THE DEMOCRACY racy OF NATURE Nature [ GERTRUD OELSNER

ABSTRACT The close connections between and politics in the were not limited to the period of the adoption of ’s first democratic constitution and the stormy

years that followed, up to the country’s defeat in the Second Schleswig War in 1864. From

around 1800, art became in many ways a mirror of the political situation in

the country. The first half of the 19th century offers a wide range of artistic testimonies to

] the political inclinations and preferences in relation to landscape art. In the works of Jens

Juel (1745-1802), C. W. Eckersberg (1783-1853), J. Th. Lundbye (1818-1848), P. C. Skovgaard

(1817-1875) and (1819-1903), we can make out the emerging contours of a new political and artistic agenda. This article focuses on a number of case studies from the that will be used to discuss the relationship between art and politics in this period...... KEYWORDS Landscape art, politics, J. Th. Lundbye, P. C. Skovgaard, .

Political

You would like to know what works I have in progress; I only gather material for works; I paint chiefly around and about, inside the forest; there are wonderful tall trees that stand individually, or gather into voluminous groups and closely-packed masses, now and then with a view, between the trunks, of the lovely Nærum Valley; it is especially lovely in the af- ternoon; now there is fine green grass for the forest floor, now great clusters of raspberries, ferns and willow-herb in bloom, and finally charming, light young forest; this is more than can be painted, so it is no matter if other countries have even more beautiful landscapes. (Skovgaard, Letter to )

This is an extract from a letter written by the painter P. C. Skovgaard (1817-1875) to the National-Liberal politician Orla Lehmann (1810-1870) in 1853. The surviv- ing correspondence between the two is one of many examples of the extensive connections between artists and politicians at a time when the modern nation- state of Denmark was being established and the struggle for a democratic consti- tution was taking place. However, the close connections between art and politics were not limited to the period around the adoption of Denmark’s first demo-

GERTRUD OELSNER, Curator at Fuglsang Kunstmuseum Aarhus University Press, Romantik, 01, vol. 01, 2012, pages 69-101 69 745- 1 779. Besides 1

772- 1 1 848), P. C. Skovgaard C. Skovgaard 848), P. 1 8- 1 8 800, landscape art became 1 1 Baroness Matilda Guiguer de Prangins in Baroness Matilda Guiguer de Prangins 800. A lesser-known but in this context 800. A lesser-known 1 903), we can make out the emerging con- can make 903), we 1 9- 1 864. From around around 864. From ), in which the young baroness is shown in the is shown baroness the), in which young 1 8 1 of the foreground with of the the foreground Baumschlag resting 1 853), J. Th. Lundbye ( 853), J. Th. Lundbye 1 0), mostly of Danish subjects, though a smaller num- though of Danish subjects, 0), mostly 783- 1 1 779, ill. 1 (

8th century, up to the year the up to year 8th century, 1

875) and Vilhelm Kyhn ( and Vilhelm Kyhn 875) 1 Patriotic Idylls and Political Allegories Idylls and Political Patriotic 7- This is not simply a portrait, it is also a detailed rendering it was portrait, it is also a detailed of nature; a simply This is not of his portraits, Juel’s landscapes rep- the numbers large against Measured the framing stylized, From 1 8 802), C. W. Eckersberg ( Eckersberg 802), C. W. 1 tours of a new political and artistic agenda, and in the next few pages a number pages and in the and artistic political next few agenda, of a new tours the will be used to Danish Golden Age from landscape painters of of case studies art and politics in this period.discuss the between relationship red deer, we look out over the landscape to Fredensborg Castle in the distance. the Fredensborg to landscape look out over we deer, red undoubtedly produced with inspiration from the milieu of thinkers of which of which the milieu of thinkers from with inspiration produced undoubtedly as a portrait as Juel was Juel became a part Fêted in Switzerland. during his stay within with bore it the this art landscape genre work that to painter, Juel claimed 44). Kold moments’ and in idle pleasure ‘for (Weinwich; a small proportion con- something of the only but thereresent is still oeuvre, in his description landscape painter. of his activity as a underplayed spicuously because of the of in the genre status official This is probably this was . However, favoured of the still time, which hierarchy a great to prompted changes, substantial undergo that soon to was a hierarchy that no longer bourgeoisie was the of a burgeoning extent by art requirements thedemanding allegorical, landscape genre. but preferred historical narratives his long journey after Juel painted View from from returning abroad, years A few Sørup Castle (ill. 2). of Fredensborg sheltering context of the foliage above, in her garden, with a wide view of Lake with of Lake a wide view in her garden, sheltering above, context of the foliage and her property in the background. 1 cratic constitution and the stormy years that followed, up to the up to country’s defeat thatfollowed, years the and constitution stormy cratic in in the War Second Schleswig ( in many ways a mirror of the political situation in the country. The first half of a mirror The first of the in the political situation ways country. in many to of artisticthe political testimonies range the century a wide nineteenth offers of Jens Juel ( of landscape artists. In the works and preferences inclinations stays at the classic destinations in and , the journeyto Juel and Naples, in Rome took at the destinations classic stays he became part where a philosophical Switzerland, of a milieu that cultivated derivingdiscourse of human be- Rousseau. In this the discourse, from qualities part Juel by of the This is reflected a key agenda. were ings in the of nature state sur- in natural the shown where subject of his portrait are in a number of works portraits, since the figure surrounding landscape simply these not are roundings: of this One example is is also portrayed. her park at Lake Geneva ber were inspired by the by long journey inspired Juel made in the years ber were important side of Juel’s work is that he also painted 75 landscapes (Hvidberg- is that he also painted 75 of Juel’s work side important Miss and Zacho Hansen, Jens Juel is one of the most important Danish portrait artists; he worked at the Danish portrait artists;Jens Juel is one of the important he worked most end of the

