Anna Ancher the Pastels

Total Page:16

File Type:pdf, Size:1020Kb

Anna Ancher the Pastels anna ancher The Pastels Elisabeth Fabritius forlaget vandkunsten the royal library Published with generous support from Foreword 7 The American-Scandivian Foundation Pioneer in Danish Pastel Painting 9 Twenty-Five Pastels 15 The Art of the Pastel 67 Anna Ancher’s Colours and Technique 71 Biography 79 References 95 Index 96 i would like to express my sincere thanks to Suzanne Ludvigsen, Art Historian, for a critical reading Minna Mortensen, Michael and Anna Ancher’s House in Skagen, for information on family relationships in Skagen Østerby Hans Nielsen, Skagen Local Archive, for information on houses and fi gures in Skagen Jean-Pierre Mérat, President of the Société des Pastellistes de France for references and technical information Foreword anna ancher (1859–1935) is considered to be America, there is a curious tendency to over- one of the fi nest of the Scandinavian artists look them. They are small in number in com- who excelled as pastel painters in the 1880s. parison with oil paintings and differ from In the paucity of literature on pastels, she is them aesthetically in ways that make a stylis- regarded to be on a level with the best known tic comparison diffi cult. And they are rarely pastel artists of the day: Danes such as Th. exhibited together. On account of their fra- Philipsen and P.S. Krøyer, Swedes such as Bru- gility, pastels are usually enclosed behind no Liljefors and Anders Zorn and Norwegians glass and sealed frames, which complicates a like Fritz Thaulow and Asta Nørregaard. Many closer examination, and only a small number more Scandinavian artists went in for pastel of conservators have any real experience with painting, which reached its peak at the end of them. In museums, pastels on paper are typ- the 19th century, and Anna Ancher was one ically kept together with drawings and graph- of the fi rst. ics, separate from pastels on canvas, which Anna Ancher’s pastels represent a limited, are usually kept in storerooms along with but very striking part of her art and have not paintings. previously been the subject of study or spe- Twenty-fi ve of Anna Ancher’s pastels are cifi c publication. Danish pastel painting is presented here, all of which can be counted Assistance Relating to Conservation Techniques virtually unexplored in general, and nor does as independent works of art. Pastels made as the subject receive more than scant consider- preparatory studies for oil paintings are not The technical comments on the individual now cand.scient.cons. She also analysed sam- ation in other countries. Work on this book included. The existence of a further 25 is pastels have been written on the basis of ob- ples of the canvas from the pastels on pp. 24, has surprisingly shown that Anna An cher’s known from ex hibition and auction cata- servations made by the painting conserva- 26, 31, 33, 37, 42, 47, 61, and the ground of pas- special character and artistic intentions are logues and unpublished sources. Eleven of tor, Lone Bøgh, and me in 2003–04. This does tels on pp. 26, 31, 37, 47 and 63. Finally, Kath- more clearly to be seen in the pastels than in these have been traced, while the fates of the not, however, apply to the pastel in the Ice- rine Segel and I have evaluated the technical her oil paintings. others are uncertain. There are presumably landic Art Museum (p. 33), which was exam- comments. The chapter on Anna Ancher’s Pastel is as fi ne as the dust on a butterfl y’s even more in unknown private collections. ined in 2004 by the then head conservator, paint and technique was written on the basis wing, so delicate that it is scarcely ever pos- A complete list will be published in my forth- Viktor Smári Sæmundsson, during a visit I of discussions between myself and Lone sible to assemble a major exhibition in which coming monograph on the artist. made there. During the winter of 2005–06, Bøgh and my studies of technical literature it is possible to study the special character Most of the pastels are owned by Michael three canvases in Den Hirschsprungske Sam- in research libraries in various places, includ- and splendid range of colour in pastel paint- and Anna Ancher’s House in Skagen, Skagens ling (pastels p. 37, 52, 63) were macrophoto- ing Paris. The chapter was subsequently ings and to draw comparisons between tech- Museum and Den Hirschsprungske Samling, graphed by the conservator, Mikkel Scharff, eval u ated and formulated in collaboration niques and painters. Concern for conser- others by Statens Museum for Kunst and the the head of the art department in the Royal with Kathrine Segel, who has contributed vation is virtually insurmountable. Hence art museums in Odense