Studier af græssende hest og ornamentik 1906 - 1910

Curator: This drawing, dating from around 1906 to 1910, comes to us from Niels Larsen Stevns. It's a study, really: "Studies of Grazing Horse and Ornamentation," created with pencil and coloured pencil. What jumps out at you? Editor: It's such an intimate glimpse into the artist's process. Like peeking over their shoulder as they're chasing an idea. The horses feel almost ghostly, these ephemeral shapes amidst the ornamentation. Curator: Yes, a private, working document. These sketchbook pages weren't meant for the public eye initially. What does it say, do you think, to show studies like these? Editor: Well, there's a vulnerability there, right? Stripped of pretense. We see the raw searching, the false starts, the artist wrestling with form and composition. I appreciate that honesty. How it reframes the creative persona in more inclusive terms. It lets us see that being an artist is often this messy dance rather than this solitary act of brilliance. Curator: Precisely. These types of drawing also offer crucial context. At this time, there's a real fascination with nature and with finding a distinctively Scandinavian visual language, which are ideas shared by a broader circle, including members of the Skagen group of painters. Editor: And I find myself wanting to know more about this "ornamentation." What references was he looking at? Are these traditional motifs or something entirely from his imagination? Are they supposed to echo in the nature surrounding the horse? Curator: Perhaps it is a bit of both, reflecting the Art Nouveau interests in pattern while still rooted in the Nordic environment. But again, seeing the studies removes the sense of perfection associated with high art, doesn’t it? Editor: Totally. It makes art feel less intimidating. "Studies of Grazing Horse and Ornamentation" is a great reminder that creating is as much about the journey, the experimentation, as it is about the finished piece. Curator: It's as if these sheets represent not just a record of effort but also an openness to possibilities still residing in a new modern aesthetic. It leaves us, the viewers, open as well. Editor: I love that, the open invitation to create along.