natgillin/translations-raw huggingface dataset:
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.
Omkring 1935 blev desværre en sygdom så alvorlig, at den krævede stadig oftere hospitalsophold. 
Around 1935 a disease had unfortunately developed so severely that he had to stay in hospital still more frequently.
Fra 1942 var han permanent indlagt. 
From 1942 he was permanently hospitalised.
Lauritz Hartz holdt dog ikke op med at male af den grund og udstillede frem til 1964 regelmæssigt på Corner-udstillingen, som han i 1932 var medstifter af. 
This did not cause Lauritz Hartz to stop painting, though, and up to 1964 he regularly exhibited at the Corner exhibition, a Danish artists' association of which he had been a founder member in 1932.
Lauritz Hartz malede udelukkende portrætter, landskaber og opstillinger. 
Lauritz Hartz only painted portraits, landscapes and still-life arrangements.
I de tidlige år blev billederne nærmest modelleret op i tykke farvelag. 
In his early years the paintings were veritably built up of thick layers of paint.
Senere forsvinder menneskeskikkelsen fra hans maleri, og malerierne bliver mere og mere skitseagtige og malet med tynd, terpentinblandet farve. 
Later the human form disappears from his painting, and the paintings become still more sketch-like and painted with thin, turpentine mixed colour.
Fra 1964 opgiver Lauritz Hartz helt maleriet og arbejder derefter udelukkende med tegning og akvarel. 
In 1964 Lauritz Hartz gives up painting entirely, and from then on he only works with drawing and watercolour.
Lauritz Hartz' billeder blev malet færdige i ét stræk - og han genoptog efterfølgende aldrig arbejdet med et maleri. 
Lauritz Hartz's completed his paintings at a stretch - and he subsequently never resumed work on a painting.
Hans værker er umiddelbare, nærmest kalligrafiske, og han fangede straks det væsentligste ved motivet. 
His works are unsophisticated, almost calligraphic, and he immediately captivated the essence of the motif.
Malerierne er enkle i komposition og farveholdning, og de vidner om, at Lauritz Hartz hele tiden tilstræbte en malerisk helhed. 
The composition and colour scheme of the paintings are simple and testify to Lauritz Hartz's constant striving towards artistic unity.
Hans farveskala er begrænset og ofte holdt i grønne nuancer. 
His colour palette is limited and often kept in green tones.
Han regnes for én af dansk maleris fineste kolorister. 
He is considered one of the finest colourists of Danish painting.
Lauritz Hartz sanser verden gennem sit maleri, og hans udtryk forandrer sig ikke væsentligt gennem hans lange karriere. 
Lauritz Hartz senses the world through his painting, and his style does not change significantly throughout his long career.
Den umiddelbarhed og intensitet der kendetegner hans tidlige malerier, genfinder man også i hans sidste billeder. 
The straightforwardness and intensity characteristic of his early paintings are seen in his last paintings, too.
På Holstebro Kunstmuseum findes landets største samling af Lauritz Hartz' malerier. 
Holstebro Kunstmuseum holds the country's largest collection of Lauritz Hartz's paintings.
Museet er også i besiddelse af omkring 3.000 af Lauritz Hartz' arbejder på papir. 
The museum also houses in the neighbourhood of 3,000 pieces of Lauritz Hartz's works on paper.
Som 14-årig flyttede Astrid Noack (1888-1954) fra fødebyen Ribe til København, hvor hun arbejdede som maler på fajancefabrikken Aluminia. 
At the age of 14 Astrid Noack (1888-1954) moved from her native town of Ribe to Copenhagen, where she worked as a painter at the faience factory Aluminia.
Fra 1906-10 blev hun i Vallekilde uddannet som billedskærersvend som én af de første kvinder i Danmark. 
From 1906-10 she trained as a journeyman wood carver in Vallekilde as one of the first women in Denmark.
