Poul Henningsen

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Poul Henningsen (ca. 1937 )

Poul Henningsen (9 September 1894 – 31 January 1967) was a Danish author, architect and critic, and one of the leading figures of the cultural life of Denmark between the World Wars. In Denmark, he is often referred to as PH.

Early life and education[edit]

Poul Henningsen was the illegitimate son of author Agnes Henningsen and satirist Carl Ewald. He spent a happy childhood in a tolerant and modern home in Ordrup which was often visited by the leading literates. Between 1911 and 1917 he was educated as an architect, but he never graduated and tried himself as an inventor and painter.

Architecture and design[edit]

The PH Artichoke lamp (designed 1958)

His most valuable contribution to design was in the field of lighting. He designed the PH-lamp in 1925, which, like his later designs, used carefully analyzed reflecting and baffling of the light rays from the bulb to achieve glare-free and uniform illumination. His light fixtures were manufactured by Louis Poulsen. His best-known models are the PH Artichoke and PH5. The lamps created the economic foundation of his later work. Other notable designs include the PH Grand Piano which is included in several notable 20th-century design collections, including that of the Metropolitan Museum in New York City. He also designed Glassalen for Tivoli Gardens in Copenhagen.

Literary career[edit]

During the 1920s Poul Henningsen had his literary breakthrough. He edited the polemic left wing periodical Kritisk Revy (1926–1928,[1] "Critical Review") in which he and his colleagues scorned old-fashioned style and cultural conservatism, linking these themes to politics. At the same time he began as a revue writer praising natural behaviour, sexual broad-mindedness and simple living. He was the man who made the Danish revues a political weapon of the left wing without giving up its character of entertainment (the so-called PH-revues 1929–32). 1933 he edited his most famous work Hvad med Kulturen? ("What About Culture?") a polemic, audacious and urgent criticism of Danish cultural life and its snobism and passion of the past in spite of all the efforts of the Modern Break-Through. He tried to make parallels between prudery, moralizing and fascist leanings and he also accused the Social Democrats of lacking a firm and consequent cultural line. This book together with his activities as a whole made him a reputation as a semi-communist "fellow traveller". In this period he in fact stood near the communists without joining them. He took part in the anti-fascist propaganda, always trying to connect culture and politics.

Poul and Inger Henningsen at their country house around 1958

Among his other initiatives of this period was Danmarksfilmen 1935, (English: The Film of Denmark) also known as PH’s Danmarksfilm. It is an unpretentious and untraditional film portraying the life in contemporary Denmark in a lively and slightly disrespectful way in which the visuals are supported by jazz rhythms. It was condemned and torn apart by most critics but later on it has become rehabilitated as one of the classic Danish documentary films. He also wrote some movie manuscripts.

During World War II and the German Occupation of Denmark he kept a lower profile and fled to Sweden in 1943 but tried to keep the spirit going by camouflaged resistance poetry. After the war he dissociated himself from the communists who were criticizing him for flabbing humanitarianism in his attitude to the settlement with the Nazis and for his growing scepticism about the Soviet Union and in many ways he was isolated. However he kept writing and debating, and during the 1960s the new generation in many ways made him something of a guru. In his last years he became a member of the Danish Academy and supported the new movement of consumers.

In many ways Poul Henningsen is the man who completed the work of Georg Brandes. He is somewhat superficial and light but more modern and less elitist in his views. Being a tease and a provoker who often tried turning concepts upside down (like George Bernard Shaw) and whose conclusions might be both somewhat unjust and exaggerated, he was however a man of firm principles and ideals of a democratic, natural and tolerant society.

PH Quotations[edit]

  • ”It sounds fine that one must not hurt other people’s feelings—but perhaps this world would be a better place to live if it were the reason that must not be hurt.”
  • ”All political art is bad – all good art is political.”
  • "Faith has never moved anything at all. It is doubt that moves".
  • "Future comes by itself, progress does not."
  • "The only thing which separates man from child is all the values he has lost over the years."

Design gallery[edit]


References and sources[edit]

  1. ^ Fleming, John & Hugh Honour. (1977) The Penguin Dictionary of Decorative Arts. London: Allen Lane, p. 373. ISBN 0713909412
  • Dansk Biografisk Leksikon, vol. 6. Copenh. 1980.
  • Paul Hammerich: Lysmageren. En krønike om Poul Henningsen. Copenh. 1986

External links[edit]