Kaikista Wilhelm Freddie's teoksista Venetian Portrait (1943) on tunnetuin; se on esillä Statens Museum for Kunst -museossa, kaupungissa Kööpenhamina. Heti perässä tulevat Portrait of Richard Wagner (1961) ja The Birth of the Shadow (1950). Wilhelm Freddiein 15 teoksen joukosta nämä 15 ovat kuuluisimpia; jokaisesta on esitetty päivämäärä, museo ja tarina.
Sijoitus perustuu suosiotulokseemme, joka yhdistää kunkin teoksen hakuja, vierailuja ja tilauksia. Päivitetty lokakuu 2026.
A profile emerges from a dark, textured void. The woman’s neck curves with a pale, elegant grace, catching a light that seems to descend from an unseen upper left. Her skin holds the warmth of cream and soft pink, yet the familiar lines of a human face begin to dissolve. Where features should be certain, organic textures take hold. Moss-like growths and floral elements creep across her visage, blurring the…
In Portrait of Richard Wagner by William Fowler, a dark, moody background swallows the space, creating a heavy silence. On the right side, the profile of a human head emerges from the shadows. This figure is not a mere likeness but a site of collision. Several curved, salmon-colored wooden clothes hangers are overlaid across the face, their smooth arcs cutting through the darkness. These physical objects cast subtle shadows, anchoring…
In "The Birth of the Shadow" by Wilhelm Freddie, the canvas rejects a single point of view. The composition is deconstructed, presenting a non-linear arrangement of abstract and semi-figurative forms. A white pyramidal structure occupies the upper right, its sharp edges cutting through the space. Below, a blue leg is held aloft, suspended in a shallow, ambiguous void. These disjointed elements float against a warm, monochromatic terracotta background that lacks…
In this 1951 oil painting, the boundaries between the human figure and geometric abstraction dissolve within an oval frame. The composition centers on a pair of interlocking, humanoid forms that merge into a single, structural unit. This fusion suggests a state of profound unity or perhaps a fragmented dissolution of the self. The palette is restrained, relying on earthy tones of ochre, beige, and tan, punctuated by sharp, deliberate accents…
The composition of Still Life with Pipe is defined by a series of intersecting, non-representational shapes and heavy, calligraphic outlines. A large, white form with a rounded upper edge occupies the center, containing a dark, semi-circular inset that anchors the visual weight. To the upper right, a series of horizontal black stripes creates a rhythmic pattern against a field of deep cobalt blue. Below the central white shape, angular planes…
Nämä neljä aihetta toistuvat näissä maalauksissa useimmin, ja jokaisesta on esitetty suosituin esimerkki.
Tämän sivun teoksista eniten sisältävät 2 museota.
| Museo | Kaupunki | Wilhelm Freddie teokset | Tämän listan maalaukset |
|---|---|---|---|
 Statens Museum for Kunst |
Kööpenhamina | 14 | Venetian Portrait, Portrait of Richard Wagner, The Birth of the Shadow |
 Städel Museum |
Frankfurt | 1 | Pro Patria |
A profile emerges from a dark, textured void. The woman’s neck curves with a pale, elegant grace, catching a light that seems to descend from an unseen upper…
In "The Birth of the Shadow" by Wilhelm Freddie, the canvas rejects a single point of view. The composition is deconstructed, presenting a non-linear arrangement of abstract and…
In Portrait of Richard Wagner by William Fowler, a dark, moody background swallows the space, creating a heavy silence. On the right side, the profile of a human…
Venetian Portrait (1943), Statens Museum for Kunst, Kööpenhamina. Seuraavina ovat Portrait of Richard Wagner (1961) ja The Birth of the Shadow (1950).
Wilhelm Freddie, syntynyt vuonna 1909, oli 34 vuotta vanha: Venetian Portrait on peräisin vuodelta 1943.
Venetian Portrait, Portrait of Richard Wagner, The Birth of the Shadow, Et frieri, Sensual Interior, Monument, The Trials of a Family, Sensitive Portrait, The Day D ja Still Life with Pipe. Jokaisessa yllä olevassa sijoituksessa olevassa kankaassa on ilmoitettu sen vuosi ja museo.
Luettelossamme on 15 teosta taiteilijalta Wilhelm Freddie, aikaväliltä 1930–1966.
Pääasiassa kohteissa Statens Museum for Kunst (Kööpenhamina) ja Städel Museum (Frankfurt); yllä oleva lista nimeää jokaisen museon ja sen teokset.
Aikakaudella 1940s, jolta on 7 tästä sivusta löytyvää 15 teoksesta, joukossa on Venetian Portrait.
Varhaisin tässä kokoelmassa oleva kangas on Still Life with Pipe (1930); uusin on Social Scandal. The Stairs (1966).
