Loeb Danish Ardt Collection - page 223

which was to be of great importance to the group of artists of which he was one—Bille, Mortensen
and Petersen. The background of the work was Hitler’s expansion into Czechoslovakia, a clear fore-
warning of the coming world war. The picture is executed in a non-
fi
gurative, spontaneous manner
of painting. Strong, aggressive colours and shapes and powerful black
fi
gurations in strange dishar-
monious rhythms overwhelm the viewer with waves of despondency and desperation. The work
became a precursor of the post-war Cobra movement.
Soon afterwards, Egill Jacobsen’s paintings re
fl
ected completely di
ff
erent moods. They could still
be characterised by forceful utterances of temperament, but gradually, a lyrical element, often inspired
by experiences in nature, came to constitute the fundamental tone in his painting. From

to

,
Jacobsen collaborated with the other spontaneous-abstract artists in publishing the periodical
Helhesten,
the major inspiration for which came especially from Asger Jorn. The mask form com-
bined with all kinds of
fl
oating triangles, leaning verticals, graceful curves and an array of inde
fi
n-
able squiggle-like dots and lines gradually came to represent the dominant structure in Egill Jacobsen’s
idiom, where colour became the principal player and the invisible world of the mind the actual motif.
As time passed, Egill Jacobsen’s art adopted brighter colours and a lighter, more sketch-like form, as
is exempli
fi
ed by the two works in the Loeb collection.
He became a professor in the Royal Danish Academy of Fine Arts in

, the
fi
rst abstract painter
ever to be appointed, where he taught until

, then becoming an honorary member of the Academy.
He received various marks of distinction such as the Eckersberg Medal in

, the Thorvaldsen
Medal in

and the Prince Eugen Medal in

. In addition, he executed several large-scale paint-
ings to decorate public buildings such as Hvidovre Town Hall and Aarhus University.
S.L.
         :
Harald Leth, Egill Jacobsen
, Vor Tids Kunst

, Copenhagen

; Gunnar Jespersen,
De Abstrakte,
Copenhagen

(
nd ed.

);
Smilet bag masken,
Galerie Asbæk, Copenhagen

; Per Hovdenakk,
Egill Jacobsen, I, Malerier


,
Copenhagen

; Pierre Lübecker,
Om maleren Egill Jacobsen og hans maskekunst,
Copenhagen

; Per Hovdenakk,
Egill Jacobsen, II, Malerier


, Copenhagen

; Peter
Michael Hornung,
Rejsen til friheden,
Galerie Asbæk, Copenhagen

; Peter Michael Hornung in:
Fogtdals Kunstleksikon,
Vol.
, Copenhagen

; Gunnar Jespersen,
Farvens klang,
Copenhagen

; Troels Andersen in:
Weilbach,
Vol.
,

.
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