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Jais Nielsen'Joan of Arc', Paris, Salon d’Automne, Section d'Or, Group of Thirteen, Benezit1923
1923
$5,525
$8,50035% Off
£4,218.31
£6,489.7135% Off
€4,874.22
€7,498.8035% Off
CA$7,756.05
CA$11,932.3935% Off
A$8,644.93
A$13,299.8935% Off
CHF 4,535.70
CHF 6,97835% Off
MX$105,568.69
MX$162,413.3835% Off
NOK 57,431.80
NOK 88,356.6235% Off
SEK 54,281.79
SEK 83,510.4535% Off
DKK 36,378.45
DKK 55,966.8435% Off
About the Item
Signed lower right 'Jais' for Jais Nielsen (Danish, 1885-1961) and dated 1923.
In a later, giltwood swept frame. Framed dimensions: 34.25 x 1.75 x 24.75 inches
An early-twentieth century figural gouache showing Joan prior to her execution, kneeling and holding the communion chalice. She seems oblivious to the jostling crowd of captors and weeping supporters that surround her. An armored soldier stands at right, firmly grasping his scabbard and the hilt of his sword. A second solder draws aside the tent door to reveal two putti, silhouetted against an azure sky, holding the shroud with which the saint will be conveyed to her heavenly reward.
Born in Denmark, Jais Nielsen initially studied at Kunstnernes Frie Studieskoler under Kristian Zahrtmann and exhibited for the first time at the 1907 Autumn Salon at the Charlottenborg Palace. Nielsen participated in the early and groundbreaking, “Group of Thirteen" Modernist show, where his focus on dynamic figural painting and his bold use of color set him dramatically apart from his contemporaries. From 1907-11, Nielsen's use of 'primitive' Fauve colors would continue to reinforce his break with traditional Danish painting. During this period, he made study excursions to important art centres, including, in 1909, to Berlin. In 1911, he moved to Paris where he settled in the Latin Quarter near the Musée Cluny. His first formal Paris exhibition was at the Salon d’Automne of 1912. During this first Paris period, Nielsen attended meetings of the Section d’Or at the studio of Jacques Villon and, as a result, began to incorporate subtle, yet distinct, Cubist elements into his work.
With the outbreak of World War One, Nielsen returned to Copenhagen, taking with him both his increasing compositional sophistication and a thorough understanding of the principles of Modernism. During this period, ports, dance and circus life became subjects of interest and he painted many canvases in the style of Analytic Cubism, of which he became the earliest and, arguably, the finest Danish exponent. From 1915 onwards, Nielsen also created Cubist sculptures and, from 1922-28, was employed as a sculptor by the Royal Copenhagen porcelain factory. Here, he produced a series of ceramic sculptures on Biblical themes which included the Good Samaritan and several versions of Jacob Wrestling with the Angel. His sculptures and ceramics were both widely applauded and, for a time, their fame overshadowed that of his paintings. In 1925, his work 'The Potter' was awarded the Grand Prize at the Paris Exposition.
In 1920, Nielsen travelled to Italy, where he undertook a close study of trecento painting including Giotto's murals at Assisi. Inspired by this experience, he turned his attention to mural painting and, in addition to numerous other public installations, created the monumental frescoes for St. Elisabeth's Hospital in Copenhagen. This fresco cycle, the second largest in Denmark, covers over 3,500 square feet and portrays the legend of Saint Elisabeth of Hungary in a pictorial narrative imbued with the style of the early Italian Renaissance. In 2015, after comprehensive analysis by the Centre for Art Technological Studies and Conservation, the St. Elisabeth frescoes underwent comprehensive restoration by conservators from the National Museum of Denmark.
Over the course of a long career, Nielsen exhibited widely and with success. In 1986, a posthumous retrospective of his work was held at Galerie 1900-2000 and, in the same year, he was selected as the sole Danish Modernist represented in the landmark Futurist exhibition, “Futurismo & Futurismi”. In 2009, a large exhibition of Nielsen's work was held at the Bornholm Kunstmuseum.
Jais Nielsen is now recognized as a foundational pioneer of Scandinavian Modernism. His works are held in private and public collections worldwide including the permanent collections of the National Art Museum of Denmark, the National Museum of Norway in Oslo and the Museum Lolland-Falsters in Denmark, among others. The artist is well-listed in all relevant art historical reference works including Thieme-Becker and Benezit, which provides a signature sample.
Reference:
Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Vol. X, p. 213; Thieme-Becker, Allgemeines Lexikon der bildenden Kunstler, Vollmer Supplement, Vol. XXV/XXVI, p. 465; Weilbach, Dansk
Kunstnerleksikon; Bo Lindwall and Lars Erik Aström in: Bild art in Scandinavia, Vol. 4, 1973, 50, 74; Hanne Abildgaard: New then. Art Hist., Vol. 6, 1994; Davenport’s Art Reference Guide, 2007/8 Edition, p. 1733; et al.
- Creator:Jais Nielsen (1885 - 1961, Danish)
- Creation Year:1923
- Dimensions:Height: 31.5 in (80.01 cm)Width: 22 in (55.88 cm)Depth: 0.13 in (3.31 mm)
- Medium:
- Movement & Style:
- Period:
- Condition:Not examined outside of frame. Painting: spotting, minor restoration, crease to lower left, minor marks; frame: minor marks. This piece will ship without glass.
- Gallery Location:Santa Cruz, CA
- Reference Number:1stDibs: LU3447464122
Jais Nielsen
Born in Denmark, Jais Nielsen initially studied at Kristian Zahrtmann’s art school and exhibited for the first time at the 1907 Autumn Salon in Copenhagen's Charlottenberg Palace. He participated in the ground-breaking The Group of Thirteen modernism show, where his focus on dynamic figural painting and his bold use of color set him dramatically apart from his contemporaries. From 1907–11, his use of 'primitive' Fauve colors reinforced his clear departure from traditional Danish painting. In 1911, Nielsen moved to Paris where he settled in the Latin Quarter near the Musée de Cluny. His first formal Paris exhibition was at the Salon d’Automne of 1912. During this first Paris period, from which the present work dates, Nielsen attended meetings of the Section d’Or at the studio of Jacques Villon and began to incorporate distinct, yet subtle, Cubist elements into his work. At the outbreak of World War One, Nielsen moved back to Copenhagen, taking his Parisian Modernist style with him. Sports, dance and circus life were the themes that interested him and he painted many canvases in the best tradition of the early Cubists, of which he became the earliest Danish exponent. Neilsen exhibited widely and with success and was the only Danish artist represented in the landmark Futurist exhibition, “Futurismo & Futurismi” in Venice, Italy in 1986. A retrospective of his work was also held at the Galerie 1900–2000 in 1986. Nielsen is recognized as a founding pioneer of Scandinavian modernism and his works are held in private and public collections worldwide including the permanent collections of the National Art Museum in Copenhagen and the National Museum in Oslo. He is well-listed in all art historical reference works including Thieme-Becker and in Benezit, which gives a signature sample.
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