215. Man Running after his Ideal 1920, bronze.I have now added some titles and comments. I wonder if it is useful to see them first without and decide on the merits of each work as they are put to you “blind” ? These pictures come from Tegners gallery in Denmark with appropriate permission.
168. The Arch of Life also called The Arch of Columns, prior to October 1915. Plaster, plastelina, wood, and paint. Model for an arch that Tegner envisaged be erected by Trianglen at the entrance to Fælledparken, Copenhagen. Exhibited at Copenhagen City Hall in October 1915. The plan was never carried out.
168. The Arch of Life also called The Arch of Columns, prior to October 1915. Plaster, plastelina, wood, and paint. Model for an arch that Tegner envisaged be erected by Trianglen at the entrance to Fælledparken, Copenhagen. Exhibited at Copenhagen City Hall in October 1915. The plan was never carried out. What a terrible pity.
233. The Burden of Love 1922-23, plaster. Variation over 148. A Woman Carrying Water.
and below
164. In the Embrace of Darkness (!), 1915, plaster.
255. Hercules Dancing with Omphale 1927, plaster.
239. Sepulchral Monument to Asger Hamerik 1923-24, plaster. Asger Hamerik (1843-1923) was a composer. Erected in bronze at Vestre Cemetery, Copenhagen, June 1.
105. Sepulchral monument to Mrs. Schmiegelow1906, plaster.Sepulchral monument to Thyra Ingeborg Viola Schmiegelow (1870-1905, née Meyer) erected at Assistens Cemetery, Copenhagen, October 1906.
195. Leda and the Swan 1918, plaster. Created on the basis of an ancient Greek relief, sketched in Athens in 1902.
177. Leda Fountain 1916-17, plaster. Study for a three-piece fountain commissioned by the stock broker Johan Levin, who also bought other sculptures by Tengner. Model for the the main part of the bronze fountain, which today stands by the Ege carpet factory, Herning.
102. Torso of a Woman 1906, plaster.
123. Caryatids 1910, plaster.
The Mystery of Love 1912-18, plaster which was envisaged as part of The Arch of Life. The central part: 191. The Sacrifice1917-18, to the right: 155. Devotion 1913, plaster to the left: 141. The Kiss 1913.
233. The Burden of Love 1922-23, plaster. Variation over 148. A Woman Carrying Water.
and below
164. In the Embrace of Darkness (!), 1915, plaster.
255. Hercules Dancing with Omphale 1927, plaster.
239. Sepulchral Monument to Asger Hamerik 1923-24, plaster. Asger Hamerik (1843-1923) was a composer. Erected in bronze at Vestre Cemetery, Copenhagen, June 1.
105. Sepulchral monument to Mrs. Schmiegelow1906, plaster.Sepulchral monument to Thyra Ingeborg Viola Schmiegelow (1870-1905, née Meyer) erected at Assistens Cemetery, Copenhagen, October 1906.I can understand why Chris Miller associates this place with a Mausoleum. Working artists have to make a living out of commissions some times and some of the work they have to do are memorials. Personally this works does not make me feel morbid like some do; sad like the next one may be.
22. The Future 1896, bronze and stone. Shown at an exhibition in Paris in 1896 at the right of 19. The Great Mann. The explanatory text was: “The Great Whore tyrannizes a man who personifies the spirit that is about to emerge and strives to reach eternal goals”.
5. A Faun 1891, plaster. Tegner’s debut, exhibited at Charlottenborg, Copenhagen, 1892.
133. Sepulchral monument to Elisabeth Tegner 1912, plaster. The monument stands in bronze at Frederiksberg Cemetery, Copenhagen. Anna Elisabeth Tegner (1881-1911, née Johansen) married Rudolph Tegner’s brother Wilhelm Tegner in 1903.
70. Emancipated 1901, plaster.
22. The Future 1896, bronze and stone. Shown at an exhibition in Paris in 1896 at the right of 19. The Great Mann. The explanatory text was: “The Great Whore tyrannizes a man who personifies the spirit that is about to emerge and strives to reach eternal goals”.
5. A Faun 1891, plaster. Tegner’s debut, exhibited at Charlottenborg, Copenhagen, 1892. Now that’s a lot for a first attempt I think!!!
210. Eros Leaving Psyche 1920, plaster.
258. Love 1927, fired clay.
19. The Great Man 1895-96, plaster, center figure in the trilogy Man and the Deity
218. Zeus Throwing a Lightning Bolt 1920-21, bronze.
159. The Thirsty Children 1914, plaster. Intended as part of The Arch of Life.
77. The Eternal Walls 1902, fired clay. Part of The “Arch of Destruction”, which was never made. Later used as part of The Arch of Life.
