#copenhagen private art collections

[amzmuseum]

THE “FONTANA OSCURA” IN VILLA BORGHESE

Thorald Læssoe 1816-1878, Copenhagen

Oil on paper applied on canvas

20 x 27 cm

Signed lower right: Thorald LÆSSØE

After a brief apprenticeship with Danish “animalier” painter Christian Frederick Carl Holm, Thorald Læssøe occasionally followed courses at the Copenhagen Academy of Fine Arts, to then decide to dedicate himself to painting as a self-trained artist, along with his friends Johan Thomas Lundbye, Jens Adolph Jerichau, and Lorenz Frølich. Between 1845 and 1857 the artist lived in Rome, in a studio at the 33 Margutta Street. He will come back to Rome only in 1866, three years after his wife’s death, to remain until 1868. There is no doubt that the Roman stays had a significant impact on Læssøe’s art: indeed his paintings make an impression thanks to the strong hues and the artist’s ability to convey the Mediterranean light’s atmospheric iridescence, characteristic common to the majority of painters belonging to the Danish painting “Golden Age” of which Læssøe has been a pivotal figure. The work here presented shows the “Fontana Ovale”, one of the two fountains known as “Fontane Oscure” and located in a perspective position with respect to Museo Borghese boulevard sides. It is thought that the name “Fontane Oscure” is due to the trees’ shadow that immersed the fountain creating, during certain time of the day, surreal and magical atmospheres. They belong to the garden’s seventeenth century planning and are one of the villa’s most ancient fountains. The November-December 1977 exhibition at Palazzo Braschi in Rome, dedicated to Danish painters of the nineteenth century, saw exhibited four of his paintings entitled respectively, Le Terme di Caracalla, Veduta di Ariccia, La grotta di Egeria and Una pergola, and coming from the Museum of Fine Art Copenhagen the first two, the Soro Museum of Art the third work, and the last one comes from a Danish private collection.

[raspberry-rampage]

10 of my favourite works of art

I had an idea to make a list of my all time favourite works of art, well, but only including works from 20th century and later, or the list would get too long and convoluted.

Making a cut for those who dislike long posts.

Ophelia, John Everett Millais (1851–52). In the collection of Tate Britain, London.

Almond Blossoms, Vincent van Gogh (1890). In the collection of the Van Gogh Museum, Amsterdam.

Portrait of the Countess Malacrida, Ettore Tito (1926). In the collection of the Galleria Internazionale d’Arte Moderna at Museo di Ca' Pesaro, Venice.

a poster for Moravian Teachers Choir, Alphonse Mucha (1911). In the collection of the Mucha Museum, Prague.

Shadow Decoration, Charles Courtney Curran (1887). In the collection of The Frances Lehman Loeb Art Center, Poughkeepsie NY.

The Spider, Nikolaos Gyzis (1884). In the collection of the National Gallery, Athens.

A Mountain Climber, Jens Ferdinand Willumsen (1912). In the collection of the National Gallery of Denmark, Copenhagen.

Patridges in the snow, Józef Chełmoński (1891). In the collection of of the National Museum, Warsaw.

A Concert by Bériot, Zofia Stryjeńska (1923). In the collection of the National Museum, Warsaw.

Ophelia, Jean-Baptiste Bertrand (1871). Probably in a private collection now.

It was cool to finally collect them in one place, helped me to reach some conclusions. Firstly, you’ll mostly find impressionism and art noveau pieces here, 19th and 20th century art appeals to me the most. Most of these feature women. I really like the motif of Ophelia, popular with the Pre-Raphaelites. And lots of nature: plants, flowers, animals.

Feel free to share your favourite artworks with me!

[pndesign55]

Mermaid Bronze Statues: Timeless Elegance and Mystical Beauty

Mermaid bronze statues capture a blend of timeless elegance and mystical allure, drawing from centuries of mythology and artistry. These sculptures, often depicting the mythical sea creatures with their graceful tails and enchanting poses, embody both artistic skill and the fascination humans have with the ocean's mysteries.

The origin of mermaid statues can be traced back to ancient mythology. Across various cultures, mermaids symbolize different aspects of the sea and its mysterious nature. In Greek mythology, mermaids were often seen as sirens who lured sailors with their captivating voices. In European folklore, they were sometimes depicted as benevolent beings who guided sailors to safety or foretold future events. The consistent theme is the mermaid's dual nature—both alluring and enigmatic, embodying the ocean's beauty and its inherent danger.

Bronze, as a medium for sculpture, has been used for thousands of years due to its durability and the ability to capture fine details. The alloy of copper and tin provides a robust material that withstands the test of time and elements, making it ideal for outdoor statues. Bronze statues, including mermaid figures, are often chosen for their ability to age gracefully, developing a patina that adds to their character and charm.

Creating a mermaid bronze statue involves a meticulous process that combines artistry with technical skill. The journey begins with a sculptor's vision, translated into a detailed model. This model is then used to create a mold, often made from plaster or silicone. Molten bronze is poured into this mold, capturing every nuance of the original design. After cooling, the statue is carefully finished with polishing and patina treatments, which enhance its appearance and protect it from the elements.

