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A black and white image of broken pieces of sculpture arranged on a wall in Copenhagen's Glyptoteket (Danish work derived from Greek glyphein, to carve, and theke, storing place).

Unsurprisingly, protruding elements like noses and ears are the points of a figural sculpture most susceptible to breakage. The sculpture gallery has mounted these broken bits in rows akin to how a collection of entomology specimens might be displayed.

Five rows are visible in the image. The first, third, and fifth rows are all noses. Second from the top has a larger facial section with a nose, one eye, and half the forehead above the eye; it's bracketed on both sides by ear lobes. Second from the bottom has a nose with attached lips and chin in the middle with noses to either side. Light from above is throwing dark shadows below each fragment.

A black and white image of broken pieces of sculpture arranged on a wall in Copenhagen's Glyptoteket (Danish work derived from Greek glyphein, to carve, and theke, storing place). Unsurprisingly, protruding elements like noses and ears are the points of a figural sculpture most susceptible to breakage. The sculpture gallery has mounted these broken bits in rows akin to how a collection of entomology specimens might be displayed. Five rows are visible in the image. The first, third, and fifth rows are all noses. Second from the top has a larger facial section with a nose, one eye, and half the forehead above the eye; it's bracketed on both sides by ear lobes. Second from the bottom has a nose with attached lips and chin in the middle with noses to either side. Light from above is throwing dark shadows below each fragment.

A wall of orphaned cartilage at the Ny Carlsberg Glyptotek in Copenhagen.

#AlphabetChallenge #WeekNForNonsense #SensoryArt #People #Scape #ClassicMono #ColorADay #BWFri #Photography #ArtYear #EastCoastKin #ECK #Sculpture #Glyptoteket #HappyPlace

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GLYPTOTEKET: Palmyra – ørkenens metropol - KULTURINFORMATION Kunst GLYPTOTEKET: Palmyra – ørkenens metropol. Palmyra-samlingen på Glyptoteket får det til at svimle for en. Anmeldelse af Niels Frid-Nielsen, KULTURINFORMATION

GLYPTOTEKET: Palmyra – ørkenens metropol

'Udstillingen kan både opleves som billedkunst og som historisk kilde til Palmyras dramatiske historie.' – Niels Frid-Nielsen, KULTURINFORMATION

#kulturinformation #anmeldelse #nielsfridnielsen #palmyra #glyptoteket

kulturinformation.org/glyptoteket-...

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Painted as a national personification rather than a portrait of a specific individual, “Moder Danmark” turns “country” into a determined young woman for an embodiment of collective identity, protection, and endurance. A flag functions as both cloak and standard as it shelters her body while also announcing what she carries forward. A downward-pointing sword is less like aggression than readiness such as power held in reserve and a guardian’s vigilance rather than a conqueror’s display.

She stands in sharp profile to the right, as if scanning a distant horizon. Her skin is light with her cheeks are flushed by wind. Long, wavy reddish-blond hair streams back from beneath a dark, close-fitting cap, reinforcing a sense of movement and resolve. She wears a rust-red bodice over a darker, vertically banded garment and a deep black skirt. A patterned white cuff peeks from one sleeve. Around her neck sits a thick, gold-toned collar. Behind her shoulder she holds a tall flagpole with a large red Dannebrog (national flag of Denmark) billowing diagonally across the sky with its fabric folding and catching light in broad, painterly planes. In her lowered hand, she grips a sword angled down and forward, the metal blade dark against the earth tones below. The background opens into a moody, clouded sky and a wide landscape of fields and distant water, painted in muted browns and grays that make the red flag and bodice feel even more urgent. Her upright, forward-leaning, and braced posture conveys purposeful motion rather than passive posing.

Elisabeth Jerichau-Baumann, a Warsaw-born artist working in Denmark and moving within elite cultural circles, gives this allegory an unusually human presence with wind-touched hair, a working grip, and a gaze fixed beyond the frame. In the mid-19th century, as Danish Romantic nationalism intensified and visual symbols of belonging grew more charged, her image helped solidify “Mother Denmark” as a patriotic, feminine, and steadfast icon.

