RICHARD MORTENSEN

Born 1910 († 1993), Copenhagen, Denmark

Richard Mortensen in the studio.

Image courtesy of Kurt Lorentzen.

Richard Mortensen was one of Denmark’s foremost modernists and a central figure in the development of abstract art in the 20th century. Born in Copenhagen, he studied at the Royal Danish Academy of Fine Arts under Aksel Jørgensen, where he began exploring structure and form through simplified, analytical studies of the human figure. In 1933–34, together with Vilhelm Bjerke Petersen (DK) and Ejler Bille (DK), he co-founded the artist group Linien, which played a crucial role in introducing abstract and surrealist ideas to Danish art. The group’s exhibitions and journal brought European modernism — particularly the influence of Kandinsky, Miró, and surrealist automatism — into the Nordic context.

Throughout the 1930s and 1940s, Mortensen oscillated between abstraction and expressive figuration. His works from the wartime years became increasingly emotional and symbolic, often centered on the recurring theme of mother and child. During this period, he also created stage and costume designs for Stravinsky’s The Soldier’s Tale (1944) and The Nightingale (1946), further demonstrating his sensitivity to colour, rhythm, and dramatic form.

Following the death of his wife, the writer Sonja Hauberg, in 1947, Mortensen moved to Paris with sculptor Robert Jacobsen (DK). This marked a turning point: he abandoned spontaneous expressionism in favor of a more rigorous, constructive abstraction. Closely associated with Galerie Denise René, he became part of the European avantgarde, producing works defined by pure colour fields and geometric precision, such as the celebrated Normandie series (1955). His work from this period sought clarity, logic, and balance — qualities that would define his later artistic practice.

In the 1960s, Mortensen returned to Denmark and became a professor at the Royal Danish Academy of Fine Arts (1964–1980). Together with Robert Jacobsen, he helped establish Linien II, renewing the spirit of the original group while adapting its ideals to post-war abstraction. The movement emphasised the constructive, rational side of modernism and became a vital platform for a new generation of Danish artists.

Mortensen’s later years were marked by quiet intensity. Working from his studio in Ejby, he produced lyrical ink drawings, reliefs, and large-scale color compositions inspired by Zen Buddhism, exploring stillness, form, and the meditative power of colour. His work is represented in major collections including the Statens Museum for Kunst, Louisiana Museum of Modern Art, and Trapholt Museum, standing as a testament to a lifelong pursuit of harmony between intellect, intuition, and form.

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