lausanne,-switzerland

Asger Jorn, The Minstrels of Meigle, 1966, oil on canvas, 35 x 45 5/8".

Asger Jorn

Fondation de l’Hermitage

Asger Jorn, The Minstrels of Meigle, 1966, oil on canvas, 35 x 45 5/8".

Asger Jorn spent six months with his family in a chalet near Lausanne, Switzerland, in 1953–54, recovering from the tuberculosis that had spelled the end of the Cobra movement a few years earlier. Isolated from the culture of the region, he maintained an epistolary connection with art-world friends abroad, including Enrico Baj and Pierre Alechinsky. After moving on to divide his time between the Italian coast and Paris, Jorn returned to Switzerland regularly in the 1960s, and his first international retrospective took place in Basel in 1964.

Asger Jorn: un artiste libre” (Asger Jorn: A Free Artist) investigates the impact of the Alpine nation on Jorn’s mature work from the late 1940s onward, omitting his experiments in abstraction from his time in Paris in the ’30s and with the Danish Helhesten group, which prefigured Cobra, in the ’40s. Its primary draw is the sheer visual impact

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