Profile (2) ja Geometric shapes (2), yhteensä 15 teosta tällä sivulla.
Oil, käytetty 2 teoksessa sivun 15 teoksesta.
Surrealism, kuten tämän sivun teokset osoittavat.
Statens Museum for Kunst, Kööpenhamina -museossa on 14 tämän sivun teoksista, mukaan lukien Venetian Portrait, Portrait of Richard Wagner ja The Birth of the Shadow.
Born Christian Frederik Wilhelm Carlsen on 7 February 1909 in Copenhagen, Denmark, Wilhelm Freddie lived a life defined by a restless pursuit of new visual languages. He was a painter, sculptor, and filmmaker who navigated the shifting currents of the twentieth century with a singular, often defiant, perspective. Though he was mostly self-taught, his creative output spanned several decades, moving from early abstract explorations toward a more realistic surrealism before eventually returning to abstraction.
His career was marked by a willingness to confront the social and political tensions of his era. He used his art to challenge the status quo, often finding himself at odds with the authorities of the time. These conflicts were not merely academic; they resulted in the confiscation of his work and even periods of imprisonment. Such struggles were a recurring theme in his life, as he navigated the boundaries between provocative expression and the legal constraints of his society.
Freddie remained active in the Danish art scene until his death in Copenhagen on 26 October 1995. His multifaceted practice—encompassing both the tactile nature of sculpture and the temporal medium of film—reflects a man who refused to be confined to a single discipline. He left behind a body of work that remains a significant part of the Danish avant-garde tradition.
The formative years of Wilhelm Freddie’s career were defined by a rigorous technical foundation in Copenhagen. Between 1929 and 1930, he apprenticed as a sculptor at the Technical School, a period that grounded his understanding of form and physical presence. This sculptural training was complemented by his studies at the Graphic School under Aksel Jørgensen, where he refined the precision required for his evolving visual language.
His early output did not immediately align with the provocative imagery that would later define his reputation. Instead, he initially worked along a somewhat abstract line, exploring the boundaries of shape and composition. This period of abstraction provided the structural discipline necessary for his sudden and radical shift in direction. In 1930, he introduced surrealism to Denmark with the painting Freedom, Equality and Brotherhood, F. at KE, a move that signaled his departure from traditionalist expectations and set him on a path of intense experimentation.
Freddie’s artistic trajectory was marked by a restless movement between styles, shifting from an initial abstract approach toward a more realistic surrealism before eventually returning to abstraction. This period of surrealism brought him into direct conflict with the social and political mores of his time. His imagery often challenged bourgeois sexual norms, leading to significant legal repercussions. In 1937, his work Sex Paralysis Appeal caused such intense public outrage that the exhibition was closed, and the artist was eventually convicted of pornography and sentenced to ten days in prison. This pattern of friction with authority repeated itself in 1961 when he exhibited a copy of the same work.
Beyond the provocations of sexuality, Freddie’s work was deeply engaged with the political turbulence of Europe. He used his canvas to critique the rise of Nazism and fascism, most notably in the 1936 painting Meditation on the Anti-Nazi Love. His commitment to these anti-fascist sentiments made him a target for persecution; during the Second World War, he was forced to flee to Sweden to escape the reach of Nazi authorities. The very works that had once been seized by customs or confiscated by police were expressions of a defiant, often dangerous, political stance.
Freddie’s creative output extended beyond the canvas and into the moving image. In the late 1940s, he turned his attention to cinema, directing two short films that captured his particular brand of surrealism. The first, The Definite Rejection of a Request for a Kiss (Det definitive afslag på anmodningen om et kys), was released in 1949, followed by Eaten Horizons (Spiste horisonter) in 1950. These works allowed him to explore temporal and spatial distortions that complemented his visual explorations of the subconscious.
His exhibitions often pushed the boundaries of contemporary social acceptance, frequently attracting the scrutiny of authorities. A notable example was his 1938 exhibition titled Surreal-Sex, which contributed to his reputation as a provocateur. His imagery was often confrontational, designed to challenge the prevailing moralities of the era. This defiant spirit is evident in the provocative title of his work Stick a fork in your eye!.
The physical presence of Freddie's work remains scattered across several major international institutions, reflecting the reach of his once-controversial imagery. In his home country, his pieces are held by the National Gallery of Denmark (SMK). His influence also extends to the Kunsten Museum of Modern Art Aalborg, which maintains his works within its collection.
Beyond the borders of Denmark, his art has found permanent homes in significant global centers. The Tate Modern in London and the Centre Pompidou in Paris both hold his works, placing his surrealist and abstract contributions within the broader context of European modernism. In the United States, the Art Institute of Chicago preserves his pieces, ensuring his visual language remains accessible to an international audience.
