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Art assignments

Fuglsang Kunstmuseum housed in a newer building (inaugurated in 2008), designed by English architect Tony Fretton. However, the history of the museum goes back a long way. The art collection was originally founded in 1890 as part of the Cultural History Museum in Maribo. In 1966, an independent art museum was established on the basis of the collection.

Today, the museum contains more than 4000 works of Danish art. The paper collection is the largest with 3100 works, followed by the painting collection with 700 works, while the sculpture collection counts 200 works.

The works cover the period from the end of the 1700th century until today. However, certain periods are more strongly represented than others: This is especially true in the period 1900-1960, but the museum also owns, for example, an exquisite collection of Golden Age art.

Fuglsang Kunstmuseum continuously acquires new works for the collection: at auctions, from private individuals or as gifts. Common to all new acquisitions is that they support the museum's acquisition strategy through high quality, so that the collection's special identity is supported, expanded and nuanced.

You can search the museum's collection via Art Index Denmark.

 

Painting

Fuglsang Kunstmuseum has a collection of approx. 700 paintings from the end of the 1700th century until today.

In the golden age collection, the focus is on landscapes with motifs from the museum's immediate area, eg Møns Klint, Iselingen Skov, Maribosøerne and Nakskov Church. The collection also contains a number of portraits and travel photos. The most important artists of the period are all represented: CW Eckersberg, Jens Juel, Christen Købke, Johan Thomas Lundbye, Martinus Rørbye and PC Skovgaard.

Another hub in the collection consists of works created in the period approx. 1880 until the first part of the 1910s. Here are examples of naturalism, impressionism, symbolism and other experiments with form and color, among others. by Anna Ancher, Vilhelm Hammershøi, Oluf Hartmann, Johannes Larsen, Julie Madsen, Theodor Philipsen, LA Ring and Olaf Rude.

The early Danish modernism, with i.a. expressionist, cubist and futuristic experiments, is also a major area in Fuglsang Kunstmuseums painting collection. This applies to works by i.a. Astrid Holm, Vilhelm Lundstrøm, Jais Nielsen, Olaf Rude and William Scharff. Several of these works are icons in Danish art history.

Also the subsequent so-called 'Dark Painters', and related artists with a focus on people, landscape and the immediate surroundings in a subdued color palette, are represented in the museum's collections. These are, for example, Ebba Carstensen, Søren Hjorth Nielsen, Erik Raadal and Erik Hoppe.

With office manager Erik C. Mengel's testamentary gift to the museum in 1984, the museum received 166 works by the most significant artists and currents from the 1930s to the 1960s. Thus, the spontaneous-abstract artists from the post-war period also gained a significant place in the museum's collection. This includes works by Ejler Bille, Asger Jorn and Carl-Henning Pedersen.

Mengel's collection also contains examples of abstract-geometric art, eg Preben Hornung, Richard Mortensen and Richard Winther, just as surrealism was represented by Vilhelm Bjerke Petersen and Sven Dalsgaard.

In addition, the museum owns a collection of neo-realistic works and the young wild painting from the late 1970s until the mid-1980s. This applies to artists such as Anette Abrahamsson, Ursula Reuter Christiansen and Niels Strøbek.

 

Sculpture

Fuglsang Kunstmuseum owns approx. 200 sculptures, mainly in smaller formats such as statuettes, portrait heads and busts. The main work in the collection, however, is the large Abyssinian by Johannes Bjerg from 1914-15.

The weight of the sculpture collection lies in the period 1930-60, and the figurative tradition of this time is numerically the best represented. The sculptor Gottfred Eickhoff (1902-1982) in particular occupies a special place with many works.

Of abstract sculpture from the time, Sven Dalsgaard in particular stands out from the period 1949-1960. Dalsgaard's sculptures were all donated to the museum in 1984 as part of office manager Erik C. Mengel's testamentary art gift.

The museum also has a collection of plaster casts and original models. They were entered into or deposited at the museum in the early years 1890-1915. A selection is on display in the museum's hall 5.

 

Art on paper

Fuglsang Kunstmuseum owns an extensive collection of art on paper. From the collection's early beginnings in the late 1800s, works for the collection were procured on a smaller scale, while the number grew considerably from the early 1960s and a few decades onwards.

Today the collection contains approx. 3100 works of graphics, drawing and watercolor as well as graphic folders and books with original graphics.

The works are divided into landscapes and genre images, portraits and cityscapes, installations and abstract motifs. The weight is found in the 20th century and there are a large number of female artists represented.

Some other artists are particularly richly represented: this applies to the Lolland-born graphic artist Ingemann Andersen with 150 works, the painter Ole Kielberg with almost 70 watercolors and the artist and graphic artist Palle Nielsen with more than 100 works.

In the museum, floor 4 is dedicated to the light-sensitive art on paper.

 

Photographers

Fuglsang Kunstmuseum also owns a small collection of contemporary photography. These are works by the Lolland-born visual artist Søren Lose (born 1972) and the landscape photographer Janne Klerk (born 1953).

The research constitutes one of the Museum Act's five mainstays and is the foundation for the museum's work with collections, acquisitions, hangings and special exhibitions.

The research means that the museum can continuously present new knowledge and current angles on art. It ensures that both collection and special exhibitions are experienced as relevant and present to our audience. As the special exhibitions are always based on one or more of the museum's works, the collections are also given new knowledge through the changing exhibitions.

The museum's research perspective is a dynamic one. It alternates between “classical” art historical research, where one artist and his work are in focus, and an interdisciplinary research, where the subject is illuminated through several academic angles.

