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POSTSCRIPT
This collection of
essays and biographical material was started in response to the 1991 Rasmus
Skov retrospective exhibition of paintings in Hoersholm, and the intent was
to have it completed in time for Skov’s 85’th anniversary in 1992. The
initial collection of essays about selected aspects of Skov’s paintings
with time demanded its own structure and eventually evolved into a more
comprehensive biographical and critical review of the entire oeuvre.
During the writing
it came to mind that behind a man’s oeuvre “il faut cherchez la femme”; and it can be stated as fact that
Rasmus Skov’s artistic achievements in all probability would not have come
about, had he not had Isabella at his side from the beginning. She provided
the faith and spiritual support for his desire for artistic freedom and was
a true companion in his search for artistic development; and throughout she
was his supportive, faithful partner in taking the economic and artistic
risks. As this is written Skov is living quite happily in Copenhagen with Isabella, his wife of more than sixty
years, both in good health and good humor. Skov has lived his entire adult
life as a true believer in Hippocrate’s first aphorism that “ars longa, vita brevis”. His
conviction that art and science together represent the highest forms of
human creativity and achievement, was shared by Isabella, and for this
reason also, this volume was assembled.
Skov’s artistic
achievements will require an assessment which only time can provide;
however, his obvious, lifelong idealism, total earnestness and absolute
honesty in approaching his life and art need no analysis: the reviewer will
recognize his methodical aesthetic development and his consistency in
following his personal artistic instincts. Skov avoided fashionable new
trends in art and followed his own direction with complete dedication to
his art, only persisting in expanding his aesthetic experimentation despite
the obvious risk, and ultimate consequence, of losing his economic
security.
Throughout he has
remained entirely consistent about his ambition
in life: He wanted to paint in any way he chose without any
consideration
given to the opinion of others. He wanted to continue to challenge
his own
visual curiosity and to
follow his muse where ever it would lead. If it would
take time and work to understand how three-dimensionality worked in
painting, he would devote whatever effort was necessary. He never
felt any
need to parade himself in front of others, never wanted to appear to
be something other than what he was, never wanted others approval. He
always respected the work and efforts of other competent artists, when
honest in its
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