and Sorø. I would like Danish Academy of Art School of Conser- her valu able observations of Anna Ancher’s this book on Anna Ancher’s pastels. to thank my museum colleagues for their vation. They were subsequently analysed by canvases and her use of ground. Although pastels enjoy a fair amount of ready help and their interest in the project, es- the conservation, technician Kathrine Segel, popularity, especially in Britain and North pecially the art historian, Inge Mejer Anton- 7 sen, a member of the board of the Helga nical aspects can now be published, some- Ancher Foundation, and the art historian thing for which I am very grateful indeed to Suzanne Ludvigsen. Finally, I have encoun- both of them. In the course of our work I was tered great kindness on the part of the own- also given information by Marjorie Shelley, Pioneer in Danish Pastel Painting ers of private collections, who have permitted the chief conservator in the Metropolitan Mu- me to examine their pastels and made them seum in New York, by Lesley Carlisle of the available for this book. I have also received Tate Gallery, London, and by Professor practical help and great interest from the Mu- Anthea Callen. So this book is the result of a Anna Ancher, famous as one of the Skagen the chosen motif. This clearly refl ects Anna seumsbygningens Kunstauktioner (now Lau- happy collaboration between the humanities artists and married to the painter Michael An- Ancher’s manner of working. There are many ritz.com) and Bruun Rasmussen in Copen- and technology. cher, was from her early youth recognised as examples of her painting a motif over and hagen. I am deeply grateful to them all. an independent and talented painter. When over again. As for the story of the genesis of The project was started in 2003, and in 2004– the Skagen artists’ colony was at its peak in these works and their order in relation to each Without an expert evaluation of the tech- 05, the Ministry for Science, Technology and the fi rst half of the 1880s and painters from other, it is only possible to guess, for she rare- nical aspects of Anna Ancher’s pastels, the Development supported the compilation of Scandinavia, Germany and England went ly signed or dated them, and she left no other book would not have the same value. So I am the manuscript with a major grant. The there to pursue plein air painting in the strong concrete information of any kind. profoundly grateful to Lone Bøgh, the con- project was completed in the Royal Library light on the point between the two seas, Anna Her method and approach to her craft servator of paintings, for making her tech- in 2005–06, where I am provided with facili- Ancher was already a central fi gure. She pre- were very different indeed from those prac- nical competence and experience available to ties as a researcher. My sincere thanks go to ferred to paint human fi gures, studies of tised by her husband, Michael Ancher, a man me in 2003. Together, we examined more pas- both the Ministry and the Royal Library for women at work, children and old people, but ten years older than she. He had been taught tels than those here published and we sub- enabling me to complete this project. she herself said that colour was the most im- in the Royal Danish Academy of Fine Arts in sequently discussed the results of our obser- portant thing to her and her real inspiration. the 1870s and learned how by means of a series vations in relation to technical treatises from Without publication, the results of the project Anna Ancher was one of the fi rst artists in of sketched and painted preparatory works it the artist’s own time and more recent profes- would remain unknown. So I would like to Denmark to work in pastels when this French- was possible to arrive at a fi nished result that sional literature. Unfortunately, we had not express my thanks to the Beckett Founda- inspired technique gained new popularity at could be presented to the public. She closely concluded our discussions before Lone Bøgh’s tion, the Augustinus Foundation and Mr. the end of the 19th century. The fi rst known followed this process in his work. She herself sudden death in spring 2005. I owe her a pro- Bent Fredberg, owner of Brøndums Hotel for pastel by her was signed with her maiden had no such systematic teaching, since as a found debt of gratitude for valuable and in- support to the Danish edition and The Amer- name, Anna Brøndum and dated 1880, when woman she was not allowed to attend classes spiring collaboration. ican-Scandinavian Foundation for generous it was presented as one of her debut paintings in the Academy, and it was only the exception Lone Bøgh’s desire to analyse selected can- support for the English version, made pos- in Charlottenborg.
