“Inge Hørup's reality, the reality of her.
Her very personal neo-impressionist creativity, which I sense. As I see it. As I see her. As her art fills me and wants to get into contact with me. And does. It has grown and is still growing, in my inner self, I sense.
Especially during the last 4 - 5 years Inge Hørup's paintings have come to mean something very special in my universe. In a wonderful way, they feel like part of myself, my soul, with increasing strength and urgency, doing me nothing but good. They touch the inner core of my humanity, until now forgotten. I have come to see that other people feel like me. I speak with them about it.
Inge Hørup's art is particularly insistent in the way it keeps forcing itself upon me ? upon us as human beings, it seems ? with a growing and almost unuttered, screaming need to sense ourselves ? again, overpowered as we are by a society of rationalism and growth. She is both catalyst and support, I sense, passed on to us through the sensuality and joie de vivre that her paintings express in soul, blood and pulse. They redeem us.
The take up space, at once imperceptibly and perceptibly. They open up to suppressed senses (I was unaware they were), and they unfold them and my sensuality in my Ã…rhus home as well as in my Skagen media house.
The special light of Skagen is a favourite topic, and it does exist there ? at the very top of the European continent. But the light - Inge HÃ¸rup?s light ? is also in my room in Ã…rhus and in other rooms that I fill with her art. Her light, at once subdued and insistent, not from the sky, but from herself. Her paintings give me a particularly strong sense of nearness, of being near.
Her artistic form has become more sharply defined in recent years, but it is still sustained by its joie de vivre lightness, suspended far above the heaviness that we as human beings are also subjected to.
The warmth of colour and of colour compositions almost always has at its core a sensuality that touches me, irrespective of the motif.
Often then, I feel like seeing reflections of myself in one of her paintings.
And I do.”
Claus Jacobsen, journalist, author of several works on art and culture, former sub-editor at the culture office of the newspaper POLITIKEN.
“A Leaf of the Heart
I wanted a song to be real
On the time when my heart's leaf was green,
On the mind - turning tune of the fiddle
On the honeysuckle's fragrant seduction,
Which wrote my love's stanza one.
Calm in the sun
Lay only the sky.
Between branches of green were
Twinkles of earthly tenderness.
Its smiles full of mystery
The forest floor touched our bodies wiht tingling.
I wanted a song to be happy
Known only to birds of the air.”
Poem of Jørgen Nash (1920 - 2004), dedicated to Inge Hørup
In 1999, after painting for a number of years and earning a solid reputation in Denmark, Inge Hørup decided to exhibit her work in France.
Gérard Capazza received some of her catalogues in Nançay and decided to visit her in her studio. He describes his first impressions thus: "For me, the words that best describe the initial psychological impact of Inge Hørup's work are 'disturbingly joyful' -- such was its exuberance of colour and generosity of movement! After the initial impact came the time for calmer observation and reflection. Some influence of the CoBrA movement could be felt -- understandably given the artist's origins -- but only faintly. More careful analysis of the artist's language and her respect for the principles of all good painting led me to the conclusion I was hoping for: the use of colour was exquisite, the drawing energetic yet precise, the composition rigorous, with a very special use of light. Since that first meeting with Inge Hørup, these qualities have been evidenced again and again, hence my desire to exhibit and support her work." After seeing some of her more recent works in Provence, he suggested she exhibit at the Nançay gallery the following season, as well as contribute to the permanent exhibition. The latter brings together works using different media (paintings, sculptures, etchings, etc…) and is one of the gallery’s key projects.
For Inge Hørup, this exhibition marked the beginning of an unbroken friendship: ": "It was not for one show, it was for a lifetime."
David Gaillardon, extract from Inge Horup, Editions Galerie Capazza, 2012Read more
Inge Hørup was born in Copenhagen, Denmark, in 1958. Her parents were artists and Inge very soon showed a strong interest in art. She grew up in the port of Aarhus, the second largest city in Denmark and capital of Jutland, where she still has a large studio. Her studies at the Academy of Fine Art found an immediate echo in objects in her home: desks, sketch-pads, easels -- even a large weaving loom!
In 1975, at the age of 17, Inge Hørup decided to travel abroad. She first spent a year in Great Britain, where she met Resos Loisou, an artist of Cypriot origin, born in 1948, who had settled in Britain a number of years before and was teaching at the Cambridge School of Art.
Two years later, we find Inge Hørup living a rural lifestyle on one of the Lofoten Islands, in Norway, dividing her time between farming and her art, mainly painting and drawing.
In 1981, she returned to Denmark, where she lived and studied with Ulrich Kvist. The period that followed was prolific for both artists, who exhibited together for a number of years. It was also during this period that Inge Horup, then in her early thirties, began to attract real attention In the Danish art world and saw her works being sought out by art collectors.
In 1990, Inge Horup decided to exhibit her work -- paintings and sculptures -- in a house In Sondrup, near Aarhus. The house became both a working studio and gallery: the walls were covered with pictures, not only her own productions, but also reproductions of works by artists -- Estève, Miró or Bacon -- that she loved and had found inspirational. Buyers were invited to visit the house as they would a showroom.
After building a solid reputation for herself, the artist decided to live and work in the South of France for part of the year. Her link with Denmark remains important, however, and she feels the need to alternate between Provence and her studio in Aarhus.
Today, the works shown in the Capazza Gallery are those of a mature artist. The lines are cleaner, more energetic and dynamic than they were: the artist does not resist simplicity and refuses to take up any intellectual stance. Yet the ' joie de vivre' is still evident, Inge Hørup's love of light finding expression in the fusion between the muted skies of Skagen and the blaze of light in Provence.
The quirks of fate that can only be fully experienced in solitude, the desires which bring people together and unite them and a passion for colour expressed through the richest of palettes -- these are the guiding principles, the lode-stars, of Inge Hørup's work.Read more
Dansk Data Elektronik A/S, Herlev.
EDC- Gruppen A/S
Dansk Teknologisk Institut, Aarhus.
Stats Sparrekasse, Hameln, Germany.
Hameln Apotek, Germany.
Linak. Danmark a/s
Sea Food, Aarhus