Efter et par år på møbelfabrik blev hun del af den gruppe af kunstnere, der under Joakim Skovgårds ledelse udsmykkede Viborg Domkirke. 
After a couple of years' work at a furniture factory, she joined the group of artists, who under the leadership of Joakim Skovgård created the ornamentation for Viborg Domkirke (Viborg Cathedral).
Efter af have skåret figurer i træ for Jean Gauguin og restaureret altertavler for Nationalmuseet, tog Astrid Noack i 1920 til Paris for at udleve sit ønske om at blive 'rigtig' kunstner. 
After carving figures out of wood for Jean Gauguin and restoring altarpieces for the National Museum, Astrid Noack went to Paris in 1920 to realise her desire of becoming a ‘real' artist.
I 1932 tog hun tilbage til København, hvor hun i 1933 blev Grønningens første kvindelige medlem. 
In 1932 she returned to Copenhagen, where she became the first woman member of the artists' group Grønningen in 1933.
Hendes skulpturer er tidløse og i slægt med romansk og gotisk skulptur, ægyptisk kunst og græsk, arkaisk skulptur. 
Her sculptures are timeless and related to Roman and Gothic sculpture, Egyptian art and Greek, archaic sculpture.
Det er menneskefiguren - oftest børn og kvinder - der er emnet for Astrid Noacks arbejde. 
It is the human figure - most often children and women - that is the subject of Astrid Noack's work.
De er gerne anbragt i den mest enkle stilling: Stående og frontalt. 
The figures are usually placed in the simplest position: Erect and frontal.
Kroppens drejning, hændernes eller føddernes placering skaber bevægelse og spænding i formen, men ellers er der brugt så få virkemidler og ingen overfladestruktur. 
The twist of the body, the positioning of the hands or feet create motion and tension in the form, but apart from that there are few artistic effects and no surface structure.
For Astrid Noack er skulpturens form det vigtigste, og alt andet er underordnet. 
To Astrid Noack the form of the sculpture is the main thing, and everything else is of secondary importance.
Figurerne er befriet for referencer, personlige projektioner og andet overflødigt. 
The figures are freed from references, personal projections and other superfluous features.
Hvem eller hvad skulpturen forstiller, er således fuldstændigt underordnet formen. 
Thus, who or what is represented by the sculpture becomes completely inferior to the form.
Astrid Noacks skulpturer virker selvfølgelige - de er afsluttede og enkle. 
Astrid Noack's sculptures seem natural - they are an integrated whole and simple.
Uden at være påtrængende peger de på det væsentlige i skulptur som udtryksform. 
Without being obtrusive they point out the essential qualities of sculpture as an artistic idiom.
Men skulpturerne tog lang tid at lave, hvilket uden tvivl var grunden til, at hun kun lavede et så begrænset antal værker. 
But the creation of the sculptures took a long time, which was no doubt the reason why she only made such a limited number of works.
Se billeder fra udstillingen 
See pictures from the exhibition
Med en nærmest hæmningsløs energi har de tre kunstnere igennem de seneste tiår markeret sig som betydelige fornyere af den maleriske tradition. 
In recent decades, with an almost unrestrained energy, these three artists have made a name for themselves as significant innovators of the painting tradition.
Inspirationen hentes ofte på kanten af det alment accepterede og forløses i et fabulerende billedsprog, der demonstrer stor koloristisk og ekspressiv styrke. 
Their inspiration is often drawn from the borderline of what is generally acceptable, and the result is fabulous imagery that demonstrates great colouristic and expressive strength.
Selvom der indimellem er megen humor på spil, er det alvorsfulde og presserende emner, der tages under behandling hos Jonathan Meese, Daniel Richter og Tal R. 
Although there is sometimes a lot of humour present, the subjects addressed by Jonathan Meese, Daniel Richter and Tal R are both serious and urgent.
Udstillingens titel er således en omskrivning af den amerikanske science fiction-forfatter Walter Tevis' The Man Who Fell to Earth ('Manden som kom ned på jorden'). 
