Danish Modern From the 1950s onwards, this term, along with its Scandinavian and Swedish counterparts, was widely used to describe those aspects of Danish design that acknowledged some of the characteristics of Modernism but were distinguished by the use of more traditional materials, natural finishes, organic shapes, sculptural form, and a respect for craftsmanship.
Christian Joachim was a Danish Ceramicist (1870-1943). Between 1889 he studied at the Det Kongelige Danske Kunstakademi, Copenhagen.
Between 1897 and 1900, Joachim made ceramics with George Jensen in a workshop outside Copenhagen. Between 1901 to 1933 worked for the Royal Copenhagen Porcelain Manufactory, where Arno Malinowski sometimes decorated his restrained neoclassical forms.
In 1927, Jacobsen established his practice in Hellerup. He was Denmark’s first exponent of Functionalism, influenced by Modern architecture of the 1930s, such as Le Corbusier, Gunnar Asplund, and Ludwig Mies van der Rohe. His first significant assignment was the Bellavista housing complex in Copenhagen, which he completed between 1930 and 1934.
After the second world war, Jens Harald Quistgaard was apprenticed in the Georg Jensen Solvsmedie in Copenhagen. He has experimented with various media such as wood, metal, glass, steel and ceramics. Ted Nierenberg, the founder of Dansk International, noticed him because of his distinctively Danish craft aesthetic.
He simplified the chair’s structure so that the sculpted backrest and arms form one continuous element. The turned legs rigidly support the deep seat rail and top piece without the need for stretchers, combining an expressive form that draws on Chinese precedents with natural materials and a rationally conceived design destined for the most exacting factory manufacture.