Jørgen Haugen Sørensen (3 October 1934 – 18 November 2021) was one of Denmark's most eminent sculptors. He had his artistic debut at the acclaimed and prestigious Spring Exhibition (Forårsudstillingen) at Kunsthal Charlottenborg, Copenhagen in 1953. Haugen Sørensen was a member of the artistic union Decembristerne and the artist collective Grønningen, as well as Veksølund in Denmark. The post-war and contemporary sculptor has been hailed as the greatest Danish sculptor since Bertel Thorvaldsen. He received several important distinctions for his works through the years, such as the Eckerberg Medal in 1969 and the Thorvaldsen Medal in 1979. In 1958 he was selected to represent Denmark at the Biennale di Venezia. Sørensen's sculptures have been placed all around the world. Early life As a child, together with his brother Arne, Haugen Sørensen began to draw and later to model. When he was 15, he trained as a plasterer and potter and then attended the Design School in Copenhagen. As a sculptor, however, he was self-taught. Jørgen Haugen Sørensen has spent most of his life abroad, living in a voluntary exile in Southern Europe. The 1960s he spent in Paris, France and Verona, Italy before finally settling down in the artists' town Pietrasanta in Tuscany from 1971. Despite developing a style far removed from his Danish contemporaries, Haugen Sørensen has always been highly present in his native country in exhibitions as well as in the artistic debate. Career After his debut at Charlottenborg's spring exhibition in 1953, he rapidly gained a reputation as a sculptor who crafted works of the human body and of animals with intense expressiveness and realism. His scenes of butchery became central to his work. At the end of the 1950s during a stay on the island of Bornholm, he entered a more abstract phase, experimenting with tiled pipes and other ceramic products, although he maintained elements of the body and other recognizable phenomena. During the dramatic years of the Algerian War, he settled in Paris creating figurative sculptures in bronze from 1959 to 1963. They depict scarred, torn organic forms reflecting a reality of cruelty, fear and sexuality. He traveled widely to Italy, Germany, Spain and Yugoslavia, developing a style which was far removed from Danish culture. At the end of the 1960s, he often created compositions made up of several smaller sculptures, sometimes using materials such as plastic or textiles, occasionally borrowing elements from other sculptors.