User:Mirokado/QA for Carl Nielsen/Ib Andersen (cartoonist)


 * from Danish Wikipedia

Ib Andersen ( 21 August 1907 - 2 April 1969 ) was a Danish accounting, graphic artist and architect.

Ib Andersen er mest kendt som bladtegner for Politikens "Magasinet" fra omkring 1930'erne og frem til Magasinets lukning i begyndelsen af 1960'erne. Ib Andersen is best known as a cartoonist for Politiken "magazine" from about 1930 until the magazine closed in the early 1960s. Han var stærkt påvirket af den danske guldalder i sin tegnekunst, men frembragte via sit talent sin helt egen genre. He was strongly influenced by the Danish Golden Age in his character art, but produced through his talent his very own genre. Han kunne som få andre tegne den danske natur, landskabet, dets provins eller byernes huse og stemninger. He could be as few others sign the Danish nature, landscape, its provincial or urban houses and moods. Især den unge kvinde havde hans opmærksomhed; ofte fremstillet rygvendt eller i profil [1] og gerne indsat i et naturmiljø, omgivet af enten dyr eller havens træer og nabohuse. Especially the young woman had his attention, often produced rygvendt or profile [1] and the like inserted into a natural environment, surrounded by either animals or garden trees and neighboring houses. Hans egen hustru Nanna var ofte model til de lyriske motiver, som tit blev fremstillet til novelleillustration i Magasinet. His own wife Nanna was often a model of the lyrical motifs, which often were produced to illustrate stories in magazine. Ofte i farver og over to sider. Often in color and more than two pages. Hans interesse for det grafiske, layoutet og typografien i kombination med hans egne tegninger bragte ham ind i forlagsverdenen, hvor han fremstillede solid og fængende bogkunst, som altid ramte bogens tema og tone og altid var genkendeligt som et Ib Andersen værk. His interest in the graphic, layout and style combined with his own drawings brought him into the publishing world, where he produced solid and catchy bogkunst that always hit the book's theme and tone, and always was recognizable as a Ib Andersen's work.

Blandt hovedværkerne kan nævnes Den Fuldkomne Fisker 1943, Landluft 1944, En Vinter Lang 1956, blandt mange andre. Among the principal works include The Perfect Fishing 1943, Land Air 1944, A Long Winter 1956, among many others. I samarbejde med grafikeren, professor Gunnar Biilmann Petersen udviklede Ib Andersen efter krigen, designet til Danmarks National Banks nye pengeseddelserie med motiver som bl.a. plovmanden, Kronborg , Egeskov Mølle og Roskilde Domkirke. In collaboration with graphic designer, Professor Gunnar Biilmann Petersen developed Ib Andersen after the war, designed to Danmarks Nationalbank's new banknote series with motifs such as plow man, Kronborg , Egeskov Mill and Roskilde Cathedral. Ib Andersen tilrettelagde også næste serie, hvis motiver bl.a. Ib Andersen also organized the next series, whose designs include var firben og egern. were lizards and squirrels. Han havde gennem flere år sit eget egern i sit atelier i Fredensborg, som sad model for den kommende tusindkroneseddel. He had for several years his own squirrel in his studio in Frederick, who was a model for the next one thousand krone.

Der var bud efter tegnerens virke og kva sin rejselyst kom han meget rundt i verden, allerede fra en tidlig alder, bl.a. There were bids for signs his work and quality his journey like he came around a lot in the world already from an early age, including til Brasilien. to Brazil. Forlæggeren Poul Westermann fik bragt ham på rejse til de tidligere danske kolonier, St. The publisher Poul Westermann had brought him to travel to the former Danish colonies St. Thomas, St. Thomas , St. Croix og St. Croix and St. John i Vestindien , samt på guldkysten i Afrika og Tranquebar i Indien. John in the Caribbean and on the gold coast of Africa and Tranquebar in India. Ud af det kom der to pragtværker, som dog aldrig rigtig faldt i tegnerens egen smag. Out of it came two splendid works, but never really fell into the character's own taste. Han var utilfreds med gengivelsen af sit værk og forlagets andre redaktionelle beslutninger. He was dissatisfied with the representation of his work and the imprint of other editorial decisions.

