Tid: November 25, 2016 until June 25, 2017
Sted: The Johannes Larsen Museum
Experience a quiet life in a quiet exhibition.
Time seems to go a little more slowly in the villa on Mill Hill (Møllebakken), the home of Johannes and Alhed Larsen. The place exudes calmness and a sense of the quiet life, which can be felt through the bouquets and the table displays, which are still an important part of the interiors. Back then, the decorative bouquets brought the senses into play and they brought nature inside to the coffee table. They also served as models for the female artists who lived and visited there.
Christine Swane (1876-1960) belonged to the female line of the Funen painters. Through her brother, Johannes Larsen, she was introduced to the artistic environment at Møllebakken.
Alhed Larsen and Anna Syberg, who both concentrated, for the most part, on floral motifs, were a source of inspiration for Christine Swane in her youth, but in 1909, she met the painter Karl Isakson in the Larsen’s home. This meeting had epoch-making importance for Christine Swane, who at this point was beginning to feel like Funen naturalism was a rut for her. Isakson was fascinated by the art of Henri Matisse and by the cubistic tendencies in France, which emphasized colour and form. Christine’s future husband of 10 years, Sigurd Swane (1879-1973) shared Isakson’s passion for this new movement in art. Christine Swane heard Johannes Larsen’s and Karl Isakson’s discussions about the modern use of colour, and got so inspired that she developed a colourful and cubistic painting style of her own. After her marriage to Sigurd Swane, the couple moved to Kerteminde, where they lived in the house called Lille Kærbyhus, just a stone’s throw from the Larsens’ villa.
Christine’s and Sigurd’s son, Lars Swane (1913-2002), took after his mother, in particular, as a painter.
Beginning in 1926, Christine Swane began experimenting with clay, and she carried out many ceramic works based on the very personal style that characterized her paintings.
Even though Christine Swane kept developing her artistic expression, she kept returning throughout her life to bouquets and to still-life objects on tabletops, so called still lifes, or...the quiet life.