One of the most famous mermaid statues is the Little Mermaid statue in Copenhagen, Denmark. Based on Hans Christian Andersen's fairy tale, this statue has become an iconic symbol of the city and a testament to the enduring allure of mermaid mythology. Similarly, other notable mermaid statues around the world, from small garden pieces to grand public installations, reflect various artistic interpretations and cultural influences.

In modern contexts, mermaid bronze statues are popular choices for both private and public spaces. They are often used in garden settings, fountains, and as focal points in parks or waterfront areas. The statues can vary greatly in size, from small, intimate pieces perfect for a garden nook to large, commanding figures that serve as public landmarks. Each piece adds a touch of elegance and a hint of the mystical to its surroundings, often sparking curiosity and admiration from viewers.

Collectors and enthusiasts of bronze art appreciate mermaid statues not only for their beauty but also for their connection to historical and mythical narratives. Each sculpture represents a fusion of artistic craftsmanship and cultural storytelling. The appeal of mermaids—both as mythological beings and as art subjects—lies in their ability to evoke a sense of wonder and timeless fascination.

Mermaid bronze statues continue to enchant and inspire, serving as a bridge between artistic tradition and mythological charm. Whether displayed in a garden, a public square, or as part of a personal collection, these statues stand as enduring symbols of beauty and mystery, reminding us of the ocean's endless allure and the artistry that captures it.

For More Info:-

Bronze Parrot Statue

Bronze Western Sculptures

[themuseumwithoutwalls]

MWW Artwork of the Day (9/25/23) Carl Ludwig Brandt (German/American, 1831-1905) The Berry Pickers (1862) Oil on canvas, 20.3 x 25.4 cm. Private Collection

Brandt was born near Hamburg in Holstein, Germany. His father and grandfather were physicians in Hamburg. His father taught him drawing at the age of seven, and he subsequently studied in the principal galleries of Europe, including the Academy of Art in Copenhagen. He served in the First War of Schleswig (1848–1850), between Germany and Denmark.

[decordreamscom]

Silos: From Industrial Necessity to Architectural Fascination Silos, those hulking and utilitarian structures used for bulk material storage, are a familiar sight in urban areas. They serve as vital physical elements of the agricultural industry, storing grain, fermented feed, and other foodstuffs. Silos have captivated architects for over a century, from being symbols of technological progress for Modernist architectural figures to contemporary times, where they instigate inventive approaches to adaptive reuse. The Modernist architectural fascination with silos, particularly grain silos, is evident in the works of architects such as Le Corbusier, Moisei Ginzburg, Reyner Banham, and Walter Gropius. Photographs were a way of communicating this captivation, with Walter Gropius publishing photographs of the many grain elevators of Buffalo in a 1913 craftsmen journal. Silos were described in admiring terms by Soviet constructivist architect Moisei Ginzburg in The International Front of Modern Architecture, as part of an architectural language powerful in expression and magnitude. Contemporary architects have also been drawn to the typology of silos, repurposing them for new use. The Silo, completed in 2013 by Copenhagen-based firm Cobe, is a prominent example of silo adaptive reuse. The building is now home to a mix of public and private spaces, including 38 apartments that benefit from the building's former use, with extremely generous floor heights and areas. Perhaps the most well-known silo adaptive reuse project is Cape Town's Zeitz Museum of Contemporary Art Africa, designed by Heatherwick Studio and opened in 2017. The museum spreads across the structure's nine floors, featuring a sculptural atrium space carved out of the tubular forms of the former silo. Another silo project currently in development is the Kunstsilo in Kristiansand, Norway, an abandoned grain silo that will house the world's largest collection of Nordic modernist art.   The Silo / Cobe. Image © Rasmus Hjortshøj - COAST The Silo / Cobe. Image © Rasmus Hjortshøj - COAST As cities look to bring life to industrial landmarks that are hard to ignore, and as cultural institutions continue to seek expressive, sustainable architecture for adaptable creative expression, abandoned silos may become even more sought out for adaptive reuse. Silos may shift from symbols of industrial activity to those of creative practice, creating their own typology in the future. These adaptive reuse projects not only provide new life and purpose to these hulking structures, but they also showcase the potential for sustainable architecture by repurposing existing buildings rather than tearing them down and building anew. In addition, the inherent characteristics of silos, such as their large floor plates, high ceilings, and distinctive forms, offer unique design opportunities for architects and designers.   Zeitz Museum of Contemporary Art Africa / Heatherwick Studio. Image © Iwan Baan Zeitz Museum of Contemporary Art Africa / Heatherwick Studio. Image © Iwan Baan   Zeitz Museum of Contemporary Art Africa / Heatherwick Studio. Image © Iwan Baan Furthermore, the adaptive reuse of silos can also play a role in preserving cultural heritage. Silos, particularly grain elevators, have been a part of the agricultural landscape for over a century and hold significant historical value for many communities. By repurposing these structures for new uses, their historical and cultural significance can be celebrated and preserved for future generations. As cities continue to grapple with issues of urbanization and sustainability, the adaptive reuse of silos may become an increasingly popular solution. These once-derelict structures can be transformed into vibrant hubs for creativity, culture, and community, while also serving as a model for sustainable architecture and preserving cultural heritage.  

