Danish interpretation of a Sino-Japanese tradition

While in the early years, the colour palette of many of the underglaze paintings was limited to cobalt blue tones, over the years the Danish factories perfected the chemical composition of other colours. This is well illustrated in this forest view from 1913 by Arthur Boesen, who had made the switch from Royal Copenhagen to Bing & Grøndahl a year earlier. Green and brown tones play the main role, supported by subtle accents of purple and dark green.

What is also striking is the vertical orientation of this piece, both in form and image. It is as if the vase frames and emphasises the composition. China and Japan have rich traditions of depicting large, old trees in a tight, vertical frame, and Boesen must surely have been aware of this. Whereas in Chinese and Japanese art, the background would in most cases be left undefined, Boesen shows us a vista. And the way in which he allows the pale but clear light to fall through the tree branches and leaves must also be seen as the Danish interpretation of an older theme.