Efterårsudstilling i 1927, hvor de straks blev antaget.
So it was not until 1924 that he first exhibited together with the artists' association Frie jyske Malere (Free Jutland Painters), and he submitted paintings to Kunstnernes Efterårsudstilling (the Artists' Autumn Exhibition) for the first time in 1927 where they were immediately accepted.
I 1940'erne arbejdede han med opstillinger, som han forenklede mere og mere, så der til sidst ikke længere var figurative elementer tilbage i billederne.
In the 1940s he worked with compositions which he eventually simplified to the point where they no longer contained any figurative elements.
Tilbage var et rent maleri, hvor Viggo Jensens fine kolorisme fik mulighed for at udfolde sig.
What was left was pure painting, which allowed Viggo Jensen's fine sense of colour to unfold fully.
Det er en poetisk, stilfærdig men samtidig meget rig farvekunst, hvor dæmpede nuancer af grønt, rødt, brunt, gult og gråt dominerer.
It is a poetic, unobtrusive, yet at the same time very rich art of colour dominated by subdued nuances of green, red, brown, yellow and grey.
Og selvom Viggo Jensens maleri har sluppet figurationen, kan man stadig se, at hans udgangspunkt er naturen og naturiagttagelsen.
And although Viggo Jensen's painting has abandoned figuration, it is still obvious that his starting point is nature and the observation of nature.
Farverne er naturens egne, og billederne kan ses som blade eller græs betragtet gennem et forstørrelsesglas - et naturens mikrokosmos.
The colours are nature's own, and the paintings can be seen as leaves or grass viewed through a magnifying glass - a microcosm of nature.
Selv udtrykker Viggo Jensen det på den måde, at han ikke selv føler ”... at der er noget skel mellem mine abstrakte og mine naturalistiske billeder”.
Or, as Viggo Jensen expressed it himself, he did not feel "... that there is any distinction between my abstract and my naturalistic paintings".
Viggo Jensens maleri er rent maleri, der kun har sig selv som formål.
Viggo Jensen's painting is pure painting, an end in itself.
Hans maleri lever sit helt eget liv uden for tidens modeluner.
His painting takes on a life of its own, independent of the whims of fashion.
Det var også derfor, at Viggo Jensen i 1963 blev indbudt til at være medlem af Martsudstillingen, der netop dyrkede fordybelsen i den kunstneriske proces.
This was also the reason why Viggo Jensen was invited in 1963 to become a member of Martsudstillingen (the March Exhibition), an artists' association whose members emphasised immersion in the artistic process.
Det er arkitekt Hanne Kjærholm (1930-2009), der har tegnet Færchfløjen.
The architect Hanne Kjærholm (1930-2009) has designed the Færch Wing.