[empiregifts]

A traditional legacy of the Royal Copehagen

Many people adore the legacy of collectibles. A different theme tells a different story every year. Collectibles from Royal Copenhagen have chronicled stories of love, war, and amazing experiences over the years. Established about 250 years ago, Royal Copenhagen is the best and most renowned porcelain manufacturer in Denmark. They have developed a taste for wealthy families, royal families, noblemen, and a larger audience of Danish families and many visitors. Royal Copenhagen has maintained its recognizable style and superior quality throughout history. 

A brief History 

The elegant blue and white patterns used by Royal Copenhagen were established in 1775 by a pharmacist named Frantz Heinrich Muller in collaboration with the Dutch Royal Family. They are based on traditional Dutch services but have a fresh, contemporary touch. Every piece of Royal Copenhagen porcelain is instantly recognizable by the three blue waves on its underside. They stand for the Sound, the Great Belt, and the Little Belt—the three main waterways of Denmark. Queen Dowagerulian Marie proposed the three waves as a Royal Danish Porcelain Factory trademark in 1775. The intricate decoration of the hand-painted porcelain is comparable to the artist's signature, and like any other work of art, each piece of porcelain from Royal Copenhagen is signed by the expert blue painters.

​​The manufacturing facility was renamed the Royal Porcelain Factory when King Christian VII took over financial management in 1779. Until 1801, the Royal Copenhagen stayed in Copenhagen, the capital of Denmark. The raw ingredients were sourced from Bordeaux, France. Cobalt blue was then used to embellish the porcelains, which were borrowed exclusively from the beautiful Chinese porcelains. The renowned cobalt blue was used to paint the original designs of Royal Copenhagen. The Flora Danica, which Johann Christoph Bayer designed in 1790 and used gold and many colored enamels to decorate, was another famous piece from the period.

Royal Copenhagen displayed its goods at the Great Exhibition in London in 1851. The Royal Porcelain Factory entered private ownership in 1868 as a result of the privatization of royal industries, but the "Royal" appellation was kept. Royal Copenhagen, which was acquired by the earthenware manufacturer Aluminia in 1883, was the first significant porcelain manufacturer to significantly alter its design aesthetics. Royal Copenhagen received global prominence in 1889 when it won the grand prize at the Exhibition Universelle in Paris.

The iconic Blue Fluted pattern, which is well-known, was first used on a coffee set in the early Royal Copenhagen collection. When designer Arnold Krog became the artistic director at Royal Copenhagen in 1885, he expanded the pattern into a complete set. The first pieces manufactured were for the royal family. 

He changed the factory's designs in the same direction as art pottery was going, hiring numerous painters to create new patterns. Over time, the company's collectible porcelains were distributed all over the world. It became well known among collectors of ornamental porcelain and hand-painted furniture miniatures. 

Royal Copenhagen Collectibles

Since 1908, Royal Copenhagen has produced Christmas plates, each with a distinctive design. Every Royal Copenhagen collectible has a distinct history that reveals a profound passion for the special legacy of fine craftsmanship. Hundreds of tiny grooves, carvings, and engravings precisely bring each theme to life; this requires the artist to be an absolute master of the medium.  collectorIt's the only way to make a compelling story come to life. 

The Blue Fluted pattern is still the same, but has a contemporary, fresh design. A young design student named Karen Kjaeldgard-Larsen offered Royal Copenhagen a daring concept at the turn of the millennium: to reimagine the traditional Blue Fluted pattern in a larger, more visual form. Immediately, the new line felt more current, and Blue Fluted Mega became a modern classic. Each piece of Blue Fluted Plain and Blue Fluted Mega is handpainted and bears the artist's signature. 

Royal Copenhagen Christmas Plates 2023

The Royal Copenhagen plates for this year have a flock of sheep strolling through a Danish forest as their motif. The shepherd pauses to observe an antique Viking monument while toting a weary lamb in his arms. Sculptor Allan Therkelsen, a longtime collaborator of Royal Copenhagen, developed the motif.

Royal Copenhagen Christmas Plaquette 2023

The Royal Christmas Plaquette, Copenhagen 2023, was created by Dag Samsund and is titled Holiday Baking. The mother and children are shown in the kitchen baking for Christmas in the 2023 Royal Copenhagen Christmas tiny plate's design. Over the table, the lights in the Advent wreath are on fire; a lit Christmas ornament in the window can also be seen.

Royal Copenhagen Christmas Ornament 2023

The decoration of the 2023 Royal Copenhagen Collectibles Ornament features a sweet little hedgehog wrapped up in a cluster of branches. The rich blue tones complement those of the Royal Copenhagen Annual Christmas Plate, as they do each year.

Christmas Angels 2023

The five Royal Copenhagen Christmas Angels were first shown in 1955 in pure white porcelain. The figurines are now being re-released by Royal Copenhagen with faded blue skirts and gold accents. The ornaments come with a string that may be used to hang them or stand them upright. Many people adore the tradition of the Royal Copenhagen Collections. The adorable Santa and Christmas tree figurines, along with the blue collectibles, have graced homes for years. Each year, a new motif conveys a story of Danish cultural heritage. conceived in 1908. This year, it's your turn to collect some. Visit our store https://www.empiregiftsandantiques.com/cat-18.htm to start collecting.

