(Danish, 1888-1964)


Oil on Board

24¼ x 22¾ Inches

Initialed Lower Left "AVJ"

Additionally Dated Verso and Titled "Nr. 3"

Displayed in a Period, Silver-Gilt Frame

Framed Dimensions: 26 H x 24⅝ W x 1⅝ D Inches


This early Scandinavian Modernist and winner of the Guggenheim International Award, first studied with Harald Giersing in Copenhagen (1919-21) and, later, in Paris (1922-23). He also worked closely with Immanuel Ibsen whose Modernist theories of color harmony came to influence his later work.


Originally a member of the Autumn exhibition, he resigned in 1949 when the aesthetic of the Cobra Group became  dominant. Two years later, he co-founded the March exhibition and, subsequently, his  pictures became increasingly imaginative, eventually verging, as in the case of this work, on complete abstraction. Jorgensen’s presents his particular view of abstraction as a distinctive mood-laden immersion in soft gradations of color. His images hold the surface but are, at the same time, spatial in an almost cosmic sense, transforming them into personal, existential statements.


Beginning in 1918, and over the course of a long career, Vogel-Jorgensen exhibited internationally with success and was the recipient of numerous medals, prizes and juried awards. He also received several prestigious scholarships that afforded him the luxury of uninterrupted periods of study abroad, permitting him to develop his unique style independently of the demands of the market.



Hielmstierne-Rosencrone, 1922; Bielke, 1923; Akademie, 1924, 1955; Carlsons Prize, 1928; Nathan, 1948, 1952; J.R. Lund, 1950; P.A. Schou, 1959; Guggenheim International Award, 1960; Zahrtmann 1963.



Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Vol. XIV , p.315; Thieme-Becker, Allgemeines Lexikon der Bildenden Kunstler, Vol. XXXIV, p.489; Davenport’s Art Reference Guide, 2007/8 Edition, p.2444; et al.







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