1953 · Denmark
Michael Grønlund is seen as an established contemporary artist, who was born and brought up in Denmark. Michael Grønlund was born in 1953. Some of the artist's contemporaries that are born around the same year and in the same country include Eva Koch and Lise Malinovsky.
Historical Context of Denmark
As the southernmost of the Scandinavian countries, Denmark has often been very influenced by the Germanic culture of Northern Europe, that borders its southern limits. This responsiveness is often mixed with the Nordic traits of restraint and melancholy in its arts. At the end of the nineteenth century, and in the earlier part of the twentieth, Denmark produced a key painter of Post-Impressionism, Vilhelm Hammershøi. Noted for his wistful and extremely scarce interiors, Hammershøi's reputation was founded on his exquisite depictions of light and shadow in simple, dignified interiors, most often his own residence. In the later twentieth century, Denmark was a key country in the CoBrA movement of Expressionist painting, where the naming convention was derived from the cities of the founding members - the Co standing for Copenhagen on behalf of Danish artist Asger Jorn. Established in 1949, CoBrA's bright colours and lively childlike figures became both a scandal and sensation. Other prominent modern and Danish artists include Per Kirkeby, Olafur Eliasson, Danh Vō, Sergej Jensen and Tal R.
Further Biographical Context for Michael Grønlund
Born in 1953, Michael Grønlund's creative work was predominantly influenced by the 1970s. Conceptualism is often perceived as a response to Minimalism, and the dominant art movement of the 1970s, challenging the boundaries of art with its revolutionary features. The movements that ensued were all characteristic of a strong desire to progress and consolidate the art world, in response to the tensions of the previous decade. Process art branched out from Conceptualism, including some of its most essential aspects, but going further in creating mysterious and experimental artistic journeys, while Land Art brought creation to the outsides, initiating early philosophies of environmentalism. In Germany, Expressive figure painting was given another chance for the first time since the decline of Abstract Expressionism almost twenty years ago, the genre reclaimed its prominence through the brushstrokes of Gerhard Richter, Anselm Kiefer and Georg Baselitz. The majority of the critically acclaimed artists from the 1960s, who had gained success and fame, kept their status in the 1970s. Andy Warhol was a prominent figure of those two decades, and in the 1970s started to experiment with film and magazine publishing, thus engaging in a cross-platform activity that no other visual artist of such standard had previously undertaken. By doing so, he secured his status as a celebrity. Street art started to emerge as a true and accepted form of art towards the end of the 1970s. Jean-Michel Basquiat and Keith Haring were pioneers in demonstrating that their artworks could subsist at the same time in art galleries and in urban settings. Driven by graffiti art, street art from its earliest days proved that it could endure in a constant flux of self-transformation, endlessly shifting the boundaries of modern art, becoming a truly ground-breaking artistic genre.