22 June 2022 – 15 January 2023

Artist Danh Vo returns to the Nivaagaard Collection in Summer 2022 – this time to put together an exhibition of the progressive and iconic pop artist Sister Corita Kent.

The exhibition follows on the heels of last year’s collaboration with Danh Vo, who presents significant and cherished artists from his own collection at the museum. Vo owns a considerable collection of works by Sister Corita Kent, who has inspired him all throughout his artistic career. The exhibition will consist both of works from his own collection as well as pieces on loan from private collectors.

Sister Corita Kent (1918–86) was a Catholic nun, an influential pop artist and a charismatic teacher with a progressive approach both to teaching and to her artistic creation. Between 1936 and 1968, she belonged to a Catholic order in Los Angeles where she also taught and gained notoriety for her ability to engage her students. She devoted the last eighteen years of her life entirely to her art and the international exhibitions which came with it.

Her works often combine visual expressivity with literary texts, poetry or messages of peace and social justice, and in so doing they unify her spiritual relationship to God with a civic engagement and a belief in the power of art. She lived in a time of political turmoil in the USA and both as a person and an artist, she was deeply concerned by poverty, racism and war: She was an activist who organised marches and was behind the production of political signs, with an approach which was always entrenched in a hopeful and joyful belief in change. Humour and subtlety were equally able to weave their way in and imbue profound messages with an extra sharpness.

Corita Kent believed that everyone possessed a deep inner creativity which could be fostered by observing the world both with the eyes and the heart. Kent was a contemporary of pop artist Andy Warhol – and inspired by his aestheticisation of everyday life and ordinary objects: cardboard boxes, newspaper headlines, supermarkets and a crack in the pavement were all things that could be observed and used as part of a creative process. Serious observation and serious play were her method, and screen printing was her preferred medium – and one which matched her democratic mindset through its reproducibility.

Danh Vo presents – a recurring collaboration
In 2020, the Nivaagaard Collection began a multi-year collaboration with the Danish-Vietnamese artist Danh Vo, who grew up in Nivå and today has the whole world as his stage. Like the founder of the Nivaagaard Collection, Danh Vo is a great collector. Danh Vo presented his first exhibition at the Nivaagaard Collection in 2020, and last summer he broke loose from the museum and took over the town of Nivå and its surrounding countryside as part of an interdisciplinary collaboration with a chef and a researcher.

The exhibition is supported by the Obel Family Foundation.


3 September 2022 – 15 January 2023

She was known as the greatest female painter of her time – a miracle among her peers. Then she was written out of history and forgotten. The story of Sofonisba Anguissola’s ninetysix-year-long and active life during the Renaissance and into the Baroque period is an extraordinary one. Now her place in history shall be restored with a special and ambitious exhibition this autumn at the Nivaagaard Collection, where visitors can look forward to experiencing a large part of Sofonisba’s known, surviving oeuvre. The museum, which owns one of Sofonisba’s most important core works, will bring together around 20 of her paintings in what will be the first Northern European exhibition of the most renowned female artist of the Italian Renaissance.

Sofonisba’s history and masterful art are still a source of great inspiration. Although she lived more than 400 years ago, this adventurous female figure comes to life before us in her self-portraits, written sources and through her representations of the people who touched and coloured her life. Like no other, she captured the exquisite textiles and jewellery, the sincere visages of young children and intriguing human gazes against the dreamy backgrounds of her compellingly beautiful paintings. Sofonisba was a female renegade and a unique role model for her age. Since then she has fallen into oblivion much like many other women who were erased from the annals of art history, especially in the 19th century.

The exhibition of these historical and fragile works has been possible thanks to the museum’s recent climate renovation in all of the exhibition halls, funded by a large donation from four important foundations. The Collection has been preparing for this exhibition since 2018, loaning works from museums in Italy, Spain, France, the UK, Poland, Germany and from private collectors as well.

A painter and a lady-in-waiting
A young, talented noblewoman from Cremona in Northern Italy, Sofonisba Anguissola (1532-1629/1630) was, at her father’s initiative, and quite unusually for a young woman in her day, trained as a painter. She specialised in portraits and gained early renown as a female miracle among the pope, princes and the great artists of her age, such as Michelangelo. While her female colleagues reportedly created imitations, Sofonisba created artworks from her own compositions and her insightful and lively portraits truly stood apart. It was considered a miracle that a female painter could achieve such greatness – and her many self-portraits became coveted and prestigious collector’s objects.

The Spanish king summoned Sofonisba to Madrid to serve as lady-in-waiting to the young queen who had a budding interest in art. Sofonisba painted the portraits of the royal family, taught the queen to draw and became very important to the young princes and princesses in the royal court. As a lady-in-waiting, Sofonisba could not marry herself, but her high esteem with King Philip meant that several years after the death of the queen, he arranged a suitor, a dowry and a fixed salary for Sofonisba, who married a nobleman in Sicily. Her husband was later killed at the hands of pirates on a voyage, and as Sofonisba could not live alone as a woman, she travelled back to her brother at their childhood home – but along the way she fell in love with the ship’s captain, whom she married – without the blessing of either her family or the king. The couple settled in Sicily where Sofonisba lived and painted until the time of her death.

Sofonisba did not sign all of her works, and many remain to be found and researched. The exhibition at the Nivaagaard Collection will hopefully place renewed international focus on this forgotten miracle of history.

The exhibition is supported by the Aage and Johanne Louis-Hansen Foundation.


28 January – 11 June 2023

In the latter part of the 1800s, two artist colonies appeared on opposite sides of the Sound in Arild and Hornbæk. It was the old fishing villages, the locals, the wonderful light, the sea and the characteristic scenery that attracted the artists.

The focal point in Arild, which is on the east side of the Kullen peninsula in Sweden, was the Inn called Mor Cilla (Mother Cilla) where both Swedish and Danish artists met. From Sweden, there were artists such as Carl Fredrik Hill, Richard Bergh, Gustaf Rydberg, Elisabeth Kayser, Prins Eugen and many others. But Danish artists were also attracted to the Kullen peninsula’s unique nature, among them, C.F. Sørensen, August Jerndorff, P.S. Krøyer and Viggo Pedersen – the latter even founded a school for painters in the city.

At certain times, these artists also settled in Hornbæk on the north coast of Zealand, which with its charming local environment provided inspiration for evocative light-filled scenes. Peter Raadsig, Viggo Johansen, Frants Henningsen, Kristian Zahrtmann, Holger Drachmann, L.A. Ring, Peter Ilsted and Carl Locher were also drawn to Hornbæk. The exhibition focuses on these two living artist environments.


Translator: The translation agency Diction