Loeb Danish Ardt Collection - page 21

Ms. Hallowell, who is also one of this catalogue’s contributors, then enlisted the talents of
Professor Glyn Jones, a noted British academician and Danish translator, who has so ably trans-
lated the writing of these researchers.
Part of my motivation to publish this catalogue stems from my long-held desire to help the
world to know and love Danish art as I do. In

a great opportunity to do just that occurred. That
year the U.S. National Endowment for the Humanities, together with the National Endowment for
the Arts funded an international cultural program called “Scandinavia Today.” It was co-sponsored
and organized by the American-Scandinavian Foundation located in New York City, as well as by
the Smithsonian Institution. It included a wonderful exhibition from all five of the Scandinavian
countries. It was my great pleasure to accompany His Royal Highness Prince Henrik of Denmark
(husband of Her Majesty, the Queen of Denmark, Margrethe II) to the United States on a trip to
promote Danish culture in general, as well as Danish paintings in particular. We visited New York
City, Washington, DC and Minneapolis-St. Paul on behalf of the
Scandinavia Today
tour. Subse-
quently Professor Varnedoe, then at New York University’s Institute of Fine Arts, who organized
the exhibit, became the senior curator at the Museum of Modern Art.
In April

, the Honorable Peter Dyvig, then Danish Ambassador to the United States, (and
Denmark’s most brilliant diplomat—at various times he also served as ambassador to England,
to France and headed the Danish Foreign Service) suggested I give a talk about Danish art at the
Smithsonian Institution. A long-time friend of mine, starting from my term in Denmark, he had
been asked to provide a recommendation for a speaker to take part in a Smithsonian Resident
Associate Progam entitled, “The Golden Age of Scandinavian Art” (moderated by Karen Alexis).
I accepted with pleasure. My lecture was called “Nineteenth and Twentieth Century Danish Art:
A Personal Collection,” accompanied by a slide show. I spoke of the special cultural conditions
and aesthetic ideals, as well as the cultural history which my paintings embody. It was a memo-
rable evening. I will never forget that at a dinner held afterwards at the Danish embassy, Richard
Allen, former National Security Adviser to President Reagan, warmly praised my lecture, saying
to a reporter, “I learned a great deal from the lecture and I also learned that I ought to go back to
school under his [John’s] tutelage. I could get some real substance from him as a mentor.”
During these last several years I have been sponsoring Danish art lectures at the American-
Scandinavian Foundation in New York City, inviting such knowledgable speakers as Professor
Robert Rosenblum, of the New York University Art Department, Professor Patricia Berman of
the Wellesley Art Department in Massachusetts, and Dr. Elisabeth Fabritius, specialist on the
Skagen artists’ colony. Their lectures have helped educate the public about the beauty and signifi-
cance of Danish art.
Gradually the art world is awakening to the value of Danish art, which is still not as well
known outside of Scandinavia as it should be. It is an art of high quality. Its special cultural con-
ditions and aesthetic ideals are unique, and its artists demonstrably show strength of artistic
vision on a par with the artists of the great European nations. It is ironic that Denmark is known
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