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01 7 JOURNAL FOR THE STUDY OF ROMANTICISMS 1 7 779. 1

782 (Fabienke 782 (Fabienke 1 oness Matilda Guiguer de Prangins in her park by Lake Geneva, in her park by oness Matilda Guiguer de Prangins [Jens Juel, Bar This painting is normally assumed to have been executed in been executed This painting is normally have assumed to 1 Oil on canvas, 86.5 x 72 SMK Foto] cm. Statens photo , Museum for Kunst, and Oelsner 34). If we believe this date, we can note that the royal property that that the can note this royal date, we and Oelsner 34). believe If we There is laundryThere and the of peasants filling the bleaching figures humble middle the accentuated by smoke is discreetly which ground with busy patriotic activity, in the mid- of a small house that the can be glimpsed chimney from that billows for effort an dle ground make of the willing to The patriotic picture. citizen was necessarily this not the was his fatherland; same as the country he was in which born on this – but more later. Ill. 808) after 796), who 1 1 - 1 73 729- 1 1 782. 1 772). patriotic But the prevailing 1 737- 1

2 iew from Sørup of Fredensborg Castle, c. Sørup of Fredensborg iew from

Despite the locality in the explicit mention of the title geographical of this discourse did not limit the a specific place. unified national sense of belonging to did not discourse the grounded where in the crucial it was was citizenship concept, Instead, factor the duties and rights the with the to State, the individual had in relation King as authority. its the highest shared the real power in the ( country the Høegh-Guldberg power shared with real Ove merges seamlessly with the productive universe of nature in the background in the of nature background universe with seamlessly themerges productive Queen Juliane Marie ( the been occupied by Dowager have must Ill. 2 [Jens Juel, V painting, Juel was not yet working in the genre of the in the place-specific landscape genre working yet not painting, Juel was Eck- on C. W. impressed was landscape studies such produce The need to study. pupils and their albeit with future immediate successors, ersberg’s a generalized the before years seven painted just was of thecharacterization type. Juel’s work the great Danish landscape. Nevertheless, changed agrarian reforms decisively positioning of the castlethe in theperiphery discreet of the painting seems to with which, the agrarian a development point to reforms as the economic start- also of but was the transformed Danish landscape forever, only ing point, not the fall of Johann Friedrichthe fall Struensee ( Oil on canvas, 60.6 x 77.5 cm. Fuglsang Kunstmuseum, Toreby, photo Ole Akhøj] photo Toreby, Kunstmuseum, cm. Fuglsang Oil on canvas, 60.6 x 77.5