Painted as a national personification rather than a portrait of a specific individual, “Moder Danmark” turns “country” into a determined young woman for an embodiment of collective identity, protection, and endurance. A flag functions as both cloak and standard as it shelters her body while also announcing what she carries forward. A downward-pointing sword is less like aggression than readiness such as power held in reserve and a guardian’s vigilance rather than a conqueror’s display. She stands in sharp profile to the right, as if scanning a distant horizon. Her skin is light with her cheeks are flushed by wind. Long, wavy reddish-blond hair streams back from beneath a dark, close-fitting cap, reinforcing a sense of movement and resolve. She wears a rust-red bodice over a darker, vertically banded garment and a deep black skirt. A patterned white cuff peeks from one sleeve. Around her neck sits a thick, gold-toned collar. Behind her shoulder she holds a tall flagpole with a large red Dannebrog (national flag of Denmark) billowing diagonally across the sky with its fabric folding and catching light in broad, painterly planes. In her lowered hand, she grips a sword angled down and forward, the metal blade dark against the earth tones below. The background opens into a moody, clouded sky and a wide landscape of fields and distant water, painted in muted browns and grays that make the red flag and bodice feel even more urgent. Her upright, forward-leaning, and braced posture conveys purposeful motion rather than passive posing. Elisabeth Jerichau-Baumann, a Warsaw-born artist working in Denmark and moving within elite cultural circles, gives this allegory an unusually human presence with wind-touched hair, a working grip, and a gaze fixed beyond the frame. In the mid-19th century, as Danish Romantic nationalism intensified and visual symbols of belonging grew more charged, her image helped solidify “Mother Denmark” as a patriotic, feminine, and steadfast icon.

“Moder Danmark (Mother Denmark)” by Elisabeth Jerichau-Baumann (Polish-Danish) - Oil on canvas / 1851 - Ny Carlsberg Glyptotek (Copenhagen, Denmark) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ElisabethJerichauBaumann #JerichauBaumann #artText #art #arte #Glyptoteket #NyCarlsbergGlyptotek

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French artist Paul Gauguin presents a half-length portrait of a young Tahitian woman seated against a flat, radiant yellow field. She turns slightly to our right, eyes looking past us with a guarded peacefulness. Her skin is warm medium-brown and her dark hair is center-parted and braided over her shoulder. She wears a long-sleeved, high-necked blue-violet dress with a crisp white collar and lace-trimmed cuffs. Behind her, a broad red chair back frames her shoulders, while stylized green leaves float around her like decorative motifs. Her forearms rest across her lap and she holds an orange-yellow blossom with a green stem near her fingers.

At the top, the painted words “Vahine no te Tiare” sit like a caption, and Gauguin’s signature and date appear to the upper right. Dark outlines and simplified planes flatten the space, making yellow, red, and cool blue colors do much of the emotional work. Her face is modeled with visible brushstrokes: softly shaded cheeks, a straight nose, and full lips. A small gold earring catches light at one ear. The dress gathers at the chest and sleeves, suggesting weight and heat, yet the background stays abstract. The overall effect is quiet and monumental, inviting us to linger on her expression and on the careful way her hands hold the flower.

The sitter’s personal name is not recorded in surviving documentation, but Gauguin did describe her simply as a young "neighbor" who at first refused to pose, then returned later dressed for church, wearing a flower. That detail matters because in 1891 Tahiti was limited by French colonial rule and long shaped by missionary pressure, and the European-style "mission dress" signals imposed norms as much as individual choice. Gauguin’s Tahitian inscription of “woman of the flower” both honors local language and reduces her to an emblem. Viewing the painting today means remembering both truths at once: her undeniable dignity and the people and systems that rendered her identity anonymous.

French artist Paul Gauguin presents a half-length portrait of a young Tahitian woman seated against a flat, radiant yellow field. She turns slightly to our right, eyes looking past us with a guarded peacefulness. Her skin is warm medium-brown and her dark hair is center-parted and braided over her shoulder. She wears a long-sleeved, high-necked blue-violet dress with a crisp white collar and lace-trimmed cuffs. Behind her, a broad red chair back frames her shoulders, while stylized green leaves float around her like decorative motifs. Her forearms rest across her lap and she holds an orange-yellow blossom with a green stem near her fingers. At the top, the painted words “Vahine no te Tiare” sit like a caption, and Gauguin’s signature and date appear to the upper right. Dark outlines and simplified planes flatten the space, making yellow, red, and cool blue colors do much of the emotional work. Her face is modeled with visible brushstrokes: softly shaded cheeks, a straight nose, and full lips. A small gold earring catches light at one ear. The dress gathers at the chest and sleeves, suggesting weight and heat, yet the background stays abstract. The overall effect is quiet and monumental, inviting us to linger on her expression and on the careful way her hands hold the flower. The sitter’s personal name is not recorded in surviving documentation, but Gauguin did describe her simply as a young "neighbor" who at first refused to pose, then returned later dressed for church, wearing a flower. That detail matters because in 1891 Tahiti was limited by French colonial rule and long shaped by missionary pressure, and the European-style "mission dress" signals imposed norms as much as individual choice. Gauguin’s Tahitian inscription of “woman of the flower” both honors local language and reduces her to an emblem. Viewing the painting today means remembering both truths at once: her undeniable dignity and the people and systems that rendered her identity anonymous.