144. The Seekers 1912-15, bronze. Modeled in 1902 – and named The Eternal Walls above 77. Part of “The Arch of Destruction”, which was never made. Later used as part of The Arch of Life. Cast over part of the model for The Arch of Life.
75. David Singing for Saul 1902, fired clay.
210. Eros Leaving Psyche 1920, plaster.
258. Love 1927, fired clay.
19. The Great Man 1895-96, plaster, center figure in the trilogy Man and the Deity
218. Zeus Throwing a Lightning Bolt 1920-21, bronze.
159. The Thirsty Children 1914, plaster. Intended as part of The Arch of Life.
77. The Eternal Walls 1902, fired clay. Part of The “Arch of Destruction”, which was never made. Later used as part of The Arch of Life.
144. The Seekers 1912-15, bronze. Modeled in 1902 – and named The Eternal Walls above 77. Part of “The Arch of Destruction”, which was never made. Later used as part of The Arch of Life. Cast over part of the model for The Arch of Life.
75. David Singing for Saul 1902, fired clay. 
129. Ballerina Fountain1911-12, plaster. The fountain was commissioned by Carl Jacobsen. The models were the ballet dancers Emilie Smith, Grethe Ditlevsen, and Elna Jørgen-Jensen. Unveiled in 1913 in the King’s Gardens, Copenhagen. In 1933, moved to Elsinore, where it still stands by the road to Kronborg Castle.
303. Denmark during the Occupationalso called The Winged Wooden Horse 1940, fired clay and wood.
303. Denmark during the Occupationalso called The Winged Wooden Horse 1940, fired clay and wood.Judging by this I can’t imagin Tegners could have had much sympathy with his Nazi rulers.
146. The Separation 1912-15, bronze and stone. Cast over part of the model for The Arch of Life
320. The Sculptor 1944, plaster.
146. The Separation 1912-15, bronze and stone. Cast over part of the model for The Arch of Life
320. The Sculptor 1944, plaster. I know the feeling!!!!!
189. Venus with Cupid 1917-18, fired clay.
86. Oedipus and Iokasta1 904, fired clay.
19. The Great Man, center figure in the trilogy; Man and the Deity. 1895-96, plaster. At the Salon de Champ de Mars in Paris, Rudolph Tegner presented his enormous trilogy in 1896 under the title “Man and the Deity”. The centre figure in plaster. was “The Great Man”. The catalogue contained an explanatory text: “The Almighty sits on a rock and views the world. The spirit of the earthly emerges at the feet of the Divine”. On the right was 22. The Future in bronze and stone: “Man (the soul of steel) conquers the Great Whore after a long series of battles”. On the left was 16. Our Time: “The Great Whore tyrannizes a man who personifies the spirit that is about to emerge and strives to reach eternal goals”.
189. Venus with Cupid 1917-18, fired clay.
86. Oedipus and Iokasta1 904, fired clay.
19. The Great Man, center figure in the trilogy; Man and the Deity. 1895-96, plaster. At the Salon de Champ de Mars in Paris, Rudolph Tegner presented his enormous trilogy in 1896 under the title “Man and the Deity”. The centre figure in plaster. was “The Great Man”. The catalogue contained an explanatory text: “The Almighty sits on a rock and views the world. The spirit of the earthly emerges at the feet of the Divine”. On the right was 22. The Future in bronze and stone: “Man (the soul of steel) conquers the Great Whore after a long series of battles”. On the left was 16. Our Time: “The Great Whore tyrannizes a man who personifies the spirit that is about to emerge and strives to reach eternal goals”.Well, I am a little uncertain about all that personally. I would like him to explain it a bit more before I cast a more concrete opinion, I would hate to misunderstand a great artist, but then this was done in 1896 when things were a little different! I purposely put the kneeling figure separately to try and see if that makes a difference to ones perception of the work.
Had he had a tiff with a girl friend?
152. The Family 1913, plaster. The group was envisaged as part of The Arch of Life, but was replaced by 191. The Sacrifice.
Thank you for sharing these, Robert. There are four or five I have an interest in, and will look forward to more details.
there is so much meat in this serving its going to require a second sitting!
An interesting mix of baroque and classical styles.
You’re really “over the moon” on this chap, aren’t you, Robert?
Sometimes (as in the first picture) he makes me think of Karl Milles — but then I just think how I like Milles so much more.
His museum looks just like a mausoleum — and, as I’ve said before, what could be more appropriate !
Well first of all Chris Tegners did not design this building nor can you blame him for the museum’s exhibition standards which does look like a warehouse inside, it is certainly not the Met or V&A which is sad as I believe he deserves more. Perhaps it is because of funding and there are not enough visitors to justify much expenditure. Such is the way with 20 c figure sculptors as you well know.
I hardly think that his depiction of Leda, especially the more risqué one, would look right in a place for the dead! Some may think it would be more appropriate in “a house of ill repute”! Actually I do not find it repugnant though I ought to. It must have raised a few eyebrows in its time!
I will add some titles and some comments soon about many of the others, but very few of them would, to my mind, be suitable for a grave stone except perhaps for the one of the girls dancing on top of one (!) but that would definitely be a cynical view, sin-ical even.
I wonder also if the rather dirty plasters are reminiscent of memorials in cathedrals, churches and yes mausoleums?
Ha!
Did you see my post about awards. Today is award day in my book and you will be happy to know that you recieved a Susangalique Award:
“The hottest Sculptor who also takes great pictures awards”
YOu keep doing your thing honey, you are burning England up!
Do you all have Amaryllis in England. I put up a picture of mine. It is fine specimen.
It his hidden under the lj cut of see what I see. You can click the pic to make it bigger.
i like the one that is the person neeling on side of wall the tight shot on the open shot
Some I like, some not; some look too much like what I think of as fascist art, the more monumental ones.
Leda and the swan is always risque, whether in painting or sculpture or poetry, can be weird and grotesque, can be sexy, can be moving; I find this one mostly weird and grotesque, mostly because of of the overly long and flexible swan’s neck.
The 6th one, the couple with the rock, I find sad and impressive, and the one of the suppliant girl (2oth) I responded to very differently seeing her in isolation, where she seemed touching and vulnerable and very lovely, from seeing her in the whole piece, where it seemed nastier.
The three little gremlins with the watermelon (22nd) were full of life, not sure I’d want to live with them though, if they weren’t mine!
Thanks for a visual feast, if some of it was somewhat indigestible!
Okay, I’ve figured out which ones I don’t like. I’m not fond of either Leda… The first swan seems too much like testicles with wings. And I agree with Lucy about the suppliant girl. The two girls (8-9)seem to be inspecting themselves for ticks. Perhaps I only think that because I spent a good portion of the last month inspecting myself for ticks!
Who is the woman with the two babes? Is that mythological? Castor and Pollux? And the rock piece? (Sisyphus has a girlfriend!)
Will have go come look some more at the others when I get back. And see if I can “enter in.” It’s interesting to see your discovery, and to think about why you feel that kinship. Is it the overall piece, or special beauties that you see?
Amanda, here are some titles and comments.
Susangelique, posted a flower for you.
Blue genes, some interesting if not controversial ancient politics for you!
Chris, Yes he is good.
Broadwaybabe, thank you for coming back, some of this is deep stuff to say the least.
Good to see you back Lucy, his children sculpture are a little mischevious I agree. Do the titles and comments change your opinions at all?
So good to have you back Marley.
I’m back again–went off on a 4-day trip but now am home for a while. And I’m glad you didn’t strike me off the list for that impertinent remark!
I like the sculptures but I can’t help seeing them in the light od the time they were made. Most of them are not really “time-less” like Rodin. On top of that, I ‘m personally fond of Art Nouveau by which the sculptor is clearly influenced, and I can imagine that people who are not touched by it, have little to do with Tegners. He apparently saw it as his vocation to express emotions and social movements in human bodies, really beautifully carved like only few people are able to nowadays.
Anyway I’m glad you showed me all this. In these times I think we’d rather see some more natural techniques and lack the need for refined postures in dramatic poses such as “The winged wooden horse” or raw work in burnt clay.
My favorite sculptures are besides this one:
The future – the text fascinates me, I don’t think you must try to search for a specific meaning, I see it for myself as the great Whore of Evil pestering the Good in myself, the continous struggle we have to fight; other associations are thinkable. The statue reminds me of a painting by the Finnish artist with the difficult name (it’s on my blog)symbolising the emancipation of Scandinavia, he was also good at expressing anger as a force to strive for the better. Then I ,ike the exotic beauty of “Love”, “The Sculptor” with its deliberate aberrant forms and “The Family” because it so clearly shows who is the boss and from which “source” the family originated, placed as it is in the very centre around which the whole composition is arranged :-).