The exhibition's title is a reworking of the title of a book by US science fiction writer Walter Tevis, The Man Who Fell To Earth.
Romanen blev i 1976 bragt til lærredet af Nicolas Roeg i den nyklassiske kultfilm af samme navn. 
In 1976, the novel was adapted for the screen by Nicolas Roeg in the cult film of the same name.
Her spiller multikunstneren David Bowie hovedrollen som rumvæsenet Thomas Jerome Newton, der ankommer til Jorden for at skaffe vand til sin tørkeramte planet. 
Here, multimedia artist David Bowie plays the lead role as the alien Thomas Jerome Newton, who arrives on Earth to obtain water for his drought-plagued planet.
Projektet mislykkes, og Newton går til grunde i alskens misbrug. 
The project fails, and Newton goes to the dogs in all kind of abuse.
Til udstillingen på Holstebro Kunstmuseum har Meese, Richter og Tal R skabt en kortfilm (instrueret af Emma Leth) med en surrealistisk billedside, hvor de sammen optræder og reciterer fra omtalte forlæg. 
For the exhibition at Holstebro Kunstmuseum, Meese, Richter and Tal R have created a short film (directed by Emma Leth) with surreal imagery, in which they perform together and recite from the above-mentioned original.
Derudover består udstillingen af en række nye, individuelle malerier, der tydeliggør det nuværende kunstneriske ståsted. 
Besides this, the exhibition consists of a number of new, individual paintings that clarify the current artistic standpoint.
Endelig har de tre kunstnere i fællesskab opbygget et selvstændigt museum i museet bestående af talrige personlige genstande og kuriositeter fra nær og fjern. 
Finally, the three artists have managed to jointly build up an independent ‘museum in the museum', consisting of numerous personal objects and curiosities from near and far.
Aldrig før har Jonathan Meese, Daniel Richter og Tal R samarbejdet om et fælles udstillingsprojekt. 
Jonathan Meese, Daniel Richter and Tal R have never before collaborated on a joint exhibition project.
I 'The Men Who Fell from Earth' kommer deres kunstneriske slægtskaber for alvor for øje, og deres kollektive indsats har tilsvarende forløst noget hidtil uset. 
In ‘The Men Who Fell from Earth' their artistic kinship is clearly revealed, and their collective efforts have similarly spawned something unprecedented.
Med andre ord er udstillingen på Holstebro Kunstmuseum en totaliscenesættelse af yderst sjælden karakter, skabt i kunstnerkollegialitetens og venskabsbåndets stærke ånd. 
In other words, the exhibition at Holstebro Kunstmuseum is a total presentation of an extremely rare character, created in a powerful spirit of artistic collegiality and friendship.
Massemediernes billedvirkelighed, sex, vold og politisk konflikt er kunstnervirkets væsentligste omdrejningspunkter, som Richter bearbejder med insisterende nerve og kant. 
The mass media's pictorial reality, sex, violence and political conflict are his most important focal points, on which Richter works with insistent nerve and edge.
Han øser af en tilsyneladende uudtømmelig kilde af kreativitet og skæve fortællinger. 
He exudes an apparently inexhaustible source of creativity and offbeat narrative.
Tal R skaber malerier, skulpturer, grafik og keramik, der under den tilsyneladende harmløse overflade indeholder indsigts- og fantasifulde fortolkninger af tilværelsens fortrængte sider. 
Tal R creates paintings, sculptures, graphics and ceramics, which beneath their apparently harmless surface contain insightful and imaginative interpretations of the suppressed sides of life.
Udstillingen ledsages af et rigt illustreret katalog med grafisk tilrettelæggelse af Harpune Verlag i Wien og med en introducerende tekst af Roberto Ohrt. 
The exhibition will be accompanied by a richly illustrated catalogue with graphic design by Harpune Verlag in Vienna, and with an introductory text by Roberto Ohrt.