Værket er dog alligevel et hovedværk, som også fremviser IA's evner som udlært arkitekt (bl.a. fra Poul Henningsens tegnestue i slutningen af 1920'erne). The work is nonetheless a masterpiece, which also displays IA's skills as a trained architect (including from Poul Henningsen's design studio in the late 1920s). I denne sammenhæng mest hans evne til at foretage opmålinger af fin dansk arkitektur, og trods fremskreden forfald og direkte ruin, så fik han alligevel registreret og optegnet bygninger, som forlængst var forladt og glemt. In this context most his ability to make measurements of fine Danish architecture, and in spite of advanced decay and ruin directly, so he was still registered and listed buildings which had long since abandoned and forgotten. Ruiner og forfald blev et af hans ledemotiver. Ruins and decay was one of his leitmotifs. Han havde stor kunstnerisk sans for netop forfaldet og kunne tegne det med både ærlighed, stringens og indlevelse. He had great artistic flair for just decay and could sign it with both honesty, rigor and empathy. Han blev aldrig til fals for maner eller andre tegnemæssige vildveje, men elsket for sin motivverden, ofte i mol og især den regnvåde, Nordsjællandske efterårsvej, med nedfaldene blade, forblæste trækroner og måske en tudse, der kravler over vejen. He was never to fold the manes or other signs related wild ways, but loved for his motifs, often in moles and especially the rainy, northern Zealand efterårsvej, Falling leaves, windblown trees and maybe a toad that crawl across the road. Det barokke og det samfundskritiske fandt også vej gennem hans pen. The Baroque and the social criticism also found their way through his pen. I hans motiver holdt han med ungerne i skolegården, fremstillet med kærlighed og sans for det absurde, men altid med evnen til ikke at udlevere sine motiver. In his designs he held with the kids in the schoolyard, made with love and flair for the absurd, but always with the ability not to disclose his motives. Det var altid med hjertet på rette sted. It was always with my heart in the right place. Men da urbaniseringen ramte byerne og betonboliger skød op til fordel for gamle bykvarterer, og når landvejens træer blev fældet af hensyn til bilistens nyvundne fart, så spruttede hans vrede pen og han fremlagde komikken og alvoren i dagbladets spalter. But as urbanization affected cities and concrete homes shot up in favor of old urban neighborhoods and rural road where trees were felled in the interest of driver's newfound momentum, then sputtered his rage pen and he did comedy and seriousness in newspaper columns. Han blev fortolkeren af det danske landskab, men aldrig folkelig. He was the interpreter of the Danish landscape, but never popular.

Hans udsyn var mod den store verden, det bedste i litteraturen og han forblev trods rejserne i sit selvvalgte eksil, sin Fredensborgske idyl på Stationsvej. His vision was against the great world, the best in literature and he remained, despite tours at his self-chosen exile, his Fredensborgske idyll on Station Avenue. Han blev også kendt for mesterlige plakater, især kan nævnes tivoliplakaten fra 1943 (Som stadig genoptrykkes og benyttes af Tivoli ), den med ballongyngen mod nattenhimlen. He was also known for masterly posters, mainly include carnival poster from 1943 (still reprinted and used by Tivoli ), the balloon swing against the night sky. Endvidere huskes plakaten for DDL ( Det Danske Luftfartselskab ), med vindpose og den sorte DC-3 flyver. Furthermore memorable poster for the DDL ( the Danish Aviation Company ), with wind bag and the black DC-3 airplane. I 30'erne var han del af den saftige og kraftfulde udtryksform, hvor begejstringen for de nye strømninger greb om sig, og hvor hans eget virke nåede absolutte højder i både farvepaletten og dristige kompositioner. In the 30s he was part of the lush and powerful expression, where enthusiasm for the new currents grip on himself and how his own work reaching absolute heights in both color palette and bold compositions. Det blev også ham der for alvor kunne tegne den danske sommernattehimmel, hvis gulgrønne farve, optones til preuserblå og så til elfenbenssort, med et mørkt træ i silhouet fra villavejens haver, kun sporadisk oplyst af vejens gadelygter. It was also the guy who really could sign the Danish summer night sky, the yellow-green color, optones to preuserblå and then to the ivory black with a dark wood in silhouette from the villa gardens road, only sporadically illuminated by the road's street lights.

Note / external reference
1. ↑ I følge vennen Anders Bodelsen var det gennemgående hos ham, at han ikke tegnede ansigterne — det havde han svært ved Kristeligt Dagblad: Han tegnede det, han så ↑ According to his friend Donald Bodelsen was thorough with him that he did not represent the faces — he had difficulty Kristeligt Dagblad: He designed what he saw

Literature
* Steen Ejlers, Jens Frederiksen og Paul-Philippe Peronard: Tegneren Ib Andersen. Forlaget Vandkunsten 2008 ISBN 978-87-7695-007-1 Steen Ejlers, Jens Frederiksen and Paul-Philippe Peronard: illustrator Ib Andersen. Forlaget Vandkunsten 2008 ISBN 978-87-7695-007-1