Summary An abstract follows here, if needed: In December 1951 the exhibition Klar Form opened in Copenhagen. It was the first venue of a Scandinavian tour that included Oslo, Stockholm and Helsinki. It was organized by the prolific Galerie Denise René, Paris in collaboration with the Galerie Børge Birch, Copenhagen and the Danish artists Richard Mortensen and Robert Jacobsen. The exhibition showed a mixture of the pioneers of abstract art such as Le Corbusier and Fernand Léger, and the younger generation including artists such as Victor Vasarely, Jean Dewasne, Robert Jacobsen, Richard Mortensen and Serge Poliakoff. Klar Form could be seen as an art political statement meant to strengthen the impact of geometrical abstract art and has gained a place in Danish art history as a crucial exhibition with great influence on the subsequent development of the abstract art of the 1950s. However, the critique of Klar Form in the Danish press was far from univocally positive. Instead, as the sharply negative voices reveal, the exhibition was the object of fierce debate based on a broader underlying debate on cultural politics in the early years of the Cold War and on art in society. This article focusses on these negative voices in an attempt to reveal new aspects of this debate.

中文翻译：

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“……火葬场的高雅装饰，没有任何分心的内容和意义。” 1951年的克拉尔展和抽象艺术潜力之争

小结如有需要，可在此附上摘要：1951年12月，展览Klar Form在哥本哈根开幕。这是包括奥斯陆，斯德哥尔摩和赫尔辛基在内的斯堪的纳维亚之旅的第一场比赛。它是由巴黎多产的丹妮丝·雷内（Galerie DeniseRené）与哥本哈根的BørgeBirch画廊以及丹麦艺术家Richard Mortensen和Robert Jacobsen合作组织的。展览展示了抽象艺术的先驱者，例如勒·柯布西耶（Le Corbusier）和费尔南德·莱格（FernandLéger），以及年轻一代，包括维克多·瓦萨雷利（Victor Vasarely），让·德瓦森（Jean Dewasne），罗伯特·雅各布森（Robert Jacobsen），理查德·莫滕森（Richard Mortensen）和塞尔吉·波利阿科夫（Serge Poliakoff）等年轻一代。Klar Form可以看作是旨在增强几何抽象艺术影响力的艺术政治声明，并且在丹麦艺术史上占有重要地位，对1950年代抽象艺术的后续发展具有重大影响。但是，丹麦媒体对Klar Form的批评远非唯一正面的。取而代之的是，正如尖锐的负面声音所揭示的那样，这次展览是激烈辩论的对象，这场辩论的基础是冷战初期关于文化政治和社会艺术的广泛辩论。本文着眼于这些负面声音，试图揭示这场辩论的新方面。这次展览的主题是激烈的辩论，其依据是冷战初期有关文化政治和社会艺术的广泛辩论。本文着眼于这些负面声音，试图揭示这场辩论的新方面。这次展览的主题是激烈的辩论，其依据是冷战初期有关文化政治和社会艺术的广泛辩论。本文着眼于这些负面声音，试图揭示这场辩论的新方面。