[oupacademic]

From living rooms to national galleries, art spaces shape and inform the art contained within them. They also often reflect their contemporary social mores, and are a central aspect of understanding the artwork itself. In recognition of the importance of art spaces, we bring you a discussion of 5 different exhibition spaces, and how they have shaped the art of their times:

1.       Japanese Department Stores In 1907, the Mitsukoshi department store began to display and sell the works of prominent contemporary artists. This quickly became a trend, allowing the rising urban middle class to decorate tokonoma (decorative alcoves) of their new houses – a practice associated with the social elite. Creating these art spaces allowed the middle classes to legitimise their own status in this social hierarchy

2.       Street Art Why and how do street artists use public spaces? Sondra Bacharach argues that by using these spaces without permission, street artists are able to force a response from the onlooker, which allows them to explore and further their own socio-political agenda

3.       Copenhagen Private Art Collections During the Napoleonic era, private collections became increasingly accessible in Copenhagen. In this wartime climate, the exhibiting of private art collections was increasingly represented as an act of patriotism and charity, which solidified Danish national feeling

4.       Parisian Immigration History Museum Harnessing art’s potential to provoke, subvert, and prompt reflection, the French Immigration History Museum has attempted to create an art space which celebrates French art and history, but does not cover up shameful and troubling aspects of France’s past. While the institution has made bold steps, Daniel Sherman argues that the nature of institutional structures restrains such honest reflection on cultural history

5.       Victorian Museums A recent study examines what we do when we curate historical art collections, and how museums founded in the Victorian period – such as the National Portrait Gallery – intrinsically shape the art they curate with a Victorian slant

Image credit: Patricia Ready Gallery of Art by Antenna. Public Domain via Unsplash. 

[seaofwine]

art honoring Artemis

a companion set for this piece, as i finish my art history degree here are my favorite pieces honoring Artemis.

Disclaimer: Most artists throughout the neoclassical period (in particular, but not limited to) used Artemis/Diana interchangeably for a myriad of cultural and religious reasons which I can explore in another post. I do understand that Artemis and Diana are syncretized deities with very different aspects in Greek and Roman society respectively. Additionally, many of these works have been purchased by private collectors and are only visible due to their entry into the public domain.

In order: 1) Diana the Huntress by Arturo Michelena, 1896, Residencia Presidencial La Casona, Caracas. 2) Diana the Huntress by Guillaume Seignac, portrait 1 of 2, time specific unknown, c. possibly 1890, unknown private collection. 3) Portrait of Diana the Huntress by Guillaume Seignac, portrait 2 of 2, time specific unknown, c. possibly 1890, unknown private collection. 4) Artemis and Orion from the Emilian School, c. 1625-1650, Museum of Fine Arts in Budapest. 5) Diana and Callisto by Francois Lemoyne, 1723, Los Angeles County Museum of Art (LACMA). 6) Diana and Callisto by Titian, 1556-59, National Gallery London. 7) Artemis, unknown, Roman copy of a 4th century BCE statue from Mytilene, Lesbos, on display in the Istanbul Archaeology Museum. 8) Artemis, unknown, c. 2nd century AD, on display in the New Carlsberg Glyptotek, Copenhagen.

[mythologer]

Peder Mønsted (Danish painter) 1859 - 1941

Sibylletemplet ved Tivoli (Temple of the Sibyl at Tivoli), 1884

oil on canvas

121 x 95 cm. (47.6 x in.)

signed, located and dated bottom right: P. Mønsted Tivoli 1884

private collection

© photo Bruun Rasmussen

Autotranslated Catalogue Note Bruun Rasmussen

Exhibited: Charlottenborg 1885 No. 294.Peter Mønsted made several trips to southern Europe in the 1880s, including Italy. Many of his best works date back to the decades before the turn of the century, where his work on light and color effects resulted in such mood-saturated works as the Tivoli picture here. Mønsted became extremely popular in his day and was one of the most wealthy of the Danish painters. His popularity is still high at times, and abroad has also caught the eye of the Danish painter, who equally skillfully mastered Italian summer days and Nordic snow landscapes.

* * *

Born at the end of the ‘golden age’ of Danish painting, Peder Mønsted can be described as a product of that era. A landscape painter renowned for the clarity of light common to the painters of that age, his naturalistic ‘plein-air’ views made him the leading Danish landscapist of his age. He was also known for a number of portraits, including that of King George I of Greece.

Mønsted was born in Balle Mölle, near Grenna in eastern Denmark. He studied at the Prince Ferdinand’s Drawing School, Aarhus where he studied under Andries Fritz (1828-1906), a landscape and portrait painter, before moving to Copenhagen. Here he studied at the Royal Academy of Art between 1875 and 1878, and was taught figure painting by Julius Exner (1825-1910). Here too he would have come across the work of artists such as Christen Kobke (1810-1848), an outstanding colourist and Pieter Christian Skorgaard (1817-1875), a romantic nationalist painter, a knowledge of whose work is seen in the Danish landscapes and beech forests of Mønsted’s. As early as 1874, at the age of 15, he took part in the December Exhibition in Copenhagen. In 1878 Mønsted left the Academy to study under the artist Peder Severin Kröyer (1851-1910).

