The most important article - as a written source and for the image it created for him at the time as an uncompron1ising young artist - is the two-part review of Kunstnernes Efterårsudstilling in Kunstbladet for November and December 1909, where in the manifesto-like first part he reviews contemporary Danish art en bloc and in a highly concentrated text expounds his view of artistic work and the demands to be made on a modern work of art. He talks of the choice of surface and colour, which motivate the reproduction of reality, but also argues that "Art is and will always be the ideal, the clearest, most powerfully effective reproducer of the visible world". But it becomes clear that artistic reproduction consists in the adaptation of the impression of reality - via "feeling and synthesis" and by allowing the figure "to adapt organically to the plastic life of the picture".
There are many points of similarity between Giersing's and Matisse's views on art. But Giersing did not develop his particularly as a result of his encounter with Matisse's painting or his ideas, and it did not change after it. Rather than the points of agreement it is worth noticing the differences. For instance, Giersing does not, like Matisse, talk of principally wishing to express his love of life. He wants rather more concretely to approach the world through the painting's material visualisation. And by composition Giersing does not imply that it should be the aim of the artist to express his feelings, but in a more unambiguously aesthetic sense to let the picture "appear complete in its formal existence".
From the exhibition in autumn 1907 to the end of 1909 Giersing had only shown two paintings. But this was nevertheless sufficient for him after his review of the autumn exhibition in 1909 to have achieved a reputation as the enfant terrible of young artists. There was a general awareness that he was talented, and as it was obvious that he was ambitious, not all his colleagues were equally pleased at the thought that he might go ahead and become a real power in the realm. One way of combatting this was to exclude him from the most important exhibitions.
At the end of 1909 an atten1pt was made to create a new association of young artists as a countermeasure against Den frie Udstilling. As it looked this time as though the attempt was to meet with success, Giersing resolutely seized the opportunity. And thanks to his strong will and his skill at manoeuvring he succeeded after a year's battles and countless intrigues in leading the association called "Ung Dansk Kunst" (Young Danish Art) to the exhibition of the same name in December 1910.
Giersing received the best location in this exhibition, and his work was the most comprehensively represented, but his work in arranging the exhibition, together with the tumult throughout the year, had its effect on the works he showed, and the most important pictures were between one and three years old.
Although the criticism of "Ung Dansk Kunst" was uncharitable, he had good reason to be satisfied. The Copenhagen Art Association bought a still life by him, thereby according him a token of recognition, and whether the reviewers liked it or not the reviews they wrote all helped make him a name to be reckoned with. On the other hand, he had to accept that as the driving force behind the exhibition he could not in the immediate future fulfil his ambition of becoming a guest exhibitor and certainly not a member of Den frie Udstilling.