Building a museum of modern art The history of the museum goes back some 170 years. The name of the museum is derived from the first owner of the property,
hofjægermester Alexander Brun, who named the estate after his three wives, all called Louise. Brun built the villa in which the part of the museum resides in 1855. A hundred years later, in 1955, businessman and
cheese wholesaler Knud W. Jensen purchased the by then abandoned villa and surrounding property after being snubbed of the opportunity to purchase land around
Rungstedlund for his planned museum; this was reportedly due to the sellers’ objection on the grounds of modern art not being art. Jensen had been interested in art and literature since the 1940s, but after acquiring the publishing company
Gyldendal in 1952, his interest in art materialized; Jensen founded the
Art at the Workplace association, leasing artworks to companies for the enjoyment of their employees. Meanwhile, he found conventional art museums at the time to be alienating and uninviting, citing the
National Gallery of Denmark as a typical example. As Jensen felt that these buildings' grandiose architecture didn't fit for modern art, he aimed to create a museum with an "appropriate atmosphere" wherein people "...feel obliged [...] to approach the works of art." He has further stated a great sense of inspiration from American museums, such as the
Museum of Modern Art. Wishing to instead create a museum on a "human scale" that was close to nature, he first approached
Jørn Utzon to design the museum; however, Utzon was already commissioned to design the now iconic
Sydney Opera House, and so he declined. The decision to feature international art has later been hailed as "decisive" by art historian Kristian Handberg, and the exhibitions of international art have become a hallmark of the museum; it fostered a "new Louisiana", with new exhibition halls being constructed for the international exhibitions. Among these were
Vitality in Art and
Movement in Art, composed by
Willem Sandberg, along with
Jean Tinguely's manifesto
Sketch for the End of the World. These exhibitions brought together contemporary artists from both the United States and Europe. Handberg has stated that the achievement of bringing the Louisiana into the wider European circulation of international art exhibitions on the part of Jensen is a "remarkable" feat. The Louisiana gained the status of state-authorized museum in 1968, and began to receive financial support from the
Danish state. It had by this point begun to receive criticism from younger artists who considered the museum to be "old fashioned" and lacking the latest art. It has nevertheless continued to feature modern and contemporary art through its exhibitions, featuring the likes of
Nouveau Réalisme,
Pop art, and
Minimalist art. The collection of the museum includes several pieces made specifically for it,
Roy Lichtenstein's Figures in Landscape was painted in 1977 following a visit to the museum. Similarly,
Sam Francis created a series of paintings for the museum during his visit in 1979, and
Jim Dine's painting for a specific room in the museum. Each year, the museum hosts 6 to 10 temporary exhibitions alongside live events, a festival, and new digital initiatives that broaden its reach. Since 2010, the
Louisiana Literature festival has hosted forty writers annually across the museum and sculpture park, while the
Louisiana Channel, launched in 2012, shares weekly art and culture videos to engage new generations and promote cultural understanding. In 2023, the Louisiana finalized its 2050 sustainability strategy, focusing on climate, circularity, biodiversity, and social responsibility. It aims to reduce greenhouse gas emissions in line with the
Paris Agreement's 1.5°C goal, with targets verified by the
Science Based Targets initiative. Recognized as a "Green Attraction," the museum is recognized for its efforts in advancing sustainable practices within the cultural sector. == Architecture ==