Mønsted travelled extensively throughout his long career, being a frequent visitor to Switzerland, Italy and North Africa. In 1883 Mønsted travelled to Paris where he worked with W. A. Bouguereau (1825-1905) for four months. As early as 1884, he visited North Africa returning later in the decade. The early years of the 20th century saw Mønsted returning to Switzerland, the south of France and Italy, the latter being the source of inspiration for many Scandinavian artists of the 19th century. The war years curtailed Mønsted’s travel to Norway and Sweden, however the 1920’s and 1930’s saw him return to the Mediterranean. From 1879 to 1941 he exhibited regularly at the annual Charlottenborg Exhibition. Throughout his long career, Mønsted continued to paint the Danish landscape and coastline. His is a romantic, poetic view of nature; he was an artist who depicted the grandeur and monumental aspect of the landscape, with a remarkable eye for detail and colour.

His works can be found in museums in: Aalborg and Bantzen.

[otrtbs]

is there any specific reason why you chose gathering storm as the painting of ahb? (also crys (apricusapollo) and i have decided we need to see gathering storm in person at least once in our lives but it is currently in someone's private collection, so we're going to channel our inner ahb reg and plan a heist - with bulletproof vests of course - to steal it for ourselves. would you be interested in joining us?)

so regulus and water are always going to be tied together for me in some way, shape, or form. so immediately i knew that i wanted a seascape to be the Main Painting if you will (which hardly narrows anything down) i also really wanted something that was slightly ambiguous in nature. I didn't want a brutal, violent, extremely turbulent scene, but also didn't want complete tranquility either. i wanted something that better reflected who i thought regulus was. he has the ability to destroy almost effortlessly (or in a way that appears effortless) like water, and he's used that ability before. but he also has this other side to him, this side that yearns to try again, to wipe everything clean and to renew (when it comes to sirius, when it comes to correcting his mistakes w remus and james), and he's also this sustaining source of support too (for barty and evan especially).

taking it outside of just regulus for a moment, and broadening the scope, i also wanted this painting to sort of foreshadow some things. an uncertain future, impending doom (you can see the storm clouds and you know the future holds violent waves and turbulent water for the boat but you're still praying it dissipates and everything will turn out alright) a need for adventure, a need to see the world, something that's as much about the journey (if not more about the journey) as the destination.

so i wanted a painting that implied destruction, peace, support, and adventure. now, there are a lot of seascapes that fit this impending storm criteria. i scrolled through a lot of them, but Gathering Storm stuck out to me. The title caught my attention first, i felt like it fit the way i wanted art heist to go. Each chapter you know there's something brewing, something gathering and you think the heist is where the storm will hit, and when the heist is successful, you think "maybe the storm dissipated" and then in copenhagen you're DRENCHED.

I don't know if this entirely answers your question, but I hope it somewhat did!! (also it being in a private collection is my villain origin story for real and I would love to heist it w y'all! art is for the people fr, we're just taking back what rightfully belongs to the masses imo)

[jembrooke]

Hans Andersen Brendekilde (Danish painter) 1857 - 1942

A Young Woman Walks the Dog in an Autumn Forest, 1910

oil on canvas

88 x 78 cm. (34.65 x 30.71 in.)

signed and dated H. A. Brendekilde 1910

private collection

© photo Bruun Rasmussen

Hans Anderson Brendekilde was a nineteenth century Danish artist who excelled in a variety of media. He began his artistic life as a sculptor but in his maturity committed himself entirely to oils and pastel. His paintings are often on a very large scale creating delightful enveloping vistas of the beautiful Danish countryside. He painted evocative landscape paintings, harsh social realist subjects and dramatic depictions of religious subjects.

H. A. Brendekilde enrolled in the Copenhagen Academy as a sculpture student between 1870 and 1881. Between 1800 and 1900 he was involved in the realist debate in Danish art. He first exhibited in 1882 and was represented at Danish and international exhibitions, including the Worlds Colombian Fair, Chicago 1893, and the Exposition Universelle, Paris 1889. He was greatly influenced by the plein-air techniques and subjects matters of French Impressionism and inspired by naturalist, realist art. He almost always painted before the motif in nature, observing daily life and human life, only retouching his compositions in the final stages in the studio. Brendekilde applied the stylistic innovations of the French Impressionists to a personal and Danish subject matter.

About 1885 he started to paint large-scale works with landscapes and forests with white anemones and fresh green leaves, like The first anemones. With the photographic effect in the composition of landscapes and figures and the "rough" brushstrokes, Brendekilde elaborates a poetic representation of the harmony between nature and man.

Brendekilde exhibited regularly both in Denmark and throughout Europe. He was awarded annual medals both in 1892 for Spring and the following year for Une Route.

The work of Hans Anderson Brendekilde is represented in the Fyns Kunstmuseum, Odense, Denmark.

Source: Internet Antique Gazette

[i12bent]

Carl Balsgaard (Dec. 24, 1812 - 1893) was a Danish artist who specialized in fruit, flower and still life painting. He trained at the Royal Academy and in 1858 became an Academy member. He was the curator for King Christian IX’s private collection and he tutored Queen Louise in the art of painting.

Above: Opstilling med vinglas, østers, citron og andre frugter, 1858 - oil on canvas (SMK, Copenhagen)

[mscoyditch]

"Christen Dalsgaard (Danish painter) 1824 - 1907

Peasant interior with a young girl reading a letter by the window, 1852

oil on canvas

78 x 61 cm. (30.71 x 24.02 in.)

signed and dated C. Dalsgaard 1852

private collection

© photo Bruun Rasmussen

Exhibited: Presumably Charlottenborg 1852 no. 107 with the title “En ung pige, der læser et brev” (A young girl reading a letter).

