Original: Hope Gallery Collection
Oil on Canvas: 32" x 24"
Born October 10, 1945 in Copenhagen, Denmark. Edsberg had his debut as a
painter in 1966 at The Association for National art, Charlottenborg,
Copenhagen. During the sixties, seventies and eighties Edsberg held
exhibitions in his homeland Denmark, throughout Scandinavia, Europe,
U.S.A., Mexico, Japan and Australia. His work is represented in numerous
private and public collections around the world.
In 1977 Professor Alexandre Cirici Pellicer, president of The
International Association of Art Critics said: "Soren Edsberg contributes
in a very personal way to contemporary art," and The Council of The Mirro
Foundation refers to Soren Edsberg as "a renewer of abstract art in
In 1987 Soren Edsberg moved with his family to U.S.A. He joined the
faculty at Brigham Young University as an adjunct professor. In the
nineties Edsberg produced and directed a series of medical/educational
videos for hospitals, schools, universities and government agencies in
U.S.A., Canada, Mexico and the European Union. Among those acclaiming
Edsberg's educational productions are U.S. Senators Orrin G. Hatch, Edward
M. Kennedy, former U.S. secretary of education Terrell H. Bell, and former
assistant U.S. secretary for health James O. Mason who says that the video
series have made "a significant contribution to health education."
Edsberg shared his efforts during the last part of the nineties with the
Baby Video Library series, his photography, and
preparations for the Hope Galleries. His photography project brought him
to numerous National Parks taking thousands of photographs with a special
interest in nature's details and light. The first Hope Gallery opened in Provo, Utah in
2001, leading to additional locations in Park City, Utah and the main
location in Salt Lake City, Utah.
Although Edsberg has been a collector of art for nearly fifty years, he has
spent most of the last twelve years in Europe researching, tracking and
collecting art for the Hope Galleries and his ongoing private collection,
and resuming with his own works of art for future display.
Egemarke Manor Castle, Denmark
Edsberg's Residence before moving to the United States
Dining Room and Music Room
Library and Studio
Exhibit at the Grand Palais
Paris France (1988)
A world premiere on a new composition in three movements.
Title "The Course of Life" inspired by Edsberg's latest works,
performed by Swedish concert pianist and composer Kjell-Ove Dahlman.
by Virtus Schade
(Prominent Danish Art Critic and Poet)
We are at the races in the moment when the horse's hooves leave the ground. The exciting homestretch before the winning post.
Or we are watching the waterlilies in the pond, admiring their beauty, fleeting and yet eternal.
In short we are in the middle of a time of fermentation, at the exact point when photography and the art of painting impressionism were introduced simultaneously. Some artists wanted to stop painting because they could no longer see any point in their existence as painters. But then there were other artists who, on the contrary, felt inspired by the capability of the camera to preserve a moment of density.
Degas' racing pictures, Monet's half blurred water-lily pictures - the paintings of those important impressionists would hardly have come to exist - at least not as they are now, had not the camera been there to act as an intermediary between nature and the artistic mind.
What would a man like Andy Warhol have been if Marilyn Monroe had refused to be photographed? At least not the Warhol that we know.
Quite many of the younger artists of our time preserve the life experience of the moment by means of a camera - and afterward they pass on their experience. Some perhaps by directly depicting the photograph in painting, except that now it is done with the artist's living brush.
Still, others use the photograph only as a memento, a stimulus, a starting point.
**[But then there are artists who use the photography as a photography. Let it stand alone and speak for itself.. This artist may be the brilliant press photographer. But he may also be the painter who respects the photographed segment of the world too much to change it.
Soren Edsberg, whose abstract paintings are based on thousands of exact sketches of nature belongs to this latter group. "The photography as a genre picture" is his starting point. An attempt to return to the "trite" idyll, which may not be so trite after all.]
"The Beautiful" - is that important?
Has it any meaning at all that forms have beauty, that tones have beauty, that colours have beauty? And is it the artist's task to depict the "beautiful?" Or is his essential function to participate in the general, every-day debate?
It is very obvious from Soren Edsberg's photos what his choice is. It is the beautiful that he wants to show forth. That is why he photographs the crafts in Gilleleje Harbour, that is why he photographs the early morning in the Copenhagen Deerpark - the trees, the deer, the light.
Discussing the idea of superficial idyll, well, to Soren Edsberg it is quite obvious that what he is photographing is the surface. The superficial beauty. But that in itself expresses an inner tension. Without the part of the iceberg that is under water certainly we shouldn't be able to see the part that is over the surface.
Let us be quite concrete and say: Soren Edsberg has come to realize that he cannot "photograph God. But then [he] can photograph His Creation."
Thus the quite elementary beauty enters his photographs. The brown leaves one Autumn day in the Deerpark. The rough beauty of the ship. The bridge across the Mill Creek. A herd of deer at rest. The nearly bursting buds on a Spring day. Anything that may express life.
