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"This transnational volume examines innovative women artists who were from, or worked in, Denmark, Finland, Greenland, Iceland, Norway, Sápmi, and Sweden from the emergence of modernism until the feminist movement took shape in the 1960s. The book addresses the culturally specific conditions that shaped Nordic artists' contributions, brings the latest methodological and feminist approaches to bear on Nordic art history, and engages a wide international audience through the contributors' subject matter and analysis. Rather than introducing a new history of "rediscovered" women artists, the book is more concerned with understanding the mechanisms and structures that affected women artists and their work, while suggesting alternative ways of constructing women's art histories. Artists covered include Else Alfelt, Pia Arke, Franciska Clausen, Jessie Kleemann, Hilma af Klint, Sonja Ferlov Mancoba, Greta Knutson, Aase Texmon Rygh, Hannah Ryggen, Júlíana Sveinsdóttir, Ellen Thesleff, and Astri Aasen. The target audience includes scholars working in art history, cultural studies, feminist studies, gender studies, curatorial studies, Nordic studies, postcolonial studies, and visual studies"--

This is the first book to focus on Helhesten (The Hell-Horse), an avant-garde artists' collective active during the Nazi occupation of Denmark and one of the few tangible connections between radical European art groups from the 1920s to the 1960s. The Danes' deliberately unskilled painterly abstraction, embrace of the tradition of dansk folkelighed (the popular) and its iterations of egalitarianism and consensus reform, called for the political relevance of art and interrogated the ideologies underlying culture itself. The group's cultural activism presents an alternative trajectory of continuity, which challenges the customary view of World War II as amoment of artistic rupture.

AbstractThe last two decades of the nineteenth century witnessed an apparent revolution in art education inDenmark with the establishment of the 'Free Schools', a group of alternative schools that provided students with a choice other than theRoyalAcademy. The most important of these schools, theKunstnernesStudieskole(Artists'StudySchool, established in 1882), was subsidised by the government and headed by Laurits Tuxen,P.S. Krøyer, and Kristian Zahrtmann,Academy‐trained artists who modeled the school's education on the French atelier system. The debate that formed theStudySchool was at its core one of democratization, which was perceived to be synonymous with international modernism. Yet its artists functioned within a network of fluid roles designed to openly augment the existing pedagogical structure from within – a specificallyDanish phenomenon. This article proposes an alternative framework for late‐nineteenth‐centuryDanish art education systems that situates theStudySchool within the context ofDanish culture and as an extension of the social democratic tendencies proliferating at this time, which were significantly influenced by the preacherN.F.S. Grundtvig.Danish artists' actual situation had more to do with assimilating a myriad of local and international impulses into a specificallyDanish version of modernism.