Recommended publications
  • Engaging Young Adults to Read About Artworks
    IT UNIVERSITY OF COPENHAGEN BACHELOR THESIS Engaging Young Adults to Read about Artworks Rethinking Interpretive Text through User-centered Design AUTHOR: LINDA ROGBERG SUPERVISOR: ANDERS SUNDNES LØVLIE MAY 2018 ABSTRACT Smartphones are becoming increasingly integrated in the museum experience, which paves the way for designers to experiment with alternative mediation processes. This paper presents a case study of the image recognition app Vizgu. The project is driven by a Research through Design approach, presenting a format for interpretive text of artworks in a locative media app. The format is based on a twofold design challenge. One, to design a story-editor tool that assists backend users to re-write interpretive texts. Two, to offer a redesign that supports the experience. Through a user-centered design approach, the format was tested and evaluated in three iterations with potential users. In the finale evaluation it was found that the story-editor tool could be used by inexperienced writers to re-write stories. Additionally, the re-written stories were evaluated in a prototype with users. It was evident that text must be presented in a manageable way with reduced amount of text, and that the stories must be written with a concrete language style using deictic writing to enhance the storytelling experience. To conclude, the results indicate that the format engages young adults to read about artworks. Yet, further research is necessary in order to make sufficient conclusions. 1 out of 72 TABLE OF CONTENTS 1. INTRODUCTION .............................................................................................................................................
    [Show full text]
  • Miljøvurdering Af Fællesaftalen for Skagen
    FÆLLESAFTALE OM KYSTBESKYT- TELSE PÅ STRÆKNINGEN SKA- GEN MILJØVURDERING Miljøvurdering af fællesaftalen KOLOFON Titel: Miljøvurdering af fællesaftalen for kystbeskyttelse Skagen Udgiver: Kystdirektoratet, Kystbeskyttelse - Drift og anlæg Forfatter: Rambøll År: 2020 Rambøll Hannemanns Allé 53 DK-2300 København S T +45 5161 1000 F +45 5161 1001 www.ramboll.dk | 1/99 MILJØVURDERING AF FÆLLESAFTALEN KYSTBESKYTTELSE VED SKAGEN INDHOLD 1. INDLEDNING 3 2. IKKE-TEKNISK RESUMÉ 6 3. BESKRIVELSE AF FÆLLESAFTALENS INDHOLD 9 4. MILJØVURDERINGENS INDHOLD OG METODE 12 5. FORHOLD TIL ANDEN PLANLÆGNING 14 6. ALTERNATIVER 18 7. LANDSKAB 20 8. KYSTDYNAMIK, STRØMNING OG SEDIMENTATION 32 9. VAND 38 10. LUFT 42 11. KLIMA 45 12. JORD 49 13. MARIN BUNDFAUNA 52 14. FISK 58 15. HAVPATTEDYR, HAVFUGLE, BESKYTTEDE MARINE OMRÅDER OG BILAG IV- ARTER 62 16. NATUR PÅ LAND 70 17. KULTURARV OG HISTORISKE INTERESSER 77 18. MATERIELLE GODER 82 19. TURISME OG REKREATION 85 20. BEFOLKNING OG MENNESKERS SUNDHED 89 21. KUMULATIVE EFFEKTER 94 22. AFVÆRGETILTAG 97 23. SAMMENFATTENDE VURDERING 98 24. OVERVÅGNING 99 | 2/99 MILJØVURDERING AF FÆLLESAFTALEN KYSTBESKYTTELSE VED SKAGEN 1. INDLEDNING 1.1 Baggrund for fællesaftalen Siden 1982 har kystbeskyttelsesindsatsen på den 4,4 meter lange strækning ved Skagen været fastlagt på grundlag af et- og femårige fællesaftaler mellem staten, daværende Nordjyllands Amt og Frederikshavn Kommune. Fællesaftalen mellem Frederikshavn Kommune og staten, som gæl- der i perioden 2020-2024, er en forlængelse af den forrige femårige aftale for perioden 2014- 2018(19). Den nye fællesaftale mellem Frederikshavn Kommune og staten omfatter perioden 2020-24 og består af en økonomisk ramme, hvor det overordnede formål er, at kysten så vidt muligt bevares som den er i dag.