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01 7 JOURNAL FOR THE STUDY OF ROMANTICISMS 73 800. 1 800, ill. 3) and View across the Little Belt from a hill at 1 (c. c. on , Hindsgavl the Little Belt from iew across 800, ill. 4), which depict scenes from before and after the before abolition depict scenes from 800, ill. 4), which 1 In at least one suite of pictures, he gave voice to a more radical message message radical a more to voice he gave one suite of pictures, In at least In the first painting, the painting, In the seigneurial first place in punishment of the peasant takes Oil on canvas, 42 x 62.5 cm. Thorvaldsens Hans Petersen] photo Museum, Copenhagen, through his landscape painting. This can be seen in the works View across the Little his landscape painting. This can be seen in the works through on Funen Belt from Hindsgavl crucial importance to the phasing-out of absolutism and feudalism in favour of crucial in favour the to importance and feudalism phasing-out of absolutism patriotic societies a member of several Juel, who was constitution. a democratic 79ff) Miss and Zacho (Hvidberg-Hansen, litera- in versed the theoretical well and perpetuate artistically content to of theture agrarian not 46), was reforms (Kold patriotic discourse. a moderate Ill. 3 [Jens Juel, V (c. of adscription respectively. the and where slender trees universe symmetrical natural and regulated a highly complex. garden that established thisthe slopes suggest could be a newly bare un- the to wilder, the marks transition a white fence ends where This garden a lush irregular landscape on theregulated side, symbolized by other hedgerow. Here, the symmetricalregulation of both matter. is a different work The other of landscape that a conception to way landscape and human beings has given 800. 1 c. a hill at Middelfart, the Little Belt from iew across The Discovery of The Danish Landscape Oil on canvas, 42.3 x 62.5 cm. Thorvaldsens Hans Petersen] photo Museum, Copenhagen, A common feature of the above-mentioned works by Juel is a discreetly elevated elevated Juel is a discreetly by works of the above-mentioned A common feature the of vision that assigning landscape, thereby permitsangle out over a wide view coinciden- a particular it. This mise-en-scène of his landscapes is hardly meaning to seems deliberately to aspire to the natural, rather than rather the The wind- the regulated. to natural, aspire to seems deliberately element that functions as a striking unifies the ing road compositional picture boundaries, and instituting than as is theplanes rather separating case in the in View across the Little Belt from emphasized are Class distinctions former work. in View across the Little Belt from a from in a very way distinct on Funen Hindsgavl in the sec- abolished altogether is not difference class . However, hill at Middelfart is implied. of peasant and lord co-existence an easygoing ond painting; instead, of the echoes Patriotism and the ‘Liberty, only great agrarian not reforms were means also a pragmatic they were Revolution, of the French Fraternity’ Equality, boundariesof maintaining the class giving the existing by peasants a number of privileges.concessions and new Ill. 4 [Jens Juel, V

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01 74 JOURNAL FOR THE STUDY OF ROMANTICISMS 75 , and in the 1 84 1 853) two-volume 853) two-volume 1 5. Molbech travelled travelled 5. Molbech 1 783- 8 1 1 / 9th century, culminating culminating 9th century, 1 11 8 1 View from Sørup towards Fredensborg Fredensborg View from Sørup towards 805, which left clear visual traces on left visual traces 805, which clear 1 83). But let us continue for the moment with us continue for this83). But let 1 55- 903) vast panoramas of the landscape (Oelsner Danish panoramas 903) vast 1 9th century in this its Romantic landscapes, which and 1 1 9- 1 8 1 . Another visible consequence of the the reforms was visible consequence incipient metropole- . Another It is thus characteristic that landscape painting made its impact as an artistic as that It is thus landscape painting made its impact characteristic of the lands re- related of the and enclosures villages The reconfiguration One of the of this visible results thinking the on the was establishment, Eng- In the Danish context, the most important literary work of the time was In the literary Danish context, the important work most genre in parallel with a relationship the in parallel of the citizen from emancipation urban genre And the conditions of production. due to changing of dependence on nature been a rationalization have there seems to alongside these changes, structural a succession of surveys and subjected to of the of the now view landscape. It was the whole Danish kingdom. encompass gradually descriptions that would surveys of the exact, countryside, accurate quired and at the urging of the mon- survey of the thorough king- the of Sciences launched first Society the Royal arch until however, concluded, not was This project dom of Denmark. Castle formation the of great of industrialization, increased was for importance which popularity in this of landscape painting period. population density in Greater their meant that group as of people lost dependence on nature a large the towns and in the sheltering thea resource, modern context of the human town urban could then which this be observed nature, new from from being could withdraw 9-23). position as ‘landscape’ (Ritter 24-50; Wamberg the landscape, were all radical changes that led to an increased flow of people flow that an increased led to changes all radical the landscape, were of the The dissolution countryside common agriculturefrom town. to of the farming meant, para- parcelled-out rational, of more community in favour village agriculture. by that the be fed whole rural population could no longer doxically, industrialization of increasing in the wake occupations arose other As a result, and the luxury- patriotic ideal of ensuring that not was production domestic based. the to country all over were schools lish model, of a number of spinning which luxuryof foreign superfluous imports render textiles; this the very is probably the in Juel’s bleaching linen explanation for Vilhelm Kyhn and Grand, all over , including Møn, as well as Funen and ; the many other other and Jutland; as Funen the many Møn, as well Zealand, including all over islands and parts of the country within be treated the could not confines of the tal. It was accentuated even more by artists in the later by more accentuated even tal. It was period begin to be profiled as an important artistic genre on an equal footing footing on an equal period artistic as an important genre be profiled to begin The in these years. brewing were problems new with history However, painting. and redistribution of farmlands, theenclosures abolition of adscription and the Reserve of Ordinance Forest later slightly , which appeared in appeared , which i mit Fødeland Ungdomsvandringer probably the Christian historian ( and linguist Molbech’s probably interim it was taken over by the Office of the Ordnance Survey. But the surveying theOrdnance Survey. by Office of the over interim taken it was surveyors, land a matter for only not and description was of the Danish kingdom literary descriptions cartographers of Denmark and geographers; topographers, also made a significant contribution in the Danish landscape. this interest to new in Vilhelm Kyhn’s ( in Vilhelm Kyhn’s exploration of the early of the early exploration A Sentimental 768) der Natur Ansichten 1 3- 1 7 859) 1 1 5, the Congress of 1 8 1 769- 1 4- 1 8 1 768), as it was the contemporary topographical topographical the768), as it was contemporary 1

