{"items":[{"id":"1170087573_object","created":"2020-03-22T01:05:28Z","modified":"2025-10-29T14:22:53Z","current_location_name":"Sal 221","current_location_date":"2024-10-07T00:00:00Z","acquisition_date":"1924-01-01T00:00:00Z","acquisition_date_precision":"1924-12-31","dimensions":[{"notes":"765 x 2750 x 855 mm","part":"Netto","type":"height","unit":"cm","value":"76.5"},{"notes":"765 x 2750 x 855 mm","part":"Netto","type":"width","unit":"cm","value":"275"},{"notes":"765 x 2750 x 855 mm","part":"Netto","type":"depth","unit":"cm","value":"85.5"}],"documentation":[{"title":"Clinch: danske kunstnere markerer Kunstakademiets 250 års jubilæum på Statens Museum for Kunst","author":"Sven Bjerkhof","notes":"Omtalt p. 85-86","shelfmark":"2004-276","year_of_publication":"2004"},{"title":"SMK highlights: Statens Museum for Kunst","author":"Sven Bjerkhof","notes":"omt. og afb. p. 108","shelfmark":"2005-071","year_of_publication":"2005"},{"title":"Dansk skulptur i 125 år: Statens Museum for Kunst besøger Charlottenborg","author":"Ubekendt","notes":"kat. 52, omt. p. 52, 62","shelfmark":"96-708","year_of_publication":"[1996]"},{"title":"Ny dansk kunsthistorie","author":"Ubekendt","notes":"bd. 5, Henrik Wivel, Symbolisme og impressionisme. Kbh. 1994, s. 127","shelfmark":"D 22097","year_of_publication":"1993-1996"},{"title":"50 værker du skal se på SMK","author":"Camilla Jalving","notes":"Omt. 27, afb. 26","year_of_publication":"2024"},{"title":"50 Favourites in the SMK Collection","author":"Camilla Jalving","notes":"omt. 27, afb. 26","year_of_publication":"2024"}],"exhibitions":[{"exhibition":"Nordic Highlights","date_start":"2017-04-08T00:00:00.000Z","date_end":"2017-08-13T00:00:00.000Z","venue":"SMK København"},{"exhibition":"Clinch!","date_start":"2004-04-01T00:00:00.000Z","date_end":"2004-11-28T00:00:00.000Z","venue":"SMK København"}],"inscriptions":[{"content":"N H J","type":"Inscription"}],"labels":[{"text":"An elongated, seemingly fraying figure with a ravaged face,\r\nclutching an hourglass. Stringy and drawn-out like wordless\r\nhorror and pain. The sculpture depicts death as I myself have\r\nexperienced it: sneaking invisibly into the body before it\r\nmakes itself known, ravaging the inside and outside of the\r\nbody before turning it to dust. Here is no hopeful tale of a\r\nlight glimpsed at the onset of death. The sculpture is quite a\r\nmarvel: it depicts death with perfect truth. Paradoxically, it is\r\nformed with vibrant dynamism while representing that which\r\ndestroys life and form.\r\nWhen the artist inaugurated his studio and exhibition\r\nvenue in Skibelund Krat in 1914, he wrote a poem to accompany\r\nthe sculpture: ‘Death, sometimes invisible, hides in the dust of\r\nthe road, yet catches up and reappears when we least expect\r\nit, ever creeping in our footsteps, impossible to escape.’ (50 Favorites in the SMK Collection)","type":"CATALOGUETEXT","source":"Henrik Holm","date":"2024-01-01T00:00:00.000Z"},{"text":"The Shadow is not just Niels Hansen Jacobsen’s principal Symbolist work; it is also an important piece within the European art of the time.\r\n\r\nIn a original move, Hansen Jacobsen translates his concept of death into a sneaking, creeping figure so bound with the underworld that it merges with the soil.