|April - June|
|Monday except public
World-Renowned Art and World-Wide Art
The collection of Holstebro Kunstmuseum present art as a universal phenomenon, and so the museum exhibits art from different cultures, for example presentations of Danish art from the 1930s until today, prints by top names in international Modernism, and traditional art from Africa, Asia and South America.
The visual appearance of artworks from Africa, Asia and South America is determined by their religious and social significance. Moreover, there is no distinction between art and craft as in our culture. 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.
In the early 20th century African tribal art inspired artists like Picasso and Matisse to develop new forms of expression and break with the traditional modes. It concluded in among other things in a simple and strong way of expression. Their work spread knowledge of African art to the rest of Europe.
In the Danish Surrealist circles of the 1930s artists such as Sonja Ferlov and Erik Thommesen took inspiration from this different view of the human being.
In Erik Thommesen's self-portrait details are left out. The artist focuses on the general features and assigns equal weight to the individual parts of the face and the totality. 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.
In Sonja Ferlov's collage the form of a mask can be discerned in the oblong figure. Furthermore, she has exploited the kind of textural quality often found in African masks. In various respects Sonja Ferlov was influenced more directly by African art than her colleagues.
Ejler Bille was also inspired by African masks in the 1940s. Later, however, Balinese art aroused his interest. In this painting it is obvious that he has used the warm colours to capture the visual impressions he had received in Bali. The inspiration for the ornaments, too, came from there.
Astrid Noack, on the other hand, was interested in a tradition dating back as far as ancient Egypt and Greece. The simple poses of her figures give her sculptures a timeless quality. Her aim was not to portray individual likeness. On the contrary, her figures are devoid of personal details. Astrid Noack strived to express something of a universal character. She was, by the way, never interested in the many changes in forms of expression that emerged in the 20th century.