    [Show full text]
  • 2017-08-19 Copenhagen Liberty
    Copenhagen Liberty Sunday, August 20 We had a couple hours between flights and went to Huxley's for an English Breakfast. We both had opened the box breakfast British Airways offered about an hour and a half before landing... and we closed the boxes back up. Then we cleared the checkpoint for through passengers and had time to catch up before our connecting flight to Copenhagen. Liz had salmon eggs Benedict and I had eggs, English bacon and a banger, grilled tomato, and baked beans. The banger was less than tasty and my stomach began acting up, either from the curried chicken the night before or the banger this morning. I was uncomfortably cramped. We walked through the terminal to catch the transfer train to our gate. They had a standing, woman shaped screen which almost seemed like a hologram and, depending which language had been selected, spoke to passersby to tell them how to use the train. It was quite clever and very realistic. We followed her guidance and made our way to Gate 62 in A Terminal. The two hour flight passed quickly and we were immediately met at luggage claim by our guide to the hotel. There were six people in our ride but later that day we would be joined by another 19 people on the On Line Vacation extension. When we arrived at the Trivoli Hotel and Convention Center we were 121 surprised to see Olivier, our London hotel guide from last year. He would coordinate our booking and then go on to Stockholm later in the week.
    [Show full text]
  • ANNUAL REPORT Report for the Fiscal Year July 1, 2018–June 30, 2019
    ANNUAL REPORT Report for the fiscal year July 1, 2018–June 30, 2019 1 ANNUAL REPORT Report for the fiscal year July 1, 2018– June 30, 2019 CONTENTS Director’s Foreword..........................................................3 Milestones ................................................................5 Acquisitions ...............................................................6 Notable Library Acquisitions .................... .............................8 Exhibitions ............................................................... 9 Loans ...................................................................12 Clark Fellows .............................................................14 Scholarly Programs ........................................................15 Publications ..............................................................18 Library ..................................................................19 Education ............................................................... 20 Member Events .......................................................... 21 Public Programs ...........................................................24 New Employee List .........................................................34 Financial Report .......................................................... 35 DIRECTOR’S FOREWORD The Clark Art Institute stands with its historic beauty, welcoming visitors to Williamstown and demonstrating its ability to expand and grow as an institution. This year was marked with some exceptional special exhibitions, exciting
    [Show full text]
  • The Holistic Portrait Peter Michael Hornung, Editor
    88 THE HOLISTIC PORTRAIT By Peter Michael Hornung, Editor and Art Critic at “Politiken” Like other artists in our chaotically picture rich modern age, the painter Ralph Heimans also owes a professional debt to the art that preceded his own work his- torically. However, though he may have turned to it, asked it questions and drawn inspiration from it, he has never copied it. On the other hand, though, his personal standpoint as an artist is a result of the inspiration he drew from it. No one can create anything lasting and valuable without swearing some sort of oath to history, and any artist, even the most rebellious and experimental (or the opposite), must inscribe his or her work in a development, in which he or she serves as a link between past and future: between what went before and maybe influenced them, and what will come after and perhaps be coloured by them. This applies particularly to any artist who has chosen portrait painting as his or her sphere. In this field, the models extend far back in history. The need to be portrayed has existed for as long as there has been people with power and influ- ence: people who wished to be notably present, not only in their age, but also for posterity. Portraits are like memories. With the right degree of likeness they pos- sess the special capacity to make absent people present. Consideration for this likeness is also the reason why people still allow themselves to be painted, model- led, photographed, sketched etc. Heimans’ success as an artist in this historic genre lies not only in the fact that his paintings present a ‘likeness’, as it is referred to in the profession: in other words, that there is a clear and visible correspondence between the character appearing in the painting and the person who was the reason for that painting, and whom the painting must either remind us of or introduce us to.