“Vahine no te Tiare” (Tahitian Woman with a Flower) by Paul Gauguin (French) - Oil on canvas / 1891 - Ny Carlsberg Glyptotek (Copenhagen, Denmark) #WomenInArt #PaulGauguin #Gauguin #NyCarlsbergGlyptotek #PostImpressionism #arte #Tahitian #BlueskyArt #art #artText #Glyptoteket #PortraitofaWoman

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🪷 #NovemberCountdown to the birthday of Antinous on November 27th: #Antinous as #Dionysus with exquisite Thyrsus staff and ivy wreath at the NY Carlsberg Glyptotek #Glyptoteket Art Museum in Copenhagen. 🪷

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Four string musicians in a hall with marble tiles.

Four string musicians in a hall with marble tiles.

And now for string quartets played by Arild Quartet at #Glyptoteket 😎 (the walls are mainly plaster, and the pillars are wood, so acoustics pretty awesome!).

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🪷 September 4th is the Egyptian Ceremony of Transformation through #Anpu #Anubis guide of the souls of the dead. Today Anubis seeks out lost souls, those who have died without the correct ceremonies to help them find their way to the Heavenly fields. Statue: #Glyptoteket Copenhagen. 🪷

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#Glyptoteket is an art museum that hosts #chambermusic recitals Sunday at noon in August & September with high quality Danish and visiting musicians. The hall looks impossible but is great for acoustic music, such as #classicalmusic.
Learn about it at glyptoteket.dk😎

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I attended a wonderful recital with Katrine Gislinge at #Glyptoteket today - Music by Schumann, Chopin🤩, and of course her husband Bent Sørensen. Here she is before Schumann:

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#Glyptoteket, the remarkable #Museum. #Art, #architecture and history. #Museo #Musée #Arkitektur #Architectuur #Architektur #Architettura #Arquitectura #Architecture / #Copenhagen #København/ (3/3)

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#Glyptoteket, the remarkable #Museum. #Art, #architecture and history. #Museo #Musée #Arkitektur #Architectuur #Architektur #Architettura #Arquitectura #Architecture / #Copenhagen #København/ (2/3)

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#Glyptoteket, the remarkable #Museum. #Art, #architecture and history. #Museo #Musée #Arkitektur #Architectuur #Architektur #Architettura #Arquitectura #Architecture / #Copenhagen #København/ (1/3)

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The photo shows a lush indoor garden with towering palm trees and various tropical plants. The space is enclosed by a grand glass and steel structure, allowing natural light to filter through. The architecture blends classical and industrial styles, featuring ornate details on the brick walls, arched windows, and decorative elements. Tall, slender metal columns support the glass ceiling, creating an airy and elegant atmosphere. The presence of a balcony and intricate crest-like ornamentation on the wall suggests that the building might be a historic conservatory or botanical garden.

The photo shows a lush indoor garden with towering palm trees and various tropical plants. The space is enclosed by a grand glass and steel structure, allowing natural light to filter through. The architecture blends classical and industrial styles, featuring ornate details on the brick walls, arched windows, and decorative elements. Tall, slender metal columns support the glass ceiling, creating an airy and elegant atmosphere. The presence of a balcony and intricate crest-like ornamentation on the wall suggests that the building might be a historic conservatory or botanical garden.

If you only have time to see 1 thing in #Copenhagen I will recommend to visit #Glyptoteket. You will find #paintings, #sculptures, #palms, etc. inside a beautiful old building. Café at the roof. FYI: There are some elevators, but the building is not so accessible for wheel chair users.
#architecture

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”I fancy that guy”
.
#glyptoteket #copenhagen #photography #carpediem
#photoopportunity

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Some sketches I did in the Glyptotheket in Copenhagen
#glyptoteket #københavn #copenhagen #artgallery #livedrawing #artstudy #greekmythology

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Winter garden at #glyptoteket #København #photohraphy (©AM Brown, 2024)

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#Glyptoteket. CPH.

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João Nyet on Instagram: "#dome #cúpula #sky #céu #glyptoteket" 12 likes, 0 comments - b74derunner on June 13, 2017: "#dome #cúpula #sky #céu #glyptoteket".

#dome #cúpula #sky #céu #glyptoteket

instagram.com/p/BVRttCUjk11/

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Limited single day redo for #DasTTC in Copehagen (top 5 favourite Euro cities).

Visit #Glyptoteket too ;-)

PING @srrezaie @StarSkaterDk

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