The work 'A Young Girl from Salling Reading' (1851) at the Hirschsprung Collection in Copenhagen is a preliminary work for this painting.

* * *

Christen Dalsgaard was a Danish painter, a late student of Christoffer Wilhelm Eckersberg.

The son of the estate owner, Christen Dalsgaard was born on 30 October 1824 at Krabbesholm Manor near Skive in Jutland. He showed early signs of artistic talent, and received training as a craft painter. In spring 1841 Niels Rademacher, a visiting landscape painter, encouraged the young artist and convinced his parents of their son's talent.

Later that year he traveled to Copenhagen and began his art studies at the Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in October 1841. In December 1841 he began private studies with painter Martinus Rørbye. These last until 1847.

In 1843 he began his studies at the Academy's freehand drawing school, and the following year at the Academy's plaster school. Home during the summer and holidays he busied himself by filling sketchbooks with studies of the local landscape, costumes and way of life. These formed a lifelong basis for his art. He also began collecting local folk costumes, another lifelong interest.

In 1844 Dalsgaard cames under the influence of Niels Lauritz Høyen, art historian, who held a famous lecture "On the conditions for a Scandinavian national art's development" ("Om betingelserne for en skandinavisk nationalkunsts udvikling"). Høyen called for artists to search for subject matter in the folk life of their country instead of searching for themes in other lands, such as Italy (which was at that time considered a requirement for an artist's training). Dalsgaard was a loyal follower of Højen's artistic ideals, and forwent the customary journey to Italy, choosing rather to concentrate on themes closer to home.

In March 1846 he began at the Academy's model school under professors Christoffer Wilhelm Eckersberg, J. L. Lund og Martinus Rørbye.

He had his exhibition debut at Charlottenborg in 1847, and continued showing there every year with few exceptions.

In 1855 he painted his first altarpiece at the church in his hometown of Skive. He goes on to paint a number of other altarpieces in the years to come.

Christen Dalsgaard, like his contemporaries Julius Exner and Frederik Vermehren, painted primarily genre paintings, national romantic folk scenes rooted in the grasslands of Jutland. He paid great attention to details– folk costumes, manners and habits of the people, architecture and landscape. He was a storyteller. His artistic works, as well as those of his contemporaries helped open the way for more realistic paintings in the late 1800s. A collection of his work can be found at the Skive Art Museum. Other paintings can be found, among other museums at the National Museum of Art.

Source: Wikipedia".

> Christa Zaat > Painters from the North .

[monicasnorwegianlitblog]

5 Interesting Non-fiction Norwegian Books

Impressionist Trail The What, Whence and Whither of French Masterpieces in Norway by Nils Messel

The Impressionist Trail tells the story of how modern French art came to Scandinavia around the time of World War I. While continental Europe was in flames, the neutral north experienced unprecedented economic growth. Scandinavians bought art like never before. Societies for promoting French art were established in Scandinavian capitals. Splendid solo exhibitions were organised, mainly with works from new private collections. Financial realities in the early 1920s caused many Scandinavian collectors to go bankrupt. The first works to be sold off were French, and mostly to deep-pocketed Americans.

2.    Norwegian Wood: Chopping, Stacking, and Drying Wood the Scandinavian Wayby Lars Mytting

The latest Scandinavian publishing phenomenon is not a Stieg Larsson–like thriller; it’s a book about chopping, stacking, and burning wood that has sold more than 200,000 copies in Norway and Sweden and has been a fixture on the bestseller lists there for more than a year. Norwegian Wood provides useful advice on the rustic hows and whys of taking care of your heating needs, but it’s also a thoughtful attempt to understand man’s age-old predilection for stacking wood and passion for open fires. An intriguing window into the exoticism of Scandinavian culture, the book also features enough inherently interesting facts and anecdotes and inspired prose to make it universally appealing.

3. Scandinavian Christmasby Trina Hahnemann

Celebrate Christmas Scandinavian style—where every day from the first Advent Sunday to the end of December is part of the holiday. Trine Hahnemann serves up a cornucopia of festive recipes for brunches, cocktail and tea parties, lunches, and dinners, all filled with traditional goodies and delicious modern dishes. Enjoy regional specialties such as spiced gløgg wine, Slow-Cooked Goose with Apples and Prunes, Kale Salad with Pomegranate, Caramel Potatoes, Meatballs with Pickled Beets, and Chocolate-Dipped Candied Oranges. Skol!

4. North: How to Live Scandinavianby Brontë Aurell

Why are Scandinavians constantly topping the happiness table? How do you get more Scandi-style in your life? Just how do you use lagom? Whether you want your apartment to look like it belongs in Copenhagen, to workout like a Norwegian or to make cinnamon buns like a Swede, this is the ultimate insider’s guide to the countries of the north.

5. The Story of the Drinking Horn: Drinking Culture in Scandinavia during the Middle Agesby Vivian Etting

This book is a broad historical study of the use of drinking horns in Europe, with special emphasis on the Middle Ages. The use of drinking horns was concentrated in Scandinavia, Germany, and England, while the tradition never was resumed in southern Europe after the collapse of the Roman Empire. As a consequence of this, northern Europe is the main field of research in this study. Throughout millennia. the spectacular appearance of these great horns has attracted much attention, and dramatic tales and stories are attached to several of them. Mountings in gilt silver and fanciful supports testify to their high esteem, and they have always been used for memorial events or as an official token of welcome.

Sources from:

https://www.goodreads.com/book/show/20402518-the-story-of-the-drinking-horn

https://booksfromnorway.com/categories/22-hobby-travel-and-food

[themuseumwithoutwalls]

MWW Artwork of the Day (3/12/21) Gerda Wegener (Danish, 1885–1940) Lili Elbe (c. 1928) Watercolor on paper Private Collection

Steeped in Art Deco aesthetics, her paintings were considered radical for their engagement with gender, identity, and sexuality. Reversing the traditional art history model of the male gaze, Wegener gazes upon women with a different eroticism and admiration for her female subjects, whom she depicted as powerful individuals. Born Gerda Marie Fredrikke Gottlieb on March 15, 1886 in Hammelev, Denmark, she moved to Copenhagen to attend the Royal Danish Academy of Fine Arts. While attending school, she met her future husband and muse Einar Wegener, who would later transition genders to become Lili Elbe (pictured here). The couple married in 1904 and settled in Paris in 1912. Wegener’s portraits of Elbe brought her acclaim, as did her erotic illustrations and glass mosaics for Parisian patrons. She went on to win two gold medals and one bronze for her work at the World’s Fair in 1925. After Elbe’s death in 1931, however she struggled to support herself and moved back to Denmark. The artist died on July 28, 1940 in Frederiksberg, Denmark at the age of 54.  (Bio from artnet.com)

[ill-skillsgard]

The Gloaming Hour - Alex Hogh Andersen

Title: The Gloaming Hour

Characters: Alex Hogh Andersen x ambiguous fem

Warning: No real warnings. Just angst and feelings!

Note:  In honour of @flowers-in-your-hayr​​ birthday, I wrote a little imagine inspired by one of her wonderful moodboards! Thank you @maggiescarborough​​ for organizing this fun event and asking me to take part <3

The concept of this piece isn’t based on the moodboard directly, rather an idea that popped into my head from the collection of images. Hope you like it! Kisses!

+

Excitement drained from Alex's face ounce by ounce, leaving his jovial smile deflated, his bright eyes a lifeless blue. As the curator flipped through his collection of portraits, scrutiny notched a wrinkle between his eyebrows that deepened with each turn of the page. Though a facetious mustache hid the curator's top lip, Alex recognized a grimace and the discontent infiltrating the air between them.

The older man closed the portfolio and sighed. He took off his glasses, polished the lenses on the lapel of his jacket and replaced them on his nose to better assess Alex's mood.

"Alexander..."

"Please, just Alex," the photographer insisted.

"Alex. It... It just—it breaks my heart to see your passion shrivelling."

Struck as though the curator had set his work on fire before him on the desk, Alex took a half-step back to prepare for harsher evaluations. "Shrivelling? I'd have to disagree."

"This isn't up to par with what you've brought to me in recent times. There's no trace of emotion. At least, nothing genuine. They're good photos, Alex, but they're stock photos at best. Destined for a watermark."

Alex gestured at the portfolio. "They're not the worst. I made do with what I had. There's only so many angles of Copenhagen I can give you before it looks postcard-ish. I took these at the height of the panic, while the entire world held its breath waiting for answers. I feel I reflect this in my work. Did you see the one of the little girl on the swing?"

The curator pushed the folder across the desk, a final swing of the axe. "I can't put these in the show, Alex. It's not my reputation I'm worried about, it's yours. I don't want to be the rope that ties your young career to the stake. My patrons wouldn't piss on these if they were on fire. Now, your winter series... If you brought me something like that, then I'd sing a different tune. Those were raw. Unfettered by trivial surface emotions. These are rather college-level, just-got-my-hands-on-my-first-DSLR quality. We've seen much better from you."

"What about the photo of the old woman?" Alex gave one last push.

"I'm looking for a coherent series. Something that tells an ongoing story. One diamond in a bed of zirconias just won't cut it, Alex," said the curator. "But we like you here. I want you to be part of the show."

Alex nodded in agreement. "So do I."

"You have five days to put together something that will wow me. I need to be awe-struck. Do you think inspiration will strike in that amount of time?" 

"If I knew when inspiration planned a visit, I'd do nothing but schedule my time around it, trust me," Alex said.

"Five days, Alex, you have less than a week to put something stirring on my desk. I believe in you. Now, I must ask that we get a move on. I have another appointment."

Alex took his portfolio, tucked it under his arm, nodded at the curator and left the gallery. It wasn't until he stepped onto the street the numbness in his face gave way to the severe weight of rejection. He remembered walking into the studio but fifteen minutes prior, brimming with confidence, but that zeal had melted, leaving Alex dispirited and ready to give up his dreams. How could he capture a full series in a few short days? No great work of art had ever been executed in such a minimal amount of time. Alex sighed, lit a cigarette, and walked in no particular direction.