    [Show full text]
  • Danmarks Kunstbibliotek the Danish National Art Library
    Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk . o. (ORPORATfON OF Londoi 7IRTG7ILLE1? IgpLO G U i OF THE LOAN COLLECTIO o f Picture 1907 PfeiCE Sixpence <Art Gallery of the (Corporation o f London. w C a t a l o g u e of the Exhibition of Works by Danish Painters. BY A. G. TEMPLE, F.S.A., Director of the 'Art Gallery of the Corporation of London. THOMAS HENRY ELLIS, E sq., D eputy , Chairman. 1907. 3ntrobuction By A. G. T e m p l e , F.S.A, H E earliest pictures in the present collection are T those of C arl' Gustav Pilo, and Jens Juel. Painted at a time in the 1 8 th century when the prevalent and popular manner was that better known to us by the works o f the notable Frenchmen, Largillibre, Nattier, De Troy and others, these two painters caught something o f the naivété and grace which marked the productions of these men. In so clear a degree is this observed, not so much in genre, as in portraiture, that the presumption is, although it is not on record, at any rate as regards Pilo, that they must both have studied at some time in the French capital. N o other painters of note, indigenous to the soil o f Denmark, had allowed their sense of grace such freedom to so express itself.
    [Show full text]
  • Malerier Og Tegninger 1 - 126
    FINE ART + ANTIQUES International auction 872 1 - 547 FINE ART + ANTIQUES International auction 872 AUCTION 30 May - 1 June 2017 PREVIEW Wednesday 24 May 3 pm - 6 pm Thursday 25 May Public Holiday Friday 26 May 11 am - 5 pm Saturday 27 May 11 am - 4 pm Sunday 28 May 11 am - 4 pm Monday 29 May 11 am - 5 pm or by appointment Bredgade 33 · DK-1260 Copenhagen K · Tel +45 8818 1111 · Fax +45 8818 1112 [email protected] · bruun-rasmussen.com 872_antik_s001-013_start.indd 1 04/05/17 18.37 Lot 66 DEADLINE FOR CLAIMING ITEMS: WEDNESDAY 21 JUNE Items bought at Auction 872 must be paid no later than eight days from the date of the invoice and claimed on Bredgade 33 by Wednesday 21 June at the latest. Otherwise, they will be moved to Bruun Rasmussen’s storage facility at Baltikavej 10 in Copenhagen at the buyer’s expense and risk. This transportation will cost DKK 150 per item VAT included, and storage will cost DKK 150 per item per week VAT included. SIDSTE FRIST FOR AFHENTNING: ONSDAG DEN 21. JUNI Effekter købt på auktion 872 skal være betalt senest 8 dage efter fakturadatoen og afhentet i Bredgade 33 senest onsdag den 21. juni. I modsat fald bliver de transporteret til Bruun Rasmussens lager på Baltikavej 10 i Københavns Nordhavn for købers regning og risiko. Transporten koster 150 kr. pr. effekt inkl. moms, og opbevaringen koster 150 kr. pr. effekt pr. påbegyndt uge inkl. moms. 872_antik_s001-013_start.indd 2 04/05/17 18.37 DAYS OF SALE ________________________________________________________ FINE ART + ANTIQUES Tuesday 30 May 4 pm Paintings
    [Show full text]
  • Peintures D'atmosphère De Krøyer À Hammershøi
    Peintures d’atmosphère de Krøyer à Hammershøi Septembre-octobre 2021 Sommaire AVANT-PROPOS ·························································································· 2 Comment j’ai rencontré la peinture d’atmosphère du Danemark 2 L’exposition « Peintures d’atmosphère de Krøyer à Hammershøi » 4 LES ŒUVRES EXPOSÉES ················································································ 6 Peintures d’extérieurs ·············································································· 6 P..J., « Une artiste sur le ponton près d’Helsingør » ························· 6 Laurits Tuxen, « L’homme qui cherche de l'ambre sur la plage»······ 7 Erik Henningsen, « Des pécheurs demandent leur chemin » ············ 9 Søren Bjulf, « Marché aux Poissons à Copenhague » ······················· 10 Hans Kruuse, « La plage de Skagen » ················································ 11 Oscar Herschend, « Ambiance neige » ·············································· 12 Peintures d’intérieurs ··············································································· 13 Christen Lyngbo, « Femme plumant l'oie de Noël » ························ 13 Peter Ilsted ······················································································· 14 « La famille de l’artiste un jour de pluie » ······························· 15 « Maison de pêcheur à Hornbæk » ········································· 16 Christian Aigens, « Vue sur le Fjord de Vejle » ······························· 17 Christian Aigens, « Vue sur la mer » ···············································
