"Princess and the Pea" a ceramic sculpture by Kai Nielsen for H. A. Kähler, Denmark c.1922 7"
The sculptor Kai Nielsen visited Kähler for the first time in 1921. Only three years before his death.
During those three years, he was very productive, but many of his works were discarded due to his extreme self-criticism. His ambition was to achieve broad reach. He would rather sell his works and produce thousands of copies than have them on display in a museum.
He produced a number of small figures, which were copies of his larger sculptures in order to disseminate knowledge of his art. This was also a good idea in terms of his earnings.
Kai Nielsen teamed with Thirslund and organised a large production of figures in 1922. These figures were made in old bronze moulds, which had previously been used to cast bronze sculptures.
The names of these figures were just as creative as the manufacturing process: ”Dovendyret”, ”Susanne i badet”, ”Prinsessen på ærten”, ”Eva på æblet”, ”Nina på kuglen” and ”Globetrotteren”, ("Sloth", "Susanna in the bath", "Princess and the Pea", "Eve at the apple", "Nina on the ball" and "Globetrotting") just to mention a few.
The figures became very popular in Denmark and abroad. After a trip to Denmark, a dealer brought ”Prinsessen på ærten” (Princess and the Pea) back with him to San Francisco and put it on display at his shop. However, a US women’s organisation was strongly opposed to ”Princess and the Pea” as they believed that the figure thrust her abdomen forward.
Even though Kai Nielsen’s objective was to bring art to the people, the question is whether he was actually known for this work. Most people will probably remember him for his large sculptures such as ”Vandmoderen” (Water Mother), which is located in the winter garden at the Glyptothek in Copenhagen.
With thanks to:
"Princess and the Pea" a ceramic sculpture by Kai Nielsen for H. A. Kähler, Denmark c.1922 7"
The sculptor Kai Nielsen visited Kähler for the first time in 1921. Only three years before his death.
During those three years, he was very productive, but many of his works were discarded due to his extreme self-criticism. His ambition was to achieve broad reach. He would rather sell his works and produce thousands of copies than have them on display in a museum.
He produced a number of small figures, which were copies of his larger sculptures in order to disseminate knowledge of his art. This was also a good idea in terms of his earnings.
Kai Nielsen teamed with Thirslund and organised a large production of figures in 1922. These figures were made in old bronze moulds, which had previously been used to cast bronze sculptures.
The names of these figures were just as creative as the manufacturing process: ”Dovendyret”, ”Susanne i badet”, ”Prinsessen på ærten”, ”Eva på æblet”, ”Nina på kuglen” and ”Globetrotteren”, ("Sloth", "Susanna in the bath", "Princess and the Pea", "Eve at the apple", "Nina on the ball" and "Globetrotting") just to mention a few.
The figures became very popular in Denmark and abroad. After a trip to Denmark, a dealer brought ”Prinsessen på ærten” (Princess and the Pea) back with him to San Francisco and put it on display at his shop. However, a US women’s organisation was strongly opposed to ”Princess and the Pea” as they believed that the figure thrust her abdomen forward.
Even though Kai Nielsen’s objective was to bring art to the people, the question is whether he was actually known for this work. Most people will probably remember him for his large sculptures such as ”Vandmoderen” (Water Mother), which is located in the winter garden at the Glyptothek in Copenhagen.
With thanks to: