Strude - Trine Søndergaard
The Danish artist Trine Søndergaard
(born 1972) has portrayed a number of people in the
photographic sequence “Strude” presented in the context of
the museum’s Roman portrait sculptures....(read
more)
19.3 - 16.5
THE CABINETMAKERS’ AUTUMN EXHIBITION 2009
DIALOGUE – a chair that is up for negotiation
13 Nov. 09 - 31 Jan. 10
A sandbox, a transparent wall or a chair with flexible legs? The
Cabinetmakers’ Autumn Exhibition
presents 35 experimental chairs to mark the 2009 Copenhagen
Climate Change Summit, COP15. Chairs that
seek to encourage new forms of dialogue, negotiation and
collaboration.
Masks – from Carpeaux to Picasso
7 Aug. - 1 Nov. 2009
Exhibition that presented masks both seductive and menacing
by some of the greatest artists of the late 19th and early 20th
centuries.
From ancient cultures of the West, by way of Japanese
civilizations to so-called “primitive” peoples. The exhibition
revealed the span in terms of geography and time of the phenomenon
of the mask: from an image to terrify to caricature, and from
religious cult to erotic games.
Buy the book in our
eshop 
Egypt – Back to the Source
10 Oct. 2008 – 8 Feb. 2009
Around 1890, the brewing magnate, Carl
Jacobsen, founder of the Ny Carlsberg Glyptotek, engaged Denmark’s
leading Egyptologist, Valdemar Schmidt, to create an Egyptian
collection in the newly-planned museum, and in the course of the
following 35 years, Schmidt succeeded in putting together a
collection of ancient Egyptian art matching Jacobsen’s other
excellent collections of ancient art, from Greece, Etruria and the
Roman Empire.
This exhibition is an opportunity to see the works
which Schmidt brought back to Denmark from his extensive travels in
Egypt. Other works on display come from excavations in that country
which Schmidt persuaded the wealthy Jacobsen to sponsor.
Sophia Kalkau - from Hexa to
the Vase
21 February – 27 May 2007
With Sophia Kalkau (born 1960 in
Copenhagen) sculpture is often an apparently simple geometric
shape: square, sphere, cone, cylinder, egg – objects with points of
departure in art history, the body and space which on closer
examination reveal themselves to be neither entirely abstract nor
truly recognisable. By means of the artist’s choice of materials
and treatment of the sculptural surface, the contours of these
objects are blurred. Their surface mass and form suddenly seem to
be relative. By the juxtaposition of these objects in selected
rooms in the museum, Kalkau lays claim to the museum’s monumental
space and the sculpture enters into a dialogue with the Glyptotek’s
own geometry and permanent collections.
Whispers - works on paper by Ian McKeever
28.06.2006 - 31.12.2006
In the autumn and winter of 2004-2005,
the British artist Ian McKeever visited the study collection of
antique portraits and other sculptures at the Ny Carlsberg
Glyptotek. These visits resulted in a series of 48 drawings which
are presented in this exhibition. The drawings are an attempt to
reach through time and touch Antiquity. Dealing with the antique
figure they are concerned with what we recognise: when do lines,
forms and mass emerge and become present for us as a picture, a
face or a body?
The title Whispers refers to a game in which you sit in circle and
whisper a sentence:
“When I was a child we used to play a game where we all sat in a
circle. Someone would begin by whispering something into the ear of
the person next to them, this person would then pass on what they
had heard to the next, and so it would go on around the circle. The
game was what happened to what had originally been said as it
whispered its way into another meaning, or lost meaning altogether.
We called the game Chinese Whispers.” Ian McKeever
Masterpieces from the Glyptotek visit
the Royal Academy in
London.
18.9.-10.12.2004
While most of the
Glyptotek is closed because of rebuilding, the museum
tookthe opportunity to make some 250 works available for an
exhibition at the Royal Academy of Arts, London. Under the
title Ancient Art to Post-Impressionism: Masterpieces from
the Ny Carlsberg Glyptotek, Copenhagen the Royal
Academy presented a unique selection of the museum’s
best works.
A
Once-in-a-lifetime Experience
For the first time, works from the Egyptian, Greek,
Etruscan and Roman Collections as well as from the
Collections of Danish and French Paintings and Sculpture
could be seen in Britain. The highlights range from the
Egyptian Portrait of King Amenemhat III to Rodin’s The
Thinker, and from Købke’s The North Gate of the Citadel to
Gauguin’s Landscape from Tahiti with Four Figures. Many of
the works featured had never before been exhibited outside
the museum, others never outside Denmark.
One Museum – Two
Collectors
The selection of works from the museum’s Modern Collection
aimed to reflect the widely different views on art of the
founder of the Glyptotek, Carl Jacobsen, and his son Helge.
While Carl Jacobsen had a predilection for traditional
academic sculpture and Danish Golden Age painting, Helge
collected Impressionist and Post-Impressionist paintings.
The story of how the works were acquired helps create a
picture of the two collectors’ outlook on life and their
era, as well as of the gulf in terms of taste and
generation between father and son. It has also been
important to show how the Jacobsen family’s policy on
acquisition has been continued and expanded in recent
times. The exhibition thus offered a uniquely
broad selection of works from both
the French and the Danish Collections. The selection
of works from the Collection of Antiquities was
characterised by three aims: to show the famous
highlights, to reflect the breadth and quality of the
collection and to present works which we know
originally stood side by side.