    [Show full text]
  • European Revivals from Dreams of a Nation to Places of Transnational Exchange
    European Revivals From Dreams of a Nation to Places of Transnational Exchange EUROPEAN REVIVALS From Dreams of a Nation to Places of Transnational Exchange FNG Research 1/2020 Akseli Gallen-Kallela, Illustration for the novel, Seven Brothers, by Aleksis Kivi, 1907, watercolour and pencil, 23.5cm x 31.5cm. Ahlström Collection, Finnish National Gallery / Ateneum Art Museum Photo: Finnish National Gallery / Hannu Aaltonen European Revivals From Dreams of a Nation to Places of Transnational Exchange European Revivals From Dreams of a Nation to Places of Transnational Exchange European Revivals. From Dreams of a Nation to Places of Transnational Exchange FNG Research 1/2020 Publisher Finnish National Gallery, Helsinki Editors-in-Chief Anna-Maria von Bonsdorff and Riitta Ojanperä Editor Hanna-Leena Paloposki Language Revision Gill Crabbe Graphic Design Lagarto / Jaana Jäntti and Arto Tenkanen Printing Nord Print Oy, Helsinki, 2020 Copyright Authors and the Finnish National Gallery Web magazine and web publication https://research.fng.fi/ ISBN 978-952-7371-08-4 (paperback) ISBN 978-952-7371-09-1 (pdf) ISSN 2343-0850 (FNG Research) Table of Contents Foreword .................................................................................................. vii ANNA-MARIA VON BONSDORFF AND RIITTA OJANPERÄ VISIONS OF IDENTITY, DREAMS OF A NATION Ossian, Kalevala and Visual Art: a Scottish Perspective ........................... 3 MURDO MACDONALD Nationality and Community in Norwegian Art Criticism around 1900 .................................................. 23 TORE KIRKHOLT Celticism, Internationalism and Scottish Identity: Three Key Images in Focus ...................................................................... 49 FRANCES FOWLE Listening to the Voices: Joan of Arc as a Spirit-Medium in the Celtic Revival .............................. 65 MICHELLE FOOT ARTISTS’ PLACES, LOCATION AND MEANING Inventing Folk Art: Artists’ Colonies in Eastern Europe and their Legacy .............................
    [Show full text]
  • Danmarks Kunstbibliotek the Danish National Art Library
    Digitaliseret af / Digitised by Danmarks Kunstbibliotek The Danish National Art Library København / Copenhagen For oplysninger om ophavsret og brugerrettigheder, se venligst www.kunstbib.dk For information on copyright and user rights, please consult www.kunstbib.dk D 53.683 The Ehrich Galleries GDlö ilaøtrrø” (Exclusively) Danmarks Kunstbibliotek Examples French SpanS^^ Flemish Dutch PAINTINGS 463 and 465 Fifth Avenue At Fortieth Street N E W YO R K C IT Y Special Attention Given to the Expertising, Restoration and Framing o f “ (®li fHastrrii” EXHIBITION of CONTEMPORARY SCANDINAVIAN ART Held under the auspices of the AMERICAN-SCANDINAVIAN SOCIETY Introduction and Biographical Notes By CHRISTIAN BRINTON With the collaboration of Director KARL MADSEN Director JENS THUS, and CARL G. LAURIN The American Art Galleries New York December tenth to twenty-fifth inclusive 1912 SCANDINAVIAN ART EXHIBITION Under the Gracious Patronage of HIS MAJESTY GUSTAV V King of Sweden HIS MAJESTY CHRISTIAN X Copyright, 1912 King of Denmark By Christian Brinton [ First Impression HIS MAJESTY HAAKON VII 6,000 Copies King of Norway Held by the American-Scandinavian Society t 1912-1913 in NEW YORK, BUFFALO, TOLEDO, CHICAGO, AND BOSTON Redfield Brothers, Inc. New York INTRODUCTORY NOTE h e A m e r i c a n -Scandinavian So c ie t y was estab­ T lished primarily to cultivate closer relations be­ tween the people of the United States of America and the leading Scandinavian countries, to strengthen the bonds between Scandinavian Americans, and to advance the know­ ledge of Scandinavian culture among the American pub­ lic, particularly among the descendants of Scandinavians.
    [Show full text]
  • 1 Træk Af Historien Om Hornbæk Egnen Og Grundejerforeningen
    1 Træk af historien om Hornbæk egnen og Grundejerforeningen Sandager Af Niels Høiby, formand for Grundejerforeningen Sandager Hornbæk er oprindelig en fiskerby grundlagt i 1497 og fejrede sin 500 års fødselsdag i 1997. Navnet Hornbæk optræder første gang i et kongebrev i 1173 som Hornisbech, som benævnelse for bækken og i 1497 som en samlet bebyggelse i Esrum Klosters Brevbog (Codex Esromensis) og skatteliste, hvor cisterciensermunkene fastsatte fæsteafgift for Olaf Bendtsen til en tønde fisk. Klosteret var landsdelens største godsejer og dets ejendomme blev drevet af fæstere, der ved forskellige ydelser betalte deres fæsteafgifter (landgilde). I 1774 strandede det engelske skib ’Nelly & Isabell’ i bugten ved Villingebæk , flere sømænd druknede, men skipperen blev reddet i land af Hornbæks fiskere. Det inspirerede Johannes Ewald til at skrive syngespillet ’Fiskerne’ som opførtes første gang i 1780 på Det Kongelige Teater og som foregår i Hornbæk. En af fiskerne synger ’Kong Christian stod ved højen Mast’ og det blev Danmarks kongesang i 1906. Mindeankeret i Hornbæk over redningsdåden blev afsløret i 1930. I 1808 besøgte kong Frederik VI Hornbæk og året efter navngaves et kirkeskib ’Frederik VI’ og ophængtes i kirken, de tre andre kirkeskibe stammer fra den danske kaperkrig mod England 1807-14. I 1835 grundstødte hornbækfiskeren Ole Jydes skib Bente Marie af Hornbæk under et voldsomt uvejr om vinteren ved Grenå og han blev reddet af bonden Søren Kanne, som red ud til ham i vandet på sine to heste. Redningsdåden fik digterpræsten St. St. Blicher til at skrive et digt om Søren Kannes dåd og i Hornbæk kirke hænger et lille kobberrelief af billedhuggeren Erstad, der viser redningsmanden på vej ud til vraget.
    [Show full text]
  • Téléchargez Le Dossier De Presse
    Ouverture Contact presse : Musée Claudine Colin Communication Marmottan au public T. +33 (0)1 42 72 60 01 - www.claudinecolin.com en 2021 • Christelle Maureau Monet [email protected] ACADÉMIE DES BEAUX-ARTS L’HEURE BLEUE DE PEDER SEVERIN KRØYER Musée Marmottan Monet – L’Heure bleue de Peder Severin Krøyer Dossier de presse 1 Peder Severin Krøyer, La Plage au sud de Skagen, 1883 - Huile sur toile, 137 x 122 cm, Kiel, Kunsthalle zu Kiel © Kunsthalle zu Kiel, Photo : Foto-Renard, Kiel L’inscription portée sur la toile « À H.D. de S.K. 9. Oct. 1906 » est le témoignage d’un cadeau de l’artiste au peintre, poète et écrivain Holger Drachmann, à l’occasion de son soixantième anniversaire, c’est-à-dire vingt-trois ans après qu’elle ait été peinte. Il s’agit d’une œuvre exceptionnelle dans la production de Krøyer, inspirée du mouvement « romantique naturaliste » qui se nourrit de l’idée que la nature est investie d’une force divine et que tout émane de cette force. SOMMAIRE 04 I – Avant-propos 06 II – Communiqué de presse 08 III – Peder Severin Krøyer, l’un des plus grands peintres de la peinture danoise de son temps 12 IV – L’heure bleue 14 V – Parcours de l’exposition 32 VI – Partenariats scientifiques du musée Marmottan Monet 33 VII – Autour de l’exposition 34 VIII – Visuels presse 38 IX – Commissariat – Scénographie 40 X – Programmation 2021 – 2022 45 XI – Informations pratiques I AVANT-PROPOS L’art des pays du Nord est riche de peintres très talentueux. Depuis quelques décennies, on assiste, en France, à une redécouverte progressive de cette école.
    [Show full text]