3 cannot be regarded simply as a simply be regarded cannot i mit Fødeland Ungdomsvandringer

The Call of the Fatherland The Call of the Fatherland put words to a political and geographical a political and geographical to put words i mit Fødeland Ungdomsvandringer However, The inspiration for Molbech’s work was presumably as much the as much age’s presumably trav- was work Molbech’s for The inspiration ( and Journey France through process that was taking place concurrently. In that taking place concurrently. was process guide to theguide to Danish national landscape. With its striking choices geographical the from of the also a picture transition was work and omissions, Molbech’s of absolutism and patriotism the of National to nation state Monarchy United too, of in the rest that in motion was a process . This was of the nations as a result of the Napoleonic redefine as a result need to least not Wars. could be seen as an obvious model. But the exchanges with the pictorial model. But the artcould be seen as an obvious exchanges of writing. Molbech’s for of inspiration the source also an important period were descrip- painterly use of a number of visual, almost makes Ungdomsvandringer art the contemporary from indicate inspiration might which tions throughout, on the art- effect a similar galvanizing had have itself must of painting; the work the of ists time. What I have set myself as my life’s purpose as a painter is to paint a beloved Denmark, but Denmark, life’s purpose paint a beloved as a painter is to as my myself set What I have of it; thatwith and modesty is characteristic what beauty there is in these all the simplicity the from emerged fine lines in our hills that that have so gracefully undulate they seem to woodlands, stand, in our cliffs the sea on whose shores sea, in the sheer yellow mighty is oftenfields and heaths. false the paint it; a Dane can of the tone But only pictures how work. Molbech’s writings mediated the transition from a patriotic discourse to writings a patriotic to Molbech’s discourse from mediated thework. transition of historical issues origins, in which discourse, nation and a National-Romantic of the with relationship individual’s indicators the as new na- emerged language be defined exclusively thetion. In this paradigm, nation could no longer new in terms the became of ‘fatherland’ the decisive instead, of citizenship; concept the As a crucially the to feature, state. individual’s relationship for new parameter the on his journey landscape he encountered for around eye had an Molbech the presenting country’s beyond the historic to monuments went He Denmark. authentic experiences.reader; itself offered landscape Thus, in thethe natural time as a consti- the first for the understood of Molbech, was landscape work became a work Molbech’s In this of the element perspective, fatherland. tutive the guide to landscape (Damsholt 3). veritable Danish domestic Sterne’s as Laurence such ( of ‘sensibility’, el literature helped to define the new Europe, in which the was admitted was of Holstein the in which Duchy define the Europe, helped to new no longer was ceded. Denmark was while theto German Confederation, with territorial inherent a monarchy but In difficulties. the lon- a Dual Monarchy but also the politicians and the a matter for term, only military, ger this not was with preoccupied the national the of whom were artistsfor of the time, many cause. literature, for which Alexander Humboldt’s which ( for von literature,