Arkitekten var Andreas L. Clemmensen (1852-1928), hvis specialitet netop var villaer. 
Andreas L. Clemmensen (1852-1928) was the architect, whose speciality was, indeed, villas.
Som mange andre af hans byggerier er Færchs villa i en barok-inspireret palæstil. 
Like many of his other buildings, Færch's villa was built in a Baroque-inspired mansion style.
Man rådede over villaens tre etager samt kælder og i den med villaen forbundne sidebygning - to etager samt kælder - i alt 450 kvadratmeter. 
At its disposal were the three storeys and the basement of the villa itself together with two storeys and the basement in the adjoining annexe - 450 square metres in total.
Her var Holstebro Kunstmuseum frem til 1981, hvor kunstmuseet kunne tage første etape af et nyt museumskompleks i brug. 
This was the home of Holstebro Kunstmuseum until 1981 when the museum relocated to stage one of a newly-built museum complex.
Færchs Villa, også kaldet museumsvillaen, er i dag hovedindgangen for Holstebro Kunstmuseum og Holstebro Museum i det store museumskompleks, tegnet af Hanne Kjærholm (1930-2009). 
Today, Færch's Villa, also known as the Museum Villa, is the main entrance of Holstebro Kunstmuseum and Holstebro Museum in the big museum complex designed by Hanne Kjærholm (1930-2009).
Olie på masonit. 
Oil on fibre board.
75 x 61 cm (nettomål). 
75 x 61 cm (net measure).
78 x 64,5 cm (bruttomål). 
78 x 64,5 cm (gross measure).
Prydrammen er bemalet og er en del af værket 
The ornamental frame has been painted and is part of the artwork
Martin Erik Andersen - udvalgte værker 
Martin Erik Andersen - selected works
Martin Erik Andersen (f. 1964) 
Martin Erik Andersen (born 1964)
Glaseret porcelæn, skrift og spejl. 
Glazed porcelain, writing and mirror.
13 x 13 x 18 cm (kraniet) 
13 x 13 x 18 cm (the kranium)
Gave fra Kunstneren 2008. 
Donation by the artist 2008.
Martin som Far som mongolied. 
Martin as Farther as Mongolian.
Serigrafi på papir. 
Serigraphy on paper.
Hoved med klud. 
Head with Cloth.
Bemalet bronze på papirbelagt sokkel (spånplade). 
Painted bronze on paper covered plinth (chip board).
Bemalet bronze på papir og spånplade. 
Painted bronze, paper and chip board.
26 cm + 30,5 cm (højde) 
26 cm + 30,5 cm (height)
Gave 2008 fra Ny Carlsbergfondet. 
Donation 2008 from Ny Carlsbergfondet.
Inkjet print, sytråd, pap, blyant og bladsølv på papir, plexiglas vitrine. 
Inkjet print, sewing thread, cardboard, pencil ans leaf silver on paper, plexiglass box.
Shipibo og Conibo stammerne lever i junglen i den nord-østlige del af Peru langs floden Ucayali - en biflod til Amazonas -, og består af et sted mellem 30.000 og 50.000 mennesker. 
The Shipibo and Conibo tribes live in the jungle in north-eastern Peru along the Ucayali River - a major tributary to the Amazon River - and consist of some 30,000 to 50,000 individuals.
De lever enten i små landsbyer med mellem 100 og 300 indbyggere eller i to større byer Pucallpa og Yarina Cocha. 
They live either in small villages of between 100 and 300 inhabitants or in the two larger towns Pucallpa and Yarina Cocha.
Stammerne er kendt for deres egenartede og komplicerede, geometriske mønstre, som de dekorerer deres keramiske krukker - og andre redskaber og husgeråd - med. 
These tribes are known for the unique and complex geometric patterns with which they decorate their ceramic pots and other tools and kitchen utensils.
Den keramiske kunst er så betydelig en del af stammernes identitet, at oprindelsen til keramikken begrundes religiøst i en legende, hvor guden lærer de første mennesker at lave keramik. 
