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Vasegaard was the granddaughter of
Lauritz Hjorth, who in 1859 founded the Bornholm pottery factory in Rønne, and the daughter of Hans Hjorth, who later managed it together with his brother Peter. Johanne Tvede Bruhn, her mother, was a painter. After leaving school in 1927, she began decorating the
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Vasegaard's functional stoneware bowls and vases are lightly coloured and simply decorated with restrained patterns such as stripes and checks or rows of stepped lines. Many of her items are large simply-designed pieces, frequently unglazed, with geometrical decorations where a few brush-strokes
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and as a result of the difficulty of obtaining supplies after the war, she began working for Bing & Grøndahl during the winter, returning to her
Bornholm workshop for the rest of the year. In 1949, she became a full-time employee of the factory where she remained for the next 10 years,
139:. Years of fruitful collaboration followed, especially between mother and daughter who worked alone from 1969. Vasegaard's mugs, bowls and covered dishes with geometrical patterns were not only popular in Denmark but became internationally recognized.
112:. Her preferred finishes were light green, clear off-white, light blue and jade. Of particular note is her tea set (1956) with a hexagonal teapot and cups without handles, perfectly adapted to industrial production. Her three porcelain
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brown, unglazed pottery produced by the factory. In 1930, she studied in the ceramics department of the Arts and Crafts School which had just opened in
Copenhagen. In parallel, she furthered her education by working with the ceramist
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In 1938, Vasegaard moved to
Holkadalen near Gudhjem with her husband Sigurd (whom she had married in 1935) and her daughter Myre. Here she produced
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At the end of 1958, she left Bing & Grøndahl and, together with Rode (whom she married in 1961) and her daughter, set up a new workshop in
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emphasize the form. In this way, her stoneware achieved a unique level of strength and sensitivity in Danish ceramics.
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specializing in stoneware. It soon became one of the firm's most successful products, opening up a new era for
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mugs and bowls with an ornamental look which was to form the basis of her later work with
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23:, (23 February 1913 – 7 July 2007) was a Danish ceramist, remembered above all for her
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92:. They produced pottery and ceramics, exhibiting in Copenhagen the same year.
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283:, Crafts Magazine, September 2011. Retrieved 25 January 2013.
180:(annual prize for arts and crafts) in 1979, the
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371:Recipients of the Thorvald Bindesbøll Medal
168:Vasegaard was awarded a gold medal at the
128:had a blue decoration without glaze while
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297:Illustrated summary from Skoletjenesten
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281:"Gertrud Vasegaard at Galerie Besson"
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361:Recipients of the Prince Eugen Medal
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116:(1961–1975) which she designed for
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151:Vase by Vasegaard from the 1950s.
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27:(1956) which was included in the
103:. In 1945, on the initiative of
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234:"Gertrud Vasegaard (1913–2007)"
80:In 1933, Vasegaard returned to
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316:20th-century Danish ceramists
178:Kunsthåndværkerrådets Årspris
84:where she opened a studio in
265:Dansk Bibliografisk Leksikon
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271:Retrieved 25 January 2013.
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219:Retrieved 25 January 2013.
132:had a stamped decoration.
120:were also successful. The
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62:Holmegaard Glass Factory
170:Milan Triennale in 1957
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56:(1911–1991) and with
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153:Danish Design Museum
29:Danish Culture Canon
261:"Gertrud Vasegaard"
209:"Gertrud Vasegaard"
60:(1901–1983) at the
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190:C. F. Hansen Medal
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188:in 1981, and the
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31:. A designer for
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68:(1889-1961) and
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114:dinner sets
97:earthenware
310:Categories
196:References
105:Aksel Rode
66:Axel Salto
192:in 1992.
101:stoneware
58:Arne Bang
82:Bornholm
155:, 2018.
122:Capella
90:Lisbeth
86:Gudhjem
25:tea set
172:, the
164:Awards
126:Gemina
76:Career
21:Hjorth
19:, née
143:Style
130:Gemma
41:Myre
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