pouls skrifter III

when Zibrandtsen 1967 revised and supplemented his book, Poul Ekelund from "boelleblomsten" entered hanmann stayed outside.he does not appear in niels th mortensens "danish art"1964 nor in "artists" whos who"1970.and this is an artist who as early as 1951 in a serious art review in "socialdemokraten"( probably written by now deseased moeller nielsen)is described as a "master"this little review of hanmannsart life have fruitfully been indulging in other persons estimates and valuations.and analyses.Partly due to the fact that they were very precise partly because I wanted to show that my hanmann enthusiasm wasnt entirely my own but that I share it with loads of artcritics who in the past 35 years have been" drawing"/writing abouthanmann and have been our country foremost and most serious artcritics.this hanmann is written in connection with an echibition based on unsold left works of art.and the intention with exhibition and this sketch is this obvious to "keep hanmann boiling"to open peoples minds for an excellent artist in the hope that he thereby might get theplace not only as talented,knowlegeable and masterloner but also for his attribution through almost 40 years of the danish art HISTORY.

pouls skrifter II

"evident speech on beauty"by artcritic mr virtus schadethe cool icy bluelandscapes paintings of poul hanmann his strictly painted female models belongs to some of the most beautiful in new danish art.for some odd reason you have chosen svend engelund,jeppe vontilius as a markpost for that generation of painters.--it might as well have been a hanmann--few people have like himn the genius to reveal a a woman like a piece of architecture,to bring forth the masses of a landscape.his cool colouring his distant relation to the modeldoes cover an inner fericious warmth.his art beeing seemingly "icy"on the surface does indeed cover an intelligent inner.at the same time nobility and "a blow to your body"poul hanmann died in July 1981barely 66 years of age.pierre lubecker the art critic,who knew him for a long span of years said:" particular as an artist particular as a human being.containing warm feelings behind a study appearence.and in a clear sentence revealing what might be my attempt for my review." evident speech on beauty"" a genuine painterly approach" Kai flor wrote ,for decades a nestor of danish artreviewing,on poul hanmanns debutit took place at the "kunstnernes efteraarsudstilling"in 1944/K.E. artists autumn exhibit.).poul hanmann he writes mr johan moeller nielsen "shows how its got to be done cause with him colours are transformed to life and light"as hanmann proceeded next year at the K.E."the mere hint of the skin and the form is so enchantingly thrilling to your imagination".adding on the barely 30 year old that "he certainly is one of the most mature of the exhibitors"as to myself I got a rather strange and very close relation to poul hanmanns art.being an 18 years artcritic-pupil-employed at the daily newspaper" Information"hanmann was the first artist I was asked to review."this kind of painting you as a young man certainly wouldnt like " the editor said "you will probably knock it over".but..I came ,saw hanmann--and was thrilled enthusiastically.honest and naiv, as young people tend to be, I gave away for my enthusiasm in my review,and unintentionally this review did not appear in the newspaper.and I was told to give up this provisory reviweing"havent we"I then decided to give both teh artist and myself a a fully compensation one day.More than 30 years had to pass. and now poul hanmann is dead.but I still see him as an essentialartist for that period of art history.but indeed as one of the artists not to be forgotten.now then hanmann were not a part of the artists you would ever "knock over".through the years hanmann was carried on a mild benevolence: what he had against him was was not harsch artcritisism but purely painterly qualities such as solidity,quietness,-and above all continuity.:with him never appear the abrupt "uproar2 against last years pictures..it was rather a continuous flow of pictures made.and then he became the distinct loner who for the last 30 years kept away from groups or groupexhibitions-instead he stood forth with a lot of one-man-shows -made with intervals though of 1954-1964 plus 1964-1970) he didnt do a lot to promote himself,whereas he did a lot to promote others..through his chairmanship(1960-1970)of "the artist owned arttrade".but the loner did actually start in a painters group just after his K.E. debut,he was invited as a guest at "boelleblomsten"(being their 3 rd exhibit at "den Frie")this exhibitiongroup was formed by pupils from" the rostrup-boeysesens art school of painting"(the father of the director of the statemuseum of art)a school which was hanmanns own base.for most people a legendary school for others something half forgotten,containing artist such as mogens andersen, jeppe vontilius,william fridericia, ingrid hansen,poul hauch-fausboell,poul ekelund,and holger jacobsen,honest and solid painters like ole hammeleff and steffen petersen..many of the "boelleblomst" exhibitors might now be forgottten as the name itself.the three most importent in that group most certainly were: mogens andersen,vontillius and hanmann.artists"who "(wrote artcritic bertel engelstoft)"" do know the importance of cuting away the not important". at "boelleblomsten" hanmann stayed for five years..he was "promising" and " in progress"he was one of who " you would expect something extraordinarily" (walter schwarz)and ending at "boelleblomsten" he was still "talented".and then he went to charlottenborg.it started 1951and ended 17 years after.he exhibited in firms(artsocieties formed by the employees)joined several major exhibitions,and hardly ever let himself being interviewed-the tow major interviews from that period and on was in "BT"in 1952 and in "berlingske" 27 years later .in the former he said to kai berg madsen,asking him why he did NOT paint abstract"all art should be abstract and not an isolated phenomenon.You can get to the heart of matters with everything..why not include all variety once it comes forth?" to "berlingske" he as telling how to make omellettes.in few words,a little excusingly.alway open,when you met him.he was regarded as an excellent art- educationalist.at an exhibition at long ago gone "atheneum artdealer"in 1953,the place for my meeting his artpersonally,johan moeller nielsen wrote on him" if vilhelm lundstroemhad had a son with vilhelm hammershoej,he would have painted like poul hanmann"in 1970 the above mentioned moeller nielsen wrote on a different hanmann- solo- show"He puts down on spot his figures on canvas in five or six large strokes and there they are as a miracle lighting in their monumental loneliness with naked skin in blue hues.simplicity,grandness and quietness seems to be the motto of poul hanmann,and few people will reach to such fine results as this classic painter"ejgil nikolajsen in 1976 spoke about" his delicately cultured cooly lyrically skill with colours"and about his "artistically mastered sentisivity for big calm hues of colouring"and"his sence of attitude for the mildly rhythnic-sonorous harmonized intention of wholeness"l.lubecker wrote the same yearabout " an artistically diciplined and inspiring human being".two months before his death he mad his last one-man -show in " den fries extension". and once more he was overfloded with the utmost praisewords of the art critics.of course the ovations hasent been unconditional nor without serious remarks.so uninteresting or canonisied he was not that he should be avoiding this sort of critisism.but he was accepted and respekted as an artist who combined the artistic with the most sincere.what does lack in this upheaval a young critic to be wants to give him?well perhaps a clearer positioning of hanmann in our art history.in noerregaards-nielsens at times very particularchosen for "dansk kunst" 1983 he isnt mentioned at all.neither does he appear in knud voss"s"politiken" "danish arthistory"from 1975.neither in jan zibrandtsens "danish peinters" from 1956,which give away for his other three companions in "boelleblomsten" :jeppe vontillius mogens andersenand holger jacobsen,infact the book ends with those three.

