Series 1 All works in this series are arrangements or depictions of arrangements, even though of quite different character. You will find the more traditional depictions of arrangements (Jean Piaubert and Henri Julié), distinctive thanks to their surface on surface composition. There are a subtle cubistic inspired depiction of human figures (Arne Poulsen), and finally the nature provides its contribution to the real as well as the surreal depictions. In the surreal 'landscape picture' (Henri Julié) the elements of nature are deliberately placed together with surprising or unpleasant psychological effects in mind. But the nature can also be the starting point for a direct and expressive depiction as for instance Pieter Sohl's pictures of sea and elefants.
Series 2 The works in this series concentrate on different degrees of abstraction. You will find the gentle stylistic abstraction of the landscape of Vendsyssel (The part of North Jutland north of the fiord Limfjorden)(Svend Engelund); the abstraction very much simplified in form and colour with its basis in the forms and light reflections of machines (Arne L. Hansen); the imaginative organic abstraction (Dyke Johannsen) and the strictly geometrical abstraction based on the fascination of machines (Karl Aage Riget).
Series 3 The socalled 'naivism' in this series is being expressed in the the idiom as well as colour, choice of motive and way of painting. The landscape, city and figure pictures show a naive and popular way of expression and world of motives. The naivism is a way of telling and experiencing what seems apparently uncomplicated, but it is a deliberate as well as conscious mode of expression. A common denominator is the need to simplify the pictorial expression; the naive picture can be characterized as realistic or naturalistic, however it is a surface picture that disregards the rules of perspective etc. It is without the use of light and shadow effects to promote the sence of room. Another denominator is the fact that the naive painters generally paint from their memory or fantasy, thus not making their work an accurate reproduction of something they have seen. Furthermore the pictures are distinctly narrative.
Series 4 The series contain depictions of a modern conflict: The relation man-nature and man-surroundings. How does man understand and experience nature? And how does man regard himself in relation to nature - that is to say in agreement with or directly separated from nature? The relation to nature can be distinctly modern and still tend towards the romantic and harmonic (see Bent Holstein's, Knud Jan's, Bernt Jonasson's and Folke Lind's works) - or the elements of nature can assume a new current 'religious' character (Erik Heide). Man's own identity and the relation to the surroundings can be experienced problematically (Jan Leth) or depicted with a wonderful sense of humour (Ronald Burns).
Series 5 This series concentrate on the theme man and city, that is to say man and things made by man. This is a relatively modern complex of problems and conflict; the modern urban development (notwithstanding that is about a metropole like New York and its distinct large city character!) must necessarily leave its mark on the human as well as the pictorial level, not least when it comes to consciousness and experience.
Man's experiences with these new contexts must lead to a change in self-perception and man's position; either an increased anonymity and 'fetishing' (see Poul Janus Ipsen's and Gunnar Thorén's works) or a different critical psychological experience (see Bent Holstein's works).
Series 6 This series contain different kinds of reductions. It covers traditional 'nature morte' arrangements, 'man in landscape' depictions and the almost ornamental surfacelike patters on a canvas. The more traditional 'nature morte' works are characterized by an interest in forms and their plastic design(compare Anna Maria Lütken's and Emil Gregersen's works). The figure and landscape pictures work with both an interest in a reduction of forms (see Johannes Hofmeister) and a special interest in colour intensity (see Mogens Balle). Jens Nielsen's dynamic and coloristic works are on the way to the ornamental without however containing the abstract ornamentation found in Ejler Bille's and Boye Givskov's works.
Series 7 This series illustrate man, nature and man-in-nature; the depictions are both close to and at distance of the motive. It is the factory as the human place of work with the industrialized landscape outside (see Jørgen C. Rasmussen), the active human activities in the landscape (see Poul Ekelund's works) and the larger view over the landscape (see Gustav Rudberg). There is the close depiction of man; the lines seeming to correspond with the rythm of the landscape (see Grete Balle's and Vibeke Mencke-Nielsen's works). Finally, there is the close depiction of nature, the 'nature morte' arrangement (see Vibeke Mencke-Nielsen).