The Glyptotek Abroad
With the exhibition at the Royal Academy of
Arts the Glyptotek was able to present itself to a large
international public for the second time in ten years. In
1995 the best works from the museum’s Collection of French
Painting were exhibited at the Musée d’Orsay in Paris. The
exhibition was a resounding success. In London, it was
possible to experience the full breadth of all
our collections. In this way there is the prospect of
realising a long-cherished dream: to make the museum as
well-known and esteemed abroad as it already is in
Denmark.
Catalogue
The
exhibition was accompanied by a fully illustrated
catalogue including articles on the museum and
its collections.
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Erik A.
Frandsen - The Real. Unnaturalism
27 April - 5 August 2007
Venetian mosaic, mirror
polished steel and high-glossed coloured panels are some of
the elements featuring in the exhibition.
Mosaic and its effects are
explored on a number of levels, and parallels are drawn
with the collection of ancient art. Frandsen has
transferred photographic snapshots to the medium of mosaic,
an art-form consummately mastered by the ancient world, and
of which the Glyptotek has one of the finest examples in
Northern Europe: Europa and the Bull (Imperial Rome, 1st
century AD, Central Hall).
Frandsen finds motifs for his mosaics in American culture,
whose trademark goods and icons – Disney, Marvel etc. –
have become symbols of the world’s greatest superpower. The
mosaics are presented with direct reference to the Roman
Empire and its Imperial self-presentation, where other
icons – emperors and their portraits – were the embodiment
of the great power of Roman Antiquity.
Frandsen’s mosaics throw a
bridge across time between the two worlds.
Time and space play an important role in all the works of
the exhibition, a giant steel drum, a floor or coloured
panels besides the mosaics.
They are presented in the galleries of the collection of
ancient art.
Women in Impressionism
6th October 2006 – 21st January 2007
Depicting contempory women?
French
Impressionism is well-known for its characteristic
sketch-like painting technique, which revolutionised
figurative art in the 1870s. But were the Impressionists
also pioneers in their depictions of contemporary women?
This is the question addressed by the Ny Carlsberg
Glyptotek’s major autumn exhibition Women in Impressionism.
Masterpieces by Monet, Manet, Morisot,
Degas...
The exhibition presents a superb selection of masterpieces
by Edouard Manet, Claude Monet, Berthe Morisot, Edgar
Degas, Mary Cassatt, Pierre-Auguste Renoir, Camille
Pissarro and Paul Gauguin.
The Glyptotek’s exhibition deals both with woman as motif
and as painter – side by side with man – during a period
when the women’s movement was slowly coming into its own, a
time when the notion of the “new woman” was also assuming a
real place in the consciousness of Parisians.
The works of art have been generously lent by private
collectors and leading museums around the world. Together
they give an impression of the woman of the age as a
being/creature with many faces: from woman as housewife,
mother, the heart of the family, respectable ladies of the
bourgeoisie, to maidservants, mistresses, demimondaines and
“fallen women.”
With works such as Monet’s “Woman with a Parasol”, 1875
(The National Gallery of Art, Washington) Renoir’s “The
Theatre Box”, 1874 (The Courtauld Gallery, London) and
Berthe Morisot’s “Woman at her Toilette”, 1880 (The Art
Institute of Chicago) the exhibition presents some of the
absolute masterpieces by the artists concerned.
The exhibition comprises a total of 104 works: 63
paintings, 6 pastels, 26 graphic works and 9 bronze
sculptures.
The Architecture of the Glyptotek
28.06.2006 - 31.12.2006
The exhibition will examine the various architectural units
of which the Glyptotek consists. Also on show will be a
selection of the original hand-coloured designs for the
buildings by Vilhelm Dahlerup and Hack Kampmann.
Edgar Degas
- The Last Landscapes
28.06.2006 - 27.08.2006
Focusing on the magnificent landscapes that
Degas painted at the seaside resort of Saint-Valéry-sur-Somme
on the northern French coast, this exhibition explores his
particular connection with the resort town he had known since
childhood and his desire late in life to create landscapes that
would rival those of his Impressionist and Post-Impressionist
colleagues. Rich and complex in color and composition, the
Saint-Valery landscapes demonstrate the same bold inventiveness
that can be found in his contemporary renderings of bathers and
dancers.
Classicolor – Colour in Ancient Sculpture
12th March – 30th May 2004
For most people white marble is the
quintessence of antique sculpture: indeed, an ancient sculpture
of white marble has become synonymous with "Classical Greek and
Roman Culture" – or even with "Antiquity" itself. However, the
sculpture of ancient Greece and Rome was actually extremely
colourful. The white marble was painted, bronze sculpture
retained the colour of the metal with the details inlayed in
other materials, and many statues were made of marble with
different coloured veins.
This could be experienced at the Glyptotek’s major exhibition
ClassiColor - Colour in Ancient Sculpture. The
exhibition offered a unique opportunity to see a number of
coloured reconstructions of selected works dating from Greece
in the Archaic Period right up to the Imperial Roman era. These
were displayed side by side with the original works from the
museum’s collection of ancient sculpture. The reconstructions
were created against a background of the progress made in the
most recent decades in research into the use of colour in
Antiquity.
The exhibition was the result of a
collaboration with the Glyptothek in Munich and the Musei
Vaticani in Rome.
Catalogue
The exhibition was accompanied by a catalogue in
Danish – now, unfortunately, sold out.
J.S. Østergaard et al:
ClassiColor – om farven in antik skulptur
Paperback, 159 pp. illustrated.
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