His camera hung around his neck as it nearly always did, but it only served to remind him of his shortcomings. When he passed over a canal of rushing water, Alex thought of ridding himself of the padded noose and chucking the device into the river below. Yet he clutched the camera's zoom lens, running his fingertips over the rubber grip for comfort.

Sequestered in grey daydreams, Alex's feet took him to the walking trails before his head caught up. He left the din of the city behind, and when he snapped from his ruminations, budding birch trees and new foliage surrounded him. Alex had walked the trails many times before, but that day a golden hue drenched the atmosphere and had him appreciating the landscape with eyes afresh. He wandered this way and that, losing himself in the thicket on purpose as he watched for rare birds above. 

He came to the river's bend where an arcing walking bridge connected one side to the other. A woman was standing on the apex, looking out over the water with her back turned to Alex. She paid no attention to anything but the rapids below as the gentle wind carried pieces of her hair, abandoning the strands to float about her pate like a strange halo. From afar, Alex studied the slopes of her profile, but without his glasses, he couldn't make out the subtleties that made her eye-catching. The woman didn't notice him step onto the walking bridge.

The closer Alex came to the woman, the stronger his urge to photograph her became. He uncapped the camera lens, turned on the device and adjusted the settings to compliment the evening glow. From a distance, Alex relied on the power of the lens to bring her closer. He snapped some photos, then approached another four steps, fixed his frame, and captured a few more.

Alex cycled through the newest photos and noticed something about the woman's face he hadn't before: she was crying. Below her left cheek, a small stream glimmered, the setting sun illuminating a teardrop hanging off her jaw. This discovery made Alex's heart sink. He went a little closer, snapped another picture with his proximity taken into consideration, then studied the image. Her sadness tainted the entire frame, a beacon of black and grey on a gilded backdrop.

The woman turned just as Alex clicked the shutter again, and her melancholy transformed into indignation. She swiped at her incriminating tears in hopes the stranger wouldn't see them, but it was far too late. Alex already had evidence of her mournful spell.

"Excuse me! Just what do you think you're doing taking photos of me?" The woman yelled, approaching swiftly. "Did I give you permission to take my picture?"

The photographer took a step back, abandoning his camera near his chest to display open palms. "I'm sorry! I didn't mean to bother. You just looked so... I'm sorry. I'll delete them, I promise."

Redness swallowed the whites of her eyes. Now that she was within slapping distance of Alex's face, it was clear the woman had been suffering there on the bridge for a long while. Though all traces of her dreary expression fled, he got the sense something terrible had happened to her, and he had taken advantage of her private moment for his benefit.

"Why would you do that? Take pictures of people without them knowing?" She demanded to know.

"I'm a photographer. I swear, I'm not some creepy guy that goes around taking photos of women."

"Pfft," she hissed. "I bet you have loads of disgusting pictures on that thing because you're a man, and all men are absolutely disgusting!"

Taken aback by her accosting, Alex realized her hurt ran deep and fresh. Her tears dried up, leaving behind nothing but scorn and red, puffy cheeks. Whatever internal wound she bore still bled, and he apologized again in hopes the woman might forgive him.

"Honestly, I'm just a photographer. Not a weirdo. Here, I'll even show you what I have on my camera roll. It's nothing but portraits and pictures of trees, I swear on my life. I was just walking and saw you on the bridge, and you looked... Um."

Her anger lessened, curiosity taking its place at least in her eyes. "I looked what? What did I look like?"

Alex chewed his bottom lip and toed a plank of the walking bridge. She met his silence with another step forward.

"You looked so sad... And beautiful," whispered Alex.

She clicked her tongue, shaking her head as a sarcastic laugh punched the air. "You're so full of shit."

"I'm not lying!" Alex defended himself. "Look for yourself."

The photographer turned his camera around, but the woman stepped back. Alex sighed, waited for her to build up enough trust to approach him, and let her come to his side when she was sure he wouldn't lunge. She looked at the display and the photo he'd captured of her hanging her head, one lone teardrop on her face alight with the diminishing aura of day. 

"Well... It's not terrible, I guess," she said.

"I'll still delete them," assured Alex

The woman shook her head. "You're a real photographer? Like a real, professional one?"

Alex fetched a business card from his pocket and passed it to her. She scanned the piece of cardstock and then his face.

"I've had my work displayed in art galleries if that helps."

"I guess it does."

A silence leavened the tension between them. The warbling water below clashed with bird calls above, and the sun slipped away, leaving them in deepening twilight. After five long minutes of quietude, the woman finally sighed.

"You don't have to delete them. They're good. You're obviously talented, and who am I to stifle your art?"

Surprised by her revelation, Alex chuckled nervously. "You sure? I don't have a problem getting rid of them."

"No," she shook her head. "You somehow made the shittiest day of my life look... Beautiful."

There was something about the woman's change of mind that told of understanding and kindness. Alex suddenly wanted to comfort her further. He slipped his camera behind him and spread his arms open. She flinched at this but realized what he meant to do.

"Would you like a hug? You look like you could use a good hug," offered Alex.

She bit the inside of her cheek as a bubble of a sob fought to escape her throat. Nodding while her eyes brimmed with another crop of tears, she stepped into his embrace and crushed her face into the collar of his denim coat. Surprised by the strength in which she clung to his torso, Alex matched it and held the girl tight until her tears dried up once more.