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One of Skov’s first
documented, independently conceived and executed decorative assignments,
was his graduation piece from 1928. This piece, which earned him special
recognition with Honors and first prize silver medals from both Det Tekniske Selskab and Koebenhavns Kunst og Industri Forening as well as scholarships
for further studies from King
Christian-X Commemorative Foundation and a travel stipend from the Reiersens and Massmans Legat,
consisted of the design of a five drawer cabinet and execution of the
decoration of its front and inside doors. The inspiration for Skov's
original drawings came from East-Asian black lacquer cabinets and room
dividers, perhaps both Japanese and Chinese, depicting images of birds and
insects in flowering trees. The drawings are decorative first and only
secondarily narrative, supporting the proportions of the cabinet and
providing a serene, charmingly poetic ambiance. The media used are brushed
gold and silver leaf on black, simulated lacquer background complemented
with coral-red drawers with a geometric design.
Twenty years later,
while living in Madeira, Skov made two near-replica of this cabinet
using the same ideas and very similar design. The intent was commercial,
but they did not sell, and one of these cabinets is as of this writing
located in Los
Angeles
while the two others are still in Denmark. It was also during his stay in Madeira in 1947
that he undertook the job of restoring the central altar-piece painting by
an unknown artist, probably from about 1760 - 1780,The Adoration of Madonna Maria, residing in the principal
church in the city of Santa Cruz. This painting measured about 135 x 165 cm
and was quite badly deteriorated after many years of accumulated soot from
the votive candles, fly specs and flaking colors, and several generations
of unskilled attempts at cleaning and repairs. Eight weeks of careful
cleaning and restoration revealed a classically dignified Madonna depicted
in resonant, almost Raphaelsque blue and red colors. Skov undertook this
work primarily out of veneration for the quality of the original painting
which he felt should not be allowed to go to ruin, and the final result was
very much appreciated by the local clergy and congregation.
From the same year
there exist several charcoal drawings by
Skov of landscapes from Madeira. These
were actual views from around
Santa Cruz, executed right at the site of the view - he did
not own a
camera and he enjoyed the challenge and peace of drawing from nature
–
such as from the house he had leased or within a few minutes walk
along
the rocky beach or up the street. One drawing, for example, shows
the
coastline view to the south showing the three smaller Desertas
islands
on the horizon, while another features an avenue with parallel rows
of large
date-palm trees and the interplay of their shadows in the bright
tropical
sunlight. It is interesting to note that these char-coal drawings
were made
at about the same time or just prior to the time when he with
increasing
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