A note of explanation
Chris Millers site of 20 C figure sculpture started me off with this blog, so I must get back again to the business in hand.
Please forgive the enthusiasm I have for this Sculptor, but I am somewhat incensed at the low profile he seems to have in the world.
It seems difficult to believe that so gifted a sculptor, putting Michelangelo and Rodin in the shade, who was almost as prolific as Vigeland and twice as talented, should not have a Wikipedia listing in English.
Is it beyond belief that such an amazing Artist can be almost completely buried by the 20 century? I genuinely believe that history will eventually exalt him above his peers and place him firmly in the highest echelons of the greatest sculptors of all time.
It must be said that I do not speak his language, nor can I find much written about him in English so I am in a privileged position, seeing each work without prejudice; purely as sculpture, without history or “reason d’etre”. I can be objective about the subject matter of his works and the messages he may have been attempting to express. It seems that he was married and we know what he looks like and that he worked in France for a time.
It must be said I do not like everything that any one artist may have produced. Rembrandt, my great two dimensional hero, produced some stuff that I do not warm to despite its technical brilliance. Indeed some of my new found friend’s work I find very bizarre and I will happily allow it to stay in a museum for others to go "weak at the knees" at.
This area of the world has produced some fine sculptors, many have been relegated to second stream quite unjustly but this gentleman’s obscurity is a National disgrace, no, International disgrace. Kept under raps or just not “found”, I wonder?
Ok so what’s so wonderful about him that you are making such a fuss Mileham you may ask?
Principally it is the skill in which he portrays the dialogue between his figures. Even in his solo figures it is the body language, the pathos, the drama, which he communicates to us which is so astounding. It is also the accuracy of anatomy without the “ruled straight line” syndrome of a life caste, which makes his works so appealing and believable. The magic is present even in the cyber world of his Museum’s website, so intimate, so real and kenetic.
Dear me, from the French again: here is a “soupçon” in honour ofMr. Rudolph Tegners of Denmark 1873 to 1950
The excellent photos are by Finn Christoffersen and borrowed from The Rudolph Tengers Museum website found here:http://www.tegnersvenner.dk/eftertid_d/data15.htm
This is how I love to see a work progress,http://www.tegnersvenner.dk/eftertid_d/pics_236.htm
30. Tones, 1897, plaster. According to the artist's inventory, the sculpture was created for a competition, and cast three times in bronze.
12. Eva with the Corpse of Abel also called Eve and Abel 1894, plaster.The first sculpture Rudolph Tegner exhibited in Paris, Societe National des Beaux Arts, Champ-de-Mars 1894.
140. My Wife Elna, also called The Artist´s Wife 1917, bronze. Full-figure portrait of Elna Tegner (1889-1976, née Jørgensen) , the artist' s wife, seated. Placed in front of the museum before 1955.
224. Victory 1921, bronze, plaster.
54. Satan, 1899, bronze.
94. Pan 1904, fired clay.
98. Toward the Light, 1904, plaster. I recommend you visit this page on his website as there are a variety of different versions of it which are both of academic interest as well as further proof of his genius. http://www.tegnersvenner.dk/eftertid_d/pics_236.htm
111. Toward the Light, 1909, plaster. The final version of the monument to the famous Danish physician Niels Finsen (1860-1904). Erected in bronze at the crossing Blegdamsvej/Tagensvej, Copenhagen, on August 23, 1910.
87. Oedipus Appears, also called King Oedipus 1904, fired clay.
82. King Oedipus and Antigone1903, plaster.
King Oedipus Taking Leave of his Daughters, 1904, plaster.
50. Earthbound, 1899, plaster.
Earthbound1899, plaster. The upper part of the sculpture has been broken.
57. Sepulchral Monument to the Artist’s Mother 1899, plaster.
Sepulchral monument to Signe Elisabeth Tegner (1847-1899, née Puggaard) erected in bronze at Elsinore Cemetery. Stands in marble in Triest, Italy, in memory of one of architect Hummel's relatives. Carl Jacobsen had the monument erected in marble at the Ny Carlsberg Glyptotek, Copenhagen, in memory of his wife. In plaster at the Royal Museum of Fine Arts.
200. Hercules and the Hydra1918, also in bronze with a green patina 201. Hercules and the Hydra.