You can read more about the museum's research projects here.

The museum carries out its own research projects, but also collaborates extensively with other art museums. Among other things, Ribe Art Museum, which Fuglsang Kunstmuseum since 2011 has had a strategic partnership with. Universities, publishers and other institutions are also the museum's research partners.

 

PURE

Fuglsang Kunstmuseum is a member of the Ministry of Culture's Research Portal: pure.kb.dk. Here you can search and read about the museum's research, both the new and the older. The museum's researchers are represented with a researcher profile, which is continuously updated with publications, exhibition projects and dissemination activities.

 

Perspective

Fuglsang Kunstmuseum is co-owner of the digital research journal Perspective, which is run by the Statens Museum for Kunst in collaboration with a number of the country's art museums.

Perspective publishes research articles that originate from and are relevant to research in Danish art.

Fuglsang Kunstmuseum is a member of the editorial committee and is represented by a museum inspector with research responsibility, Ph.D. Liza Kaaring.

 

Research collaboration with Ribe Art Museum

Fuglsang Kunstmuseum has since 2011 had a permanent research collaboration with Ribe Art Museum. The two museums are both independent, state-recognized art museums and, due to a parallel history, have many similarities. This means, among other things, that there is a great coincidence in the two collections' content of works and types of tools, periods and artists.

The overall goal of the museum and strategic collaboration is to continuously develop and ensure the professional, didactic and experiential value for a larger audience.

At the internal, professional level, the collaboration ensures both the development and maintenance of common knowledge building. It also gives the two museums, as smaller institutions, more professional robustness than the individual museum alone can muster.

The museums are continuously planning new joint research and exhibition collaborations.

The collaboration agreement is not an exclusive agreement. On the contrary, through the collaboration, the museums want to create a professional environment that can attract researchers from other museums and from the universities.

Fuglsang Kunstmuseum conveys in many ways. This applies through the collection, changing special exhibitions, publications, teaching, events and on digital platforms.

In addition to disseminating the museum's own collection arranges Fuglsang Kunstmuseum usually three special exhibitions a year. The exhibitions are all based on the museum's collection, locality or identity (history), and they range in time from the end of the 1700th century to the very latest art.

It is important for the museum that the temporary special exhibitions play together with the museum's enduring values.

This interaction ensures that all special exhibitions get a special meaning by being shown and experienced precisely at Fuglsang Kunstmuseum, and that special exhibitions and museums make sense to each other.

This is also the reason why the museum almost always develops its own exhibition concepts, often in collaboration with other museums, where the exhibition must also be relevant. Those conditions explain why finished exhibitions or concepts are only very rarely taken in from the outside.

The museum places a high level of professional ambition in developing, curating, producing and disseminating its own special exhibitions. In order to be able to honor the level of ambition and, for example, ensure that there is time to carry out the research that presents new knowledge, the museum's exhibitions are planned well in advance.

Because many exhibitions have been developed and produced in collaboration with other museums, in these cases they are also shown at the partners. This relationship also places high demands on long-term planning. Exhibitions are typically scheduled for three to four years or even longer.

The museum's special exhibitions are always disseminated through publications, teaching and events. The latter can be, for example, guided tours, lectures, family workshops and various events.

For the museum's dissemination targeted at children and young people, check here.

Preservation is a central part of the statutory museum work, which Fuglsang Kunstmuseum takes care, even if it is only to a modest degree visible to the museum's guests: The better the condition of the artwork, the less the museum guests notice the underlying conservation work.

Fuglsang Kunstmuseum has a collection of approx. 4000 works of art. The museum is responsible for ensuring that both major thorough conservation tasks and minor repairs of damage take place on an ongoing basis.

The museum is also responsible for the preservation of borrowed works of art for special exhibitions, which are supervised by professionally trained conservators.

 

The collaboration with Kunstkonserveringen

Preservation is a work for professionally trained specialists, and the art museums in Denmark have therefore, on a cooperative basis, created Kunstkonserveringen (the Art Conservation Center).

With two centers in Eastern Denmark and Western Denmark, respectively, Kunstkonserveringen has since its establishment preserved - and continues to preserve - the majority of art owned by Danish art museums. The workshop also solves a number of conservation tasks for public authorities and private owners.

In addition to supervision and actual preservation of works, the museum receives ongoing advice from the Kunstkonserveringen on conservation conditions, e.g. magazines, lighting and climate.

You can read more about The work of art conservation here.

Collection, registration, preservation, research and learning/interpretation/education are the five pillars on which the state-recognized museum business rests in accordance with the Museum Act.

The registration is also in focus Fuglsang Kunstmuseum. The museum visitor usually experiences only the very visible part of the museum's work, such as exhibitions, books, teaching and events. Behind the scenes, however, the registration of the works of art is a very fundamental part of the museum's work: if information about the work is not registered, it does not exist in principle.

The museum must thus ensure that posterity can also identify the individual works of art owned by the museum and have as much information about it at its disposal as possible. Therefore, the works must not only be registered when they are acquired by the museum, but the registration is continuously updated with new information. This applies in particular to relevant exhibitions, literature and knowledge gained from new research.

Registration is a regular part of the museum's artistic work.

SARA is the Danish museums' joint state system for registration and administration of the collections. SARA ensures the national overview, and all state and state-recognized museums under the Ministry of Culture are required to report information about their collections in the system. This is done according to common museum standards determined by the Ministry. Fuglsang Kunstmuseum also reports information about its collections in SARA.

 

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