Series 8 The eight works in this series contain direct depictions of localities in Vendsyssel (the part of North Jutland north of the fiord Limfjorden) as well as as landscape illustrations inspired by Vendsyssel's landscape without any specific locality necessarily being recognized. Some of the works are combined landscape and figure pictures. The artists in this series are all connected to Vendsyssel; they live here or have lived here for a number of years. Alex Secher and Erik Nørgaard give detailed naturalistic descriptions of specific places, whereas Svend Engelund and Johannes Hofmeister use the landscape as basis for a more formal landscape abstraction, however without leaving any doubt that it is the landscape of Vendsyssel and its light they are portraying.
Series 9 The eight works in this series contain direct depictions of localities in Vendsyssel (the part of North Jutland north of the fiord Limfjorden) as well as as landscape illustrations inspired by Vendsyssel's landscape without any specific locality necessarily being recognized. Some of the works are combined landscape and figure pictures. The artists in this series are all connected to Vendsyssel; they live here or have lived here for a number of years. Margrethe Loerges, Poul Møller and Erik Nørgård give detailed naturalistic descriptions of specific places, whereas Svend Engelund and Johannes Hofmeister combine figure and landscape arrangements, however without leaving any doubt that it is the landscape of Vendsyssel and its light that is their primary source of inspiration.
Series 10 In clear colours and a distinct form language the works in this series express the organic growth of man as well as the many and varied experiences and impulses of modern time man. Allan Schmidt describe man in something looking like distorted, destructive forms. On the other hand Bent Karl Jacobsen and Poul Janus Ipsen are interested in comparing whole series of smaller pictures in for instance New York in one picture with a form language and a joy for colour resembling the expression of pop art. Their works are carried by fascination and desire to describe the many impulses influencing the modern life in the city.
Series 11 The six works in this series deal with surreal descriptions, primarily of landscapes. The form language is realistic but the works have some alarming perspective impacts and disturbingly bizarre groupings (see Folke Lind's, Rossel T. Gorden's, Gunnar Thorén's, Åke Nilsson's and Niels Borch Jensen's works). The other pictures are partly a view over a row of habitations (see Hans Voigt Steffensen), partly a window and flower motive 'hidden' behind a screen filter (see Søren Hansen).
Series 12 This series concentrate on landscape depictions by Svend Engelund and Poul Ekelund. It is Engelund's typical landscapes of Vendsyssel, characterized by the deliberate simplification of the landscape forms and a moderate colour focus. Poul Ekelund's landscapes - and one arrangement with fish - are characterized by their bright colour focus and expressive graphic technique.
Series 13 Seriens billeder spænder genremæssigt vidt; lige fra en naturalistisk opstilling (jvf. Vibeke Mencke-Nielsens motiv) over naivistisk-ekspressive landskaber (motiver af Henrik Buste Bruun) til fabulerende humoristiske/ironiske figursammenstillinger (Mogens Zieler og Chrystoph B. Lesniak) til det koloristisk-abstrakte udtryk (Kaj K. Nørkjær og M. Monly).
Series 14 Almost all of the artists in this series have or have had close relation to the landscape of Vendsyssel and its varying lighting. Each of them give either naturalistic and recognizable description of places in Vendsyssel (see Alex Secher and Margrethe Loerges) or a simplified and slightly abstract version of the topography of Vendsyssel (see Johannes Hofmeister and Annelise Søndergaard) - all with personal variations in the colouristic expression. Jack Kampmann is the exception from the relation to Vendsyssel as his landscape motives are inspired by the Faroe Islands.
Series 15 As for the artistic expression the works and artists of this series are devided into two categories: The figurative and the abstract. Among the figurative artists the form and colour focus is quite varied; the same goes for the serious or subtle character and content of the motives (see Erik Clausen, Erik Rasmussen, Jan Leth and Henry Heerup). The same variation in expression is found among the abstract artists, some of them primarily devoted to form while others to colour or light (see Ole Schwalbe, Arne L. Hansen and Allan Schmidt).
Series 16 The motives of this series are characteristically devided into a category of concrete-abstract expressions (see Allan Schmidt, Ole Strøygård and Hans August Andersen) and one of motives profess the figurative narrative expression (see Erik Rasmussen, Jørgen C. Rasmusssen, Gustav Rudberg, Johannes Hofmeister and Wilhelm Freddie). However, it goes for the abstract as well as the figurative artists that their artistic expression is highly personal and individual.