\r\n\r\nA consistent dissolution of shapes\r\nA horizontal figure whose liquid, contour-less shape marks a complete break with sculptural tradition and its celebration of monumental and clearly delineated shapes. With his consistent dissolution of shapes, Hansen Jacobsen does away with the traditional frameworks for the physical appearance of sculpture.\r\n\r\nFascination with death\r\nIndicative of the fascination with death that Hansen Jacobsen shared with so many others of his day, the artist let the sculpture be accompanied by this poem:\r\n\r\n\"Døden, snart er den usynlig, / gjemmer sig i Vejens Støv, / men indhenter og dukker op igen, / naar vi mindst venter det, / snigende sig stadig i vort Fodspor, / umulig at undfly.\" (Death, oftentimes unseen, / Hiding in the dirt and dust, / Catching us to reappear, / When we least expect it, / Ever sneaking in our footsteps, /Impossible to escape).\r\n\r\nHansen Jacobsen’s radical and unreal idiom left most of his contemporaries wondering, and he did not receive great recognition in Denmark. After a number of years in Paris, the artist eventually settled in his hometown of Vejen. Here, ceramic works in particular served as vehicle for his original ideas.","type":"OTHERTEXT","source":"Peter Nørgaard Larsen","date":"2005-01-01T00:00:00.000Z"}],"materials":["bronze"],"object_names":[{"name":"Statue"}],"production":[{"creator":"Hansen Jacobsen, Niels","creator_forename":"Niels","creator_surname":"Hansen Jacobsen","creator_date_of_birth":"1861-09-10T00:00:00.000Z","creator_date_of_death":"1941-11-26T00:00:00.000Z","creator_nationality":"Danish","creator_gender":"MALE","creator_history":"Niels Hansen Jacobsen viste allerede i debutarbejdet Den bundne Loke sans for dramatisk iscenesættelse og interesse for den nordiske mytologi. Selvom han med en kunstneruddannelse svigtede faderens drøm om, at han skulle være landmand, bevarede han de dybe rødder til livet på landet og fastholdt igennem hele sit værk respekten for og fascinationen af almuens fortællinger og fantasier. Hans første arbejder lå stilistisk i forlængelse af tidens naturalisme, men i Døden og moderen fra 1892 ses første gang hans forkærlighed for den symbolske fremstilling og fortælling i skulpturen. Dermed opstod også et behov for en ny stil, der gik ud over den rene naturalisme, og som kunne give skulpturel form til fantasiens og underbevidsthedens forunderlige væsener. Fra 1892 til 1901 boede H.J. i Paris, hvor han færdedes blandt en gruppe danske kunstnere, bl.a. Rudolph Tegner, Johannes Holbek og Jens Lund. Fælles for disse kunstnere var begejstringen for symbolismen, som især prioriterede værkets indholdsside højt. Dertil kom en stærkt pessimistisk livsopfattelse med en stadig kredsen om døden og livets skyggesider, og endelig en opfattelse af kunstneren som undtagelsesmenneske. H.J. skabte her nogle af sine væsentligste og mest særprægede værker, hvor han forsøgte at fastholde barndommens og overtroens trolde og dæmoner i skulpturen. Ved at tage udgangspunkt i overtro, underbevidsthed og angst realiserede han symbolismens ønske om at trænge bag om det sete, en tanke, som senere levede videre i surrealismen. I idéprægede værker som Natten, Skyggen, Friheden og Trold, der lugter kristenblod udviklede han sit eget særprægede formsprog med en speciel forkærlighed for figurer, som ofte bevæger sig langs jorden. Dermed brød H.J. både med klassisk form og motiv, da skulpturerne er