Loeb Danish Ardt Collection - page 229

same time learning to weld and use iron in all conceivable ways. In the piles of scrap in the workshops
he found free scrap iron for his concrete sculptures which were exhibited in the Galerie Denise René,
and where they were very well received. After a few years, the artist changed his mode of expression
so as not to repeat himself and lose his sensitivity. He turned to sculptures that were more dense in
structure and more stable. The black paint disappeared and was replaced by various means of treat-
ing the metal with acids, resulting in a range of subtle colours.
The

’s brought a radically di
ff
erent mode of expression with the series of “Dolls” which grad-
ually developed into “Personages,” inspired partly by African cult
fi
gures, made of all kinds of ran-
dom rubbish welded together with visible traces of ornamentation and magic. The
fi
rst “dolls” were
humorous, graceful and mainly friendly. The “personages” were awkward, often aggressive, and with
di
ff
use traces of malice.
In

, Robert Jacobsen moved back to Denmark and bought a farm near Egtved in central Jut-
land. There he executed various small surrealist-inspired scenes with
fi
gures. In addition to iron
sculptures, he made a series of fascinating graphic works using a variety of techniques, often synthe-
ses of earlier works, for example, the Loeb collection
Opus Egtved
. He also executed many large-scale
works intended for public places. The clear, concrete form continued in Robert Jacobsen’s work, at
times in interplay with more expressive forms and in later years were quite often painted red or blue.
Especially during the last twenty years of Jacobsen’s life, various monumentally large sculptures,
constructions mainly cerebral in form, left the master’s workshop in Tågelund to be erected in many
places throughout the world. He exhibited in countless places in Denmark and abroad, including
many important international museums and biennials.
He was a member of Høstudstillingen


and of the Groupe Denise René, Paris from

.
He took part in the exhibitions arranged by Linien on several occasions and was also a member of
Den Frie Udstilling from

and of Grønningen from

. From

to

he was a professor at
the Academy of Fine Arts in Munich and from

through

, was Professor of Wall and Space Art
in the Royal Danish Academy of Fine Arts Schools of Visual Art. He was also an honorary professor
in the Academies of Florence and Munich. Honours awarded to him included the Venice Biennale
International Prize for Sculpture in

, the Thorvaldsen Medal in

and the Swedish Prince
Eugen Medal in

.
Throughout his life, Robert Jacobsen was a member of the Copenhagen Artisans’ Association
(Håndværkerforening)
and was the recipient of distinguished decorations from France such as the
Arts et Lettres
” (Knight) and The Legion of Honour (O
ffi
cer).
S.L.
         :
Jean Dewasne,
Le gros Robert,
Paris

; Ernst Mentze,
Robert Jacobsen,
Copenhagen

; Gunnar Jespersen,
De abstrakte,
Copenhagen

; Gunnar Jespersen,
Robert Jacobsen,
Oslo

; Jens Christian Jensen in:
Robert Jacobsen,
Musée Rodin. Paris

; Mette Thelle,
Omkring en skulptur af Robert Jacobsen in:
Linien II
, Statens Museum for Kunst, Copenhagen

, pp.


; Karsten Orth and Lise Seisbøll
(eds.),
Robert Jacobsens univers
, Kunsthallen Brandts Klædefabrik, Odense

(text by the editors and Gunnar Jespersen, Poul Borum, Ejnar
Johansson); Marianne Barbusse Mariager in:
Weilbach,
Vol.
, Copenhagen

; Mette Højsgaard,
Robert Jacobsen and Paris,
Statens Museum for
Kunst, Copenhagen

(full text in English).
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