Ceramic art is a significant element of tribal identity to the extent that its origin has been placed into a religious context in a legend where the god teaches the first human beings to make pottery.
Derefter begittes de med hvid eller rød bundfarve, glittes og bemales til sidst med de karakteristiske, hvide eller sorte geometriske mønstre. 
After that, they are decorated with slip using either a white or red background colour and then burnished before being finally painted with the characteristic white or black geometric patterns.
Efter at krukkerne er blevet brændt i et bål, efterbehandles de med harpiks, der både tætner dem og fremhæver mønstrene. 
After being fired in a bonfire, the pots are then treated with resin that serves the double purpose of sealing them as well as accentuating the patterns.
En kvinde med respekt for sig selv, gentager aldrig et tidligere benyttet mønster. 
Any self-respecting woman would never repeat a previously used pattern.
Der findes flere forskellige typer af krukker. 
There are various types of pots.
Den største kaldes Chomo. 
The largest one is known as Chomo.
Shipibo-kvinderne fremstiller også Quëncha- og Quënpo-skåle - spise- og drikkeskåle, der bruges i den daglige husholdning. 
The Shipibo women also make Quëncha and Quënpo bowls - eating and drinking bowls for everyday household use.
Endelig fremstiller Shipibo-Conibo-indianerne en krukketype - Joni - der er formet som Chomo-krukken, men hvor halsen udformes som et ansigt. 
Finally, the Shipibo-Conibo Indians make a type of pot - Joni - shaped like the Chomo pot, but with a neck shaped like a face.
Krukketypen er inspireret af forfædrenes urner - og fremstilles primært med henblik på salg til turist- og kunstmarkedet. 
This type of pot is inspired by the ancestral urns and is mainly made for the tourist and art market.
Shipibo- og Conibo-stammerne bruger ikke kun mønstrene på deres keramiske arbejder. 
The Shipibo and Conibo tribes do not only apply the patterns to their pottery.
Også tekstiler, perlesmykker og træskærerarbejder udsmykkes med mønstrene, der tillige går igen i deres ansigtsmaling og kropsudsmykning. 
Textiles, pearl jewellery, and woodcarvings, too, are decorated with these patterns, and they are also used in traditional tribal facial painting and body decoration.
Samlingen er doneret til Holstebro Kunstmuseum i 1985. 
The collection was donated to Holstebro Kunstmuseum in 1985.
Allerede som barn tegnede Henry Heerup (1907-1993) flittigt. 
Already as a child Henry Heerup (1907-1993) was a diligent draughtsman.
Efter korte perioder i lærepladser som stenhugger, skiltemaler, bronzestøber og litograf blev han i 1927 optaget på Kunstakademiets Malerskole. 
After short periods of apprenticeship as a stone cutter, sign writer, bronze caster and lithographer he was admitted to Kunstakademiets Malerskole (School of Painters at the Danish Royal Academy of Fine Arts) in 1927.
En kort overgang deltog han i undervisningen på Billedhuggerskolen, men fik af sin lærer Einar Utzon-Frank at vide, at han ikke havde forudsætningerne for at kunne blive billedhugger. 
For a short while he attended courses at Billedhuggerskolen (School of Sculpture), but his teacher Einar Utzon-Frank informed him that he lacked the talent to become a sculptor.
Han lavede skulptur ved at skære figuren ud af lerklumpen i stedet for at modellere, som man skulle. 
He created sculptures by carving the figure out of a lump of clay instead of modelling it as he was told to.
Hele livet arbejdede Heerup både med maleri, skulptur, grafik og tegning. 
All through his life Heerup worked with painting, sculpture, etching and drawing.
Det var som billedhugger, han først blev kendt blandt kunstnerkolleger. 
Among fellow artists he first became known as a sculptor.
Han arbejdede oftest i granit, hvor han - inspireret af de romanske stenhuggere - huggede sære væsener og figurer frem af stenene og malede dem i stærke farver ligesom Jellingestenen. 