Maybe the drunken tramps of the "Bowery" in New York might provide a good starting point for his photographs. Others have done that so well. Maybe the ragpickers of the dumping ground might provide a better basis for a brilliant photograph than the refined network of the trees as seen against a wintry sky.
However, that is not what he chose. We have got misery in this world, and it is important that some people depict it. In a journalistic, precise, and engaging manner.
Edsberg strives - as a photographer - to engage us in that beauty which otherwise (to quote Shelley) "doth pass by our dull senses." To commit us to what we have. He wants to show us that it is also possible to preach by means of .... a camera.
The artist at the official presentation of his work "The Course of Life"
at the Museum of Modern Art (Museo de Arte Moderne, Barcelona, Spain).
Alexandre Cirici Pellicer
Professor of Contemporary Art,
President of the International Association of Art Critics.
It seems worthy to consider, in effect, their particular
aspects. The paradox that a strictly flat painting ex-
presses an evident move, the sensation of space. The
other paradox that a geometrisized construction ex-
presses an intense mode, forcefulness. For one thing or
another, I judge that Soren Edsberg fulfills a very personal
contribution to the whole of contemporary painting.
The Joan Miro Delegated Commission
Concerning a painting by Soren Edsberg:
It is a very characteristic painting of his latest works,
which presents a new call in the abstract art at present in
Europe. Its dynamism in spite of its deeply geometric
features, it reflects in our opinion the will of expressing at
the same time a spiritual strain and the most expositive
Guadalimar, Arnau Plug
Thus by means of the painting Edsberg succeeds in
plastically manifesting the profound but also difficult and
obscure richness hidden in the verses of the Bible, of
which his pictures do not pretend to be an illustration, but
rather are an interpretation which by means of colors -
especially blue and red - and geometry - lines and
spaces - manages to communicate with the surrounding
world through another medium, viz. the painting
which made him start on the word of the Bible. Maybe
Edsberg's painting owns its greatest importance to the
fact that he has realized that there are certain people who
understand religion the best rather through the medium of
perception than through reasoning and meditation.
The works exhibited here by Soren Edsberg are convincing
due to the obsessional repetition of certain fixed
co-ordinates, something that is founded, maybe, on a
wise and firm belief. A man of deep rooted religious
convictions Soren Edsberg is always working with
fervent zeal to improve mankind.
Diario de Barcelona, Josep Iglesias del Marquet
His non-figurative works attune the inspiration of the
painting with that which with more swelling accentuations
swallow up some coloristic arrangements consisting
of large spaces defined by planes and perspectives
with a lucid expressiveness whose inner rhythm suggests
as it were a free counterpoint, some lines austerely
disposed in accordance with rules borrowed from
Tele/Express, Josep Valles Rovira
Danish painter, completely obvious metaphysical dis-
quietude, the Gaugenic question, "Where do I come
from?" - "Why am I here?" and "Where am I going?"
plastically defines his "Course of Life," spaces with warm
colors, rectilinear intersections that produce diversified
perspectives in his works, explanations fully justified by
the prevailing geometrical composition, lines, roads
leading towards infinity, beyond the compass of man's
objectives, interrupted spaces, the impossibility of progression,
synthesis of the composition of the prevailing
intention, pure strength of character.
Mundo Diario, Francese Gali
Soren Edsberg is concerned with the life hereafter. His
pictures possess or strive to attain a transcendentality
that is not content with the simple plastic expression;
through his art he centers his attention on man's
post mortal eternity. An urge that distinguished great
artists and poets of the past and around which the Danish
painter concentrates his entire existence.
La Vanguardia, Fernando Gutierrez
Edsberg is a Danish painter with a profound and
passionate religious understanding. He is being inspired
by the Bible and attempts to plastically interpret those
verses that refer to roads, distances, boarders, and
paths, and entitles them with elements that intersect like
paths or rather shoot across the pictures. Now and then
it seems as though certain of the pictures are trying
to show us a calming mystery, pleasantly static.
Sociedad Espanola, Lina Font
Unique Exhibition by Soren Edsberg, the Painter, in the
Edsberg is an important figure within modern painting.
In Edsberg's present exhibition, which is entitled "The
Course of Life," he presents some of his own reasons
for his intention, in which he offers some simple philosophical
reflections, concerning man's existence on earth.
And in the midst of man's anxiety to find his way Edsberg
tries to tell us what it is that we are trying to get out of life.
The exhibition in the Galeria Matisse is concerned with
the problem of seeking the "ways." The basic motivation
has already been explained; it is the "ways." The plastic
problem has been solved with crystal clear lucidity,
cleanly and plainly, in large spaces of one color in plans
of a severe geometrical order. Always with a rectilinear
path that leads to a perspective in which the long
yearned for solution may be contained.
Edsberg's art is intelligent and is performed with the
mathematical severity of the geometrical figures with
bold strokes of the brush, generally in one color with
varying tones. The colors are bright. Strong red, blue,
and pink. And the intersecting linear color describes a
diagonal course or in one way or another produces a
dynamic force and a feeling of flight which the artist
achieves by means of the most expressive methods of