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01 7 JOURNAL FOR THE STUDY OF ROMANTICISMS 77 895) 1 2- 1 8 1 842; Skovgaard and Lundbye only had a few a few had only and Lundbye 842; Skovgaard 1 842, and as a setting for the subsequent domes- the subsequent for 842, and as a setting 1 842, Lundbye writes: 842, Lundbye 1 8 April 1 879). However, this has been somewhat neglected in critical this neglected somewhat has been accounts. The 879). However, 1 0- , who was Skovgaard’s uncle and the half-brother of his mother, of his mother, and the uncle half-brother Skovgaard’s who was Aggersborg, The com- the of the genesis three works. In Lundbye’s diaries can follow we 1 8 1 belonged economically and socially to the to country’s and socially elite, a group economically whose belonged powerful all the it is time. Seen in this growing light, was landscape paintings demand for Copenhagen his home in central for an artwork wanted Aggersborg why obvious the sheltering From thethat trinity embraced of landscape, people and history. depic- amongst be celebrated to evidently was the wedding context of the city, of one’s that landscapes love country. inspired tions of natural issued in April finally mission was tic festivities Aggersborg had commissioned a threefold decoration showing Høj- showing decoration had commissioned a threefold Aggersborg tic festivities in Vording- the Goose Tower Skovgaard), Klint (painted by erup at Stevns Church and Frederiksborg Skovgaard) by after a sketch J. Th. Lundbye borg (painted by ills. 5-7). Skovgaard; Castle (painted by And finally, on 2 June, Lundbye writes that the work has been completed: writes has been completed: that on 2 June, Lundbye the work And finally, worked I have and Skovgaard uncle’s; three days for the hall is finished at Skovgaard’s Now for answer I will not know. do not it has succeeded I well there, but how down strenuously a strict for judge defend to enough will be hard than painted, which more the things I have Today I have begun work on the painting I am to paint for Skovgaard’s uncle, showing the showing uncle, Skovgaard’s on the paint for painting I am to begun work I have Today this to I am looking forward Skovgaard; by after a drawing at Vordingborg, Goose Tower my me, for for practice can be dealt with and broadly; it will be good which lightly work, 60) Jægerspris. (Lundbye from work large own later: days And a few rarely I have when I painted the Goose Tower; this also remember day, I must However, this; it is as if I had been there, as if I knew as over works of my any over pleasure such felt paint this me to it is for beneficial how seen it. I can truly feel never I have and yet it well, bells of the city ringing, hear the to many will now up on the city ramparts piece. – I will go as one is permitted and be glad, be when one has spent one’s to day mix in with the crowd 63) out of his prison (Lundbye again. Lehmann got Orla Today well. An early major National-Romantic work is J. Th. Lundbye’s and P. C. Skovgaard’s C. Skovgaard’s is J. Th. Lundbye’s and P. work National-Romantic major An early ( H. C. Aggersborg’s of the in the hall joint decoration stockbroker that German landscape artists paint here; it can be so offensive that oftenthat I Germanunfair become artists landscape it can be so offensive here; paint the beauties in them. Then of a full heartand overlook the once depict I wish that I might that so they are anyone to obvious be that land such it may native beauties of my natural 49) (Lundbye greatly mistaken. wedding took place on 8th took June wedding apartment on the occasion of the latter’s marriage Bræmer Elisabeth Dorothea to ( months to get the trilogy in themonths get installed finished and apartment. to In his diary entry for

4 medieval medieval 860), the 1 870) had just 870) had just 1 793- 1 0- 1 8 1 Lundbye does not does not Lundbye 7 847, he founded the he founded 847, 1 843, under whose aus- 1 6 In 5 870), with whom not only Lund- 870), only with whom not 1 865). Høyen was deeply committed deeply was 865). Høyen 1 798- 1 788- 1 852), wrote to C. P. Neergaard ( Neergaard C. P. to 852), wrote 1 789- 1 , when he agitated for the support for , when he agitated of the farmers in 1 84 1

