Bijgewerkt in november 2026 · gerangschikt op basis van onze populariteitsscore (zoekopdrachten, bezoeken en bestellingen per kunstwerk) · 7 werken van Inge Ellegaard in onze catalogus
Kortom
Diana at the Cemetery I (1990) is het schilderij van Inge Ellegaard dat de meeste aandacht trekt; het origineel bevindt zich in het Statens Museum for Kunst, Kopenhagen. Daarna gaat de blik naar The King and Queen Surrounded by Swift Nudes (1982) en Milkyway (1984). Van de 7 werken van Inge Ellegaard in onze catalogus zijn dit de 7 bekendste, elk een uniek origineel gepresenteerd met het jaar, het museum en de reden waarom het blijft voortbestaan.
A woman kneels in profile, her body a sharp silhouette against a heavy, textured landscape. She faces upward, seeking light from a pale sky that hangs above a terrain of dark, mound-like shapes. These mounds, suggesting graves or burial mounds, rise from the earth in deep blues and teals. A shovel rests nearby, a silent tool in a place of stillness. The ground is thick with impasto, where the paint…
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Inge Ellegaard | Schilderijen uit deze lijst |
|---|---|---|---|
 Statens Museum for Kunst |
Kopenhagen | 7 | Diana at the Cemetery I, The King and Queen Surrounded by Swift Nudes, Milkyway |
Een lange carrière van 17 jaar, van 1982 tot 1998: de beroemdste originele werken van Inge Ellegaard, jaar voor jaar getoond.
Selecteer een jaar om de originele werken te bekijken.
A woman kneels in profile, her body a sharp silhouette against a heavy, textured landscape. She faces upward, seeking light from a pale sky that hangs above a terrain of dark, mound-like shapes. These mounds, suggesting graves or burial mounds, rise from the earth in deep blues and teals. A shovel rests nearby, a silent tool in a place of stillness. The ground is thick with impasto, where the paint…
Meer van 1990
Diana at the Cemetery I (1990), Statens Museum for Kunst, Kopenhagen. The King and Queen Surrounded by Swift Nudes (1982) en Milkyway (1984) volgen.
37 jaar oud: Diana at the Cemetery I dateert uit 1990, en Inge Ellegaard werd geboren in 1953.
Onze catalogus bevat 7 werken van Inge Ellegaard, daterend van 1982 tot 1998.
Voornamelijk in Statens Museum for Kunst (Kopenhagen). De bovenstaande museumtabel bevat een volledig overzicht.
In 1990: 3 van de 7 werken op deze pagina werden toen gemaakt, waaronder Diana at the Cemetery I.
Op deze pagina is het vroegste The King and Queen Surrounded by Swift Nudes (1982) en het laatste 5 Roses on a Chequered Background (1998).
Diana at the Cemetery I, The King and Queen Surrounded by Swift Nudes en Milkyway: het Statens Museum for Kunst, Kopenhagen herbergt 7 van de werken op deze pagina.
Fåborg, 1953. The arrival of Inge Ellegaard marks the beginning of a life that would eventually fracture the boundaries of Danish painting. By the 1980s, she emerges as a central figure in the De Unge Vilde movement, a period defined by an explosive, raw energy that sought to revive the power of the brushstroke. Her early work carries this weight, characterized by a certain wildness in color and composition.
Yet, beneath the surface of this initial ferocity, a different logic begins to take hold. The chaos does not remain chaotic. Instead, it settles into a tension between the expressive and the minimalist, the textural and the stringent. She develops a method where motifs exist as detached symbols, floating within the frame without a logical anchor to their surroundings. A bee might swarm around a flower, only to find itself interrupted by the rigid geometry of a check pattern. This is her image domino, a way of combining series where airplanes fly through grids and patterns invade organic forms.
The technique relies on a deliberate contrast between the figurative and the abstract. In works like Three Roses on a Checkered Background, the tension is palpable. The motifs—flowers, bees, hands, airplanes—act as singular units in a larger, often fragmented system. There is no attempt to create a cohesive narrative; instead, she explores the space between mythology and meaninglessness. The paintings are both structured and unpredictable.
Her practice involves a rigorous use of repetition and systematic patterns. This creates a sense of order that competes with the expressive nature of her oil on canvas. The results are often:
Though her life ended in 2010, the presence of her work remains anchored in the institutional memory of Denmark. Her paintings occupy spaces within the ARoS Aarhus Kunstmuseum, the Arken Museum of Modern Art, and the Sorø Kunstmuseum. These collections hold the evidence of a career that moved far beyond the initial labels of the 1980s art scene.
Her exhibitions have spanned decades, from early shows at Galleri F15 in Moss to significant retrospectives that re-examine her extensive oeuvre. The work continues to be studied for its ability to hold contradictory states—being simultaneously heavy with paint and light with space, both highly organized and fundamentally wild.