udført i et stiliseret, halvt abstrakt formsprog uden hensyntagen til vedtagne regler for skulptur. Den typiske \"furede\" stil havde visse fællestræk med jugendstilen, men H.J. var tillige inspireret af samtidens interesse for gotikkens masker og dæmoner. I det stærkt pessimistiske værk Militarismen forsøgte H.J. at nedbryde den sædvanlige krigsikonografi ved at sammenstille hovedfigurens abrupte former med en traditionel fremstilling af kranier. I Paris begyndte han desuden at arbejde med keramik, bl.a. inspireret af tidens interesse for den japanske keramik. Keramikken skulle blive en livslang beskæftigelse for ham, og han må betegnes som en af pionererne inden for dansk stentøjskeramik. Efter hustruen Gabriele Rohdes død slog H.J. sig definitivt ned i Danmark. I en periode opgav han næsten at arbejde som billedhugger og ernærede sig især ved at hugge gravsten. I løbet af 1910-20 vendte han tilbage til en mere traditionel skulpturel form som i det sidste og største arbejde Livets dans, en symbolsk fremstilling af skæbnens spil. Skønt hans værk har både internationalt udsyn og rodfæstet dansk baggrund, forblev H.J. en ener i dansk kunst.","creator_lref":"1172_person"}],"production_date":[{"start":"1897-01-01T00:00:00.000Z","end":"1898-12-31T00:00:00.000Z","period":"1897-1898"}],"techniques":["Bronze, cast"],"titles":[{"title":"The Shadow","language":"engelsk"}],"number_of_parts":1,"object_number":"KMS5806","object_url":"https://api.smk.dk/api/v1/art?object_number=KMS5806","frontend_url":"https://open.smk.dk/artwork/image/KMS5806","iiif_manifest":"https://api.smk.dk/api/v1/iiif/manifest?id=KMS5806","enrichment_url":"https://enrichment.api.smk.dk/api/enrichment/KMS5806","similar_images_url":"https://similar.api.smk.dk/similar/?object_number=KMS5806","production_dates_notes":["Værkdatering: 1897-1898"],"public_domain":true,"rights":"https://creativecommons.org/publicdomain/mark/1.0/","on_display":true,"image_mime_type":"image/tiff","image_iiif_id":"https://iip.smk.dk/iiif/jp2/s7526d377_KMSKMS5806.tif.jp2","image_iiif_info":"https://iip.smk.dk/iiif/jp2/s7526d377_KMSKMS5806.tif.jp2/info.json","image_width":8176,"image_height":6132,"image_size":51874712,"image_thumbnail":"https://iip-thumb.smk.dk/iiif/jp2/s7526d377_KMSKMS5806.tif.jp2/full/!1024,/0/default.jpg","image_native":"https://api.smk.dk/api/v1/download/W3siaW1nX3VybCI6Imh0dHBzOi8vaWlwLnNtay5kay9paWlmL2pwMi9zNzUyNmQzNzdfS01TS01TNTgwNi50aWYuanAyL2Z1bGwvZnVsbC8wL25hdGl2ZS5qcGciLCJwdWJsaWNfZG9tYWluIjp0cnVlLCJvYmplY3RfbnVtYmVyIjoiS01TNTgwNiIsIm51bSI6IiJ9XQ==/KMS5806.jpg","image_orientation":"landscape","image_hq":true,"files_3D":[{"url":"https://api.smk.dk/api/v1/download-3d/41687p033_smk17-5806.stl","mime_type":"model/stl","file_size":200000284},{"url":"https://api.smk.dk/api/v1/download-3d/zp38wj69g_KMS5806_small.stl","mime_type":"model/stl","file_size":20001484}],"has_3d_file":true,"has_image":true,"colors":["#000000","#222222","#333333","#fcaa6b","#593d1c","#cee6c9","#3a351f","#eedced","#eeeeee","#888888","#dddddd"],"suggested_bg_color":["#888888"],"entropy":7.9234905,"contrast":4.2247596,"saturation":2.2844627,"colortemp":3.523338,"brightness":3.2963784,"media_3d":["{\"title\":\"KMS5806: Skyggen\",\"url\":\"https://www.myminifactory.com/object/viewer/5e284e5145184/smk17-5806.stl?embedded=0\",\"language\":\"all\"}"],"artist":["Niels Hansen Jacobsen"]}]}