Høyen held a number of posts as an art a number of posts held critic Acad- at the and teacher Royal Høyen Concerning the last of these, the Professor of Botany and Skovgaard’s future future and Skovgaard’s Concerning of Botany the these, of last the Professor write about Høyen’s reception of the works, and no other sources tell us anything tell us anything sources and no other of the works, reception write about Høyen’s to hasty too seem it does not consider the themselves, pictures about it. But if we a Their subjects include: received. well probably thatconclude they were church situated by the mighty cliff Stevns Klint to which many popular legends popular legends many to which Klint Stevns cliff the situated by mighty church tenant of the Vognserup estate: estate: tenant of the Vognserup pices several of his epoch-making lectures were held. were lectures of his epoch-making pices several to the national current which, prepared by the the by patrioticto national current reforms and the prepared which, dawning movement. being borne of one’s was the up by National-Liberal love country, bye, but also the majority bye, of theclosely artists Danish other of the time were associated. his was the of which least not Arts of Fine and later also at the university, emy Art of the Collection with Royal thecurator archae- influential position as chief Christian Thomsen ( ologist Jürgensen Aggersborg’s wedding decoration was thus not only to be judged by the in- by most be judged to only thus was not decoration wedding Aggersborg’s fluential art a man with historian be assessed by strong of the also to time; it was the private of the nature decora- Notwithstanding convictions. National-Liberal home housed The Aggersborg Høyen. be inspected by to going always tion, it was people. like-minded art open to a large was collection which You have done me the honour of asking me to recommend a man who could stand as a man who could stand done me the recommend honour of asking me to have You I believe the Rigsdag in the candidate for County. second district of Holbæk an electoral our mutual friend, you to than proposing by no better this to request I could respond principles, of his high his unusual independence and yourself know You Høyen. Professor things of many that he has a very know wide knowledge You of his country. his warm love state studies, of the object of his through made affairs yet and that, he has not although in that can add his rare of much respect; this – to we he is aware his historical research his warm also be considered, district surely must and what in a rural electoral eloquence, he himself originates. which the farming from for class, feelings Skovgaard himself only mentions the work in passing in his preserved corre- mentions the himself only work Skovgaard Lundbye’s description the behind of the process have we spondence. Fortunately, job; he also lifts a cornerdecoration history the covering of the conceptual veil Lehmann ( politician Orla The National-Liberal of the trilogy. like Høyen. As a whole, I have no opinion of it; no I do think, and whole, I have As a that though, there is life Høyen. like 75) (Lundbye what people will say’. hear to shall get we in the – now treatment delight Høyen was active in the Scandinavian Society, founded in founded Society, in the Scandinavian active was Høyen the National-Liberals’ struggle for a free, democratic constitution. Lundbye also Lundbye constitution. democratic a free, struggle for the National-Liberals’ ( mentions the art historian N. L. Høyen Society for , and he was directly involved in its concrete political work. political work. in its concrete Art, involved directly he was and Nordic for Society ( Schouw J. F. father-in-law, been released from his imprisonment for giving his so-called ‘ speech’ in speech’ ‘Falster giving his so-called his imprisonment for from been released in Falster Nykøbing