He worked mainly in granite, carving - inspired by the Roman stone cutters - odd creatures and figures out of the stone and painting them in strong colours like Jellingstenen (Danish runic stone).
Mest opmærksomhed i kunstnerkredse skabte han dog med sine skraldeskulpturer, hvor gamle barnevognshjul, sengestolper, itu gået legetøj - gammelt ragelse, som Heerup fandt på sine daglige cykelture - blev sat sammen til sære og eventyrlige figurer. 
In artistic circles he caught most attention, though, with his junk sculptures, for which old perambulator wheels, bedposts, broken toys - old trash that Heerup would find on his daily bicycle rides - were assembled into odd and fantastic figures.
Men tidligt brød han med naturalismens rum og lysopfattelse og fandt sin helt egen form. 
But early on he broke with naturalism's conception of space and light and developed a form of his own.
De ordinære genstande bliver i Heerups kunst til universelle symboler på de store, uhåndgribelige sider af tilværelsen: Livet og døden. 
In the art work of Heerup common objects become universal symbols of the big and impalpable sides of existence: Life and death.
Med en billedverden der er frodig, fabulerende og helt hans egen, bringer Heerup de store afgørende livsspørgsmål ned i øjenhøjde, hvor både børn og voksne kan følge med. 
With an imagery that is fertile, imaginative and entirely his own, Heerup deals with the urgent questions of life on a level, which both children and adults can understand.
Henry Heerup har udført mange udsmykninger i både institutioner og det offentlige rum. 
Henry Heerup has created many decorative works for both institutions and the public space.
14. juni - 28. september 2014 Maskine! 
June 14 - September 28, 2014 MACHINE!
Maskinen har haft en overordentlig stor betydning for det moderne menneske. 
The machine has without doubt revolutionised life and living for modern human beings.
Den har lettet vores dagligdag på utallige områder, men har også ført krig og ødelæggelse med sig. 
It has eased our daily lives in countless ways, but it has also brought war and destruction.
Tidens kunstnere var optaget af maskinens særlige udtryk, af de nye transportmidlers fart og af muligheden for i kraft af maskinen at bringe mennesket på omgangshøjde med den moderne virkelighed. 
Artists of the time were fascinated by the new technological marvels, by the fast rhythms of transport, and by the possibility of using the machine to find an appropriate symbol for modern reality.
Verdenskunst & kunst fra hele verden 
World-Renowned Art and World-Wide Art
Udseendet af værker fra Afrika, Asien og Sydamerika er bestemt af deres religiøse og samfundsmæssige funktion. 
The visual appearance of artworks from Africa, Asia and South America is determined by their religious and social significance.
Der skelnes desuden ikke mellem kunst og håndværk som i vores kultur. 
Moreover, there is no distinction between art and craft as in our culture.
I Europa har kunsten gennem århundreder løsrevet sig fra de religiøse og samfundsmæssige funktioner og er blevet sig selv på godt og ondt. 
In Europe art has disengaged itself, in the course of centuries, from religious and social functions, becoming, for better or worse, something in its own right.
Herfra bredte kendskabet til den afrikanske kunst sig ud i resten af Europa. 
Their work spread knowledge of African art to the rest of Europe.
I Erik Thommesens selvportræt er detaljerne forsvundet. 
In Erik Thommesen's self-portrait details are left out.
Kunstneren fokuserer på de overordnede former og lægger lige meget vægt på de enkelte dele af ansigtet og på helheden. 
The artist focuses on the general features and assigns equal weight to the individual parts of the face and the totality.
Thommesen er her under indflydelse af tidens primitivisme og nye måder at fortolke former og rumlighed på, sådan som han havde oplevet det i Picassos og Matisses kunst. 
In this work Thommesen is influenced by Primitivism, the order of the day, and by the new ways of interpreting shapes and spatiality that he had seen in the art of Picasso and Matisse.