" poul hanmann til minde"den frie udstillingsbygning nov dec 1982by artcritic pierre lubeckerexpressing yourself in short terms is difficult to most people-especially difficult for he who wants to express experiences and observationsin a clear and whole form.poul hanmann conciously used this skill all of his life as a painter. and he wanted to do much.squeamish as an artist and human being but underneath with ardent yet ferocious emotions under a controlled appearancevery sad indeed to have to use the past time- as he died last july.this is his memorial exhibition.poul hanmann never went far away for his motifsHis motifs were limited to Nature and Nude paintings with one or more models..almost ever nude and female.Landscapemotifs derived fromlocal sites.Although most of his pictures took its origin in the countrysideapprox a 100 miles south of copenhagen at "praestoe" and "feddet"the manor estate of "gavnoe"the pictures might as well have taken its motifs from the "PO expanse " or at the expanse surroundings of venice or the tiver loire in france.places where the hot-sun-mist veil everything that might steal the attention of the view out to the mildly mobile horizon.as concerning the models he drew with coal nudes standing like the classical and archaic statues his teacher mr rostrup-boeyesen asked his pupils to draw from the plastercollection of the danish state art museum.In his younger days Mr hanmann co-started the paintersgroup called "boelleblomsten"which had as a program to revive the old and grand figurepaintingwhich they certainly did,working on huge formats: among his contemporaries in this group were the artists e.g. jeppe vontilius, soeren melsom william fridericia and mogens andersen.later on he became a lone walker.which suited him fine often he would paint the models resting or capture a movement og undressing or dressing.this method being the same as that of the painter giersing.the colour blue was soon to be one of poul hanmannns dearest colours-the musical tone in which he tuned his paintings.the chord from which derivedall the hues from the light mistbluedown to the deepest blues of the ocean.he mastered the blue colour tones so masterlyfragile and gentle also in connection with hues of green,grey,black and now and then yellow.and the colour pallette explained his pictorial space,the low halfdistanceof his modelpaintings as well as the landscapepaintings"profound width of distance.the rhythm being always calm,the proportions sentively balanced.evident speech on beauty as hanmann saw it.