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01 7 JOURNAL FOR THE STUDY OF ROMANTICISMS 79 842: 842. 1 1 ower in Vordingborg, in Vordingborg, ower 56.5 cm. Statens Museum for Kunst, Copenhagen, photo SMK Foto] 56.5 cm. Statens photo Copenhagen, Museum for Kunst, 1 medieval tower from the fortifications of King Valdemar Atterdag Atterdag the fortifications from of King Valdemar tower medieval .2 x 1 4 1 These works were not just artistic responses to the culture-bearing artistic to new responses just bour- not were These works geoisie’s call for landscape painting; to a great extent they were also a political a greatgeoisie’s landscape painting; to extent they were call for Romanticism of the time. This movement the National to burgeoning response that geographi- was a concept associated with of ‘thewas the fatherland’, notion the as it as the of the to Eider’ nation state demarcated ‘Denmark cally policy, Lehmann in Orla formulated pointedly by was but is thusOur Denmark the and lands of the realms less Holstein, King of Denmark, cer- I feel of the Schleswigers That this the Schleswig. approval will gain including free are independence of Schleswig conditions and administrative thetain, if only distinctive Ill. 5 [J. Th. Lundbye, The Goose T a attached; were and a Renaissance castle in northern Zealand. All situated in are in Vordingborg; the Danish landscape. Oil on canvas, in , The middle 8 842) As such, it constituted a his- it constituted As such, 9 1 828: ‘If there were a bench or some a bench 828: ‘If there were 1 865) as its most prominent figure. figure. prominent 865) as its most 1 794- 1 Lundbye has placed the tower in classic Danish natural scenery. In scenery. Danish natural in classic has placed the tower Lundbye 10 Højerup Church Church Højerup hung Skovgaard’s the left of the of the picture Goose Tower To The Goose Tower is the only preserved tower from King Valdemar Atterdag’s Atterdag’s King Valdemar from is the preserved tower only The Goose Tower The last part of the trilogy is Skovgaard’s View from Frederiksborg partThe last Castle of the trilogy is Skovgaard’s 9th century. his painting, it crowns the top of a small hill; a little winding road leads up to it, the leads up to hill; a little of a small top winding road his painting, it crowns red-and-white of typical Danish thisherd and a grazing and on the hill between grub and geese while ducks resting dairy are in the a group little of children cows and cul- nature builds a bridge of thepond. The winding course road between of the rebirth representatives past of the children proud making theture, resting that formed in which part an important of the age’s idea of historical continuity, more greater, formulated it: ‘A thethe becomes mirror As Høyen present. for past a matter of devel- only it is not meaningful battleground him, where opens up for his native he also struggles for but where it appreciated, oping talent and having of the the people and all the life for great nature, memories all of Nordic land, for of the past.’ (Ussing 359). Klint. Despite the hidden be- title’sat Stevns it is almost on the church, emphasis in the thehind tall trees Stevns painting. Instead artist’s cliff, is on the vast focus of history exposes 65 million years in one long undulating motion Klint, which This is a very dif- and prehistory sedimented in its horizontal strata. geological the against historical Measured one in the span from picture. preceding ferent and the the both church and genesis, creation of Denmark’s this narrative grand ge- fishermen position. It is no wonder hold a subordinate on the seem to beach successful in this particularly ology as a discipline was period, with Johan Georg ( Forchhammer 1 On the whole, the trilogy involves a number of motifs which had been canon- which motifs a number of On the whole, the trilogy involves Christian and significantly as particularly ized by Molbech Danish. respected, and as long as we can bring as long as we and it about thatrespected, and happiness to it means freedom – the of Denmark and happiness to freedom is therefore be a part My toast of Denmark. (Lehmann Denmark! Long live the to Eider’. ‘Denmark chairs, and a telescope could be obtained as well as the key to the tower, it would it would the to tower, as the key as well and a telescope could be obtained chairs, admis- for more pay and with people, they would pleasure certainly many please a beautiful view.’ such sion to the cities to south. the Hanseatic against defences torical parallel to the to torical conflicts of the time with parallel the German must which duchies, in the popularization a role the through of the motif played have presumably work was of the Goose Tower, which had quickly been established as a tourist established been had quickly which the of was Tower, Goose work in Politievennen from as is evident destination, which we view the subject from yet another angle – this time there angle is a kind of another yet the view subject from we which the surround- out across a wide view have that such we perspective, bird’s-eye the in ings of the background. castle with and the wood the Danish beech lake Skovgaard been describedFrederiksborg Castle who like had already Molbech, by of what by characteristic the castle as an essential the offered view emphasized be one of northern held to was Europe’s beautiful Renaissance most castles. Mol- writes:bech

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01 80 JOURNAL FOR THE STUDY OF ROMANTICISMS 1 8 842. 1 ch at Stevns Klint, ch at Stevns Højerup Chur 49.5 cm. Statens Museum for Kunst, Copenhagen, photo SMK Foto] 49.5 cm. Statens photo Copenhagen, Museum for Kunst, 1 42.2 x 1 [P. C. Skovgaard, C. Skovgaard, Ill. 6 [P. Oil on canvas, 842. 1 iew from , Frederiksborg iew from ) 50 cm. , Pernille Klemp] photo Copenhagen, 1 11 0- 1 40 x 1 As a whole, the trilogy is a clear example of the politically motivated contempo- As a whole, the trilogy of the motivated example politically is a clear subscribed to rary Johann Gottfried Herder, art from with which, inspiration The trilogy should the people and history. idea of an identity of nation, culture, Romanticism with its celebration of National work be seen as a major therefore of the a for- people; its structure Danish landscape, monuments and shows morning from evolutionary progress ward-thrusting, (Højerup almost Church) (Frederiksborg Castle), but it is also evening to (the noon Goose Tower) through [P. C. Skovgaard, V C. Skovgaard, Ill. 7 [P. Especially [...]. