Bjerre, Birgit, Christine Swane. Kvindelig maler i mændenes verden, Kerteminde, Johannes Larsen Museet, 2003→
Stokbro, Anne Lie, Erland Porsmose, and Mette Ladegaard, Thøgersen, Grøn: modernisten Christine Swane, exh. cat., Johannes Larsen Museet, Kerteminde (May 2018 – September 2018) Kerteminde, Johannes Larsen Museet, 2018→
Pohl, Eva, Gennembrud: kvinder i dansk kunst fra 1600-tallet til i dag, Copenhagen, Kbh: Strandberg Publishing, 2021
Christine Swane: GRØN, Johannes Larsen Museet, Kerteminde, May – September 2018→
Christine Swane (eetrospective exhibition), Kunstforeningen, Copenhagen, February – March 1957→
Christine Swane (retrospective exhibition), Kunstforeningen, Copenhagen, 1935
Danish painter and ceramicist.
In her early years Christine Swane (née Larsen), was influenced by the artistic environment on Funen that she got to know through her brother Johannes Larsen (1867-1961) who was a painter and taught her. She received fundamental drawing lessons from Fritz Syberg (1862-1939), and was influenced by Alhed Larsen (1872-1927) and the floral paintings of Anna Syberg (1870-1914) – all Funen-based painters with a naturalistic style. Between 1898 and 1901 she was enrolled as a student at Den med akademiet forbundne Kvindeskole, the women’s school connected to the Royal Danish Academy, but never graduated. In 1900 she received tuition by the Danish vitalistic painter Jens Ferdinand Willumsen (1863-1958) and later assisted him transferring his iconic painting Bjergbestigersken [A mountain climber, 1912] from cardboard to canvas. She completed her education at F. Syberg’s art school for female painters in Copenhagen. Her work Voksende levkøjer og gyldenlak [Growing Matthiola Annua and Erysimum Cheiri, 1906] was accepted at Charlottenborg’s spring exhibition in 1907, after several rejections of other works in previous years. It is a classic early work by C. Swane, with clear refences to the Funen painters. Its close-up, rich colour nuances and exquisite details place the viewer in midst of a fertile land full of flowers.
In 1910 there was a shift in her oeuvre. She met Karl Isakson (1878-1922) and Sigurd Swane (1879-1973) who later became her husband. All three of them where inspired by the new French artistic movements of the early 20th century. Fauvism, impressionism and other early modernist modes of painterly expression liberated her from the Funen naturalism that had previously characterised her work. In early 1919 she exhibited more than 65 oil paintings, 20 watercolours and a number of drawings, in a joint exhibition at Den Frie with her husband. In 1920 she and S. Swane searched for artistic guidance from Harald Giersing (1881-1927) who introduced her to cubism. In the following two decades, after her divorce, she organised a life for herself and her son, insisting on her artistic practice despite the obstacles of gender and poverty. C. Swane developed a visual language with which she shaped different scenes often from a domestic sphere. With simple outlines, geometrical shapes and carefully chosen colour nuances she gave poetic life to various arrangements of objects on tables and windowsills, placing the conventional as essential for her artistic investigation of form, surface and colour. She kept developing and sought inspiration through travel, both nationally and internationally. Her still lifes and other portrayals of flowers, bouquets and plants constituted leitmotivs in her practice. She worked with ceramic from 1926 and experimented with different textiles. In these media she defined and refined her sense of materiality, colour and composition.
She had several solo and group exhibitions throughout her career and received the Tagea Brandt Travel Scholarship in 1938 and the Eckersberg Medal in 1943. Several permanent collections such as the Statens Museum for Kunst – National Gallery of Denmark, the Faaborg Museum, the Johannes Larsen Museet, ARoS Aarhus Kunstmuseum and Ny Carlsbergfondet bear witness of C. Swane’s unique contribution to Danish modernism.
A notice produced as part of the TEAM international academic network: Teaching, E-learning, Agency and Mentoring© Archives of Women Artists, Research and Exhibitions
Christine Swane, Opstilling med Stenkrukke [Arrangement with Stone Vase], 1942, oil on canvas, 93.3 x 78.3 cm / 36.73 x 30.82 in, Sorø, Kunstmuseum © ADAGP, Paris 2022
Chrisine Swane, Lindøgaard ved Odense fjord [Lindøgaard by Odense fjord], 1933, watercolour, 24.6 x 33.5 cm / 9.68 x 13.18 in, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, A Lady Knitting, 1934, oil on canvas, 95.5 x 100.5 cm / 37.59 x 39.56 in, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, Christmas Tree, 1946, oil on canvas, 135.5 x 110 cm / 53.34 x 43.3 in, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, Football Players, 1937, oil on canvas, 136 x 121 cm / 53.54 x 47.63 in, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, Skov- eller park interiør med stort trae [Forest or park interior with large tree 1936, drawing, 29 x 22.5 cm / 11.41 x 8.85 in, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, Untitled, n.d., small platter with blue fish, glazed pottery, 14 cm / 5.51 in diameter, Johannes Larsen Museet, photo: Ole Friis © ADAGP, Paris 2022
Christine Swane, Still Life with Cardamom, 1948, oil on canvas, 100 x 78 cm / 39.37 x 30.7, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, Still life, 1950, pencil and watercolour on paper, 47.4 x 61.8 cm / 18.66 x 24.33 in, Statens Museum for Kunst © ADAGP, Paris 2022
Christine Swane, Udkast til abstrakt decoration [Draft of abstract decoration], 1937, pen and Indian ink over pencil, Statens Museum for Kunst © ADGP, Paris 2022
Christine Swane, Voksende levkøjer og gyldenlak [Growing Matthiola Annua and Erysimum Cheiri], 1906, oil on canvas, 62 x 77 cm / 24.4 x 30.31 in, Johannes Larsen Museet © ADAGP, Paris 2022