Loeb Danish Ardt Collection - page 226

EGILL JACOBSEN
   ‒  
.
Braun Symphony,

(Braun Symphony)
Oil on canvas,
⅓
x
⅓
in. (

x

cm)
Signed on reverse: E.J.

       :
Galerie Asbæk, Copenhagen,
.
         :
Galerie Asbæk, Copenhagen,
Egill Jacobsen,

, no.
; The American Scandinavian Society of New York at Pri-
vatbanken Gallery,
Selections of Contemporary Danish Art,

, no.
.
         :
Per Hovdenakk,
Egill Jacobsen, II,

, p.

, no.

/
(described as:
Uden titel
).
I
n an article entitled
“Samtidighedens princip”
(“The Principle of Contemporaneity”), the artist Per
Kirkeby
¹
maintains that there are pictures about which it is very di
ffi
cult to say anything, because they
possess an unusual degree of presence. By this he means that all the elements in the work are present on
the surface the very moment they encounter the eye of the viewer. Therefore, the picture cannot be inter-
preted according to current analytical principles. The viewer cannot allow his gaze to wander around in the
picture in search of some kind of action or some overriding composition. And this means that it will never
be possible to understand the picture’s statement by following the course of speci
fi
c lines, let alone have an
idea as to which points are far and which are near on the basis, for instance, of the degrees of lightness and
weight contained in the colours.
Egill Jacobsen’s pictures are like this, continues Kirkeby, and it has nothing to do with the fact that they
are abstract or that their essence is distant and ethereal: “for of course the pictures represent what they are
and not some historical idea—but [the question here] is the principle of contemporaneity.” Or put in
another way, we are faced with “the absolute development-free presence of the pictures.”
For this reason, so many abstract works have no title. If a title is a
ffi
xed to a picture like this, the
viewer’s eyes are led into the painting’s universe under false pretences.
This work has no action and no development. It is not a piece of pictorial music of a speci
fi
c genre; it
does not even express a speci
fi
cally de
fi
ned feeling, although it has been created on the basis of an inner
experience. It gives no reply. It merely asks.
It is therefore impossible ever to
fi
nish looking at a picture like this. We will ceaselessly be attracted by
its enigmatic quality, enriched by its strange beauty and strengthened by its presence.
S.L.
¹
Per Kirkeby,
Samtidighedens princip
in:
Smilet bag masken en bog til Egill Jacobsen.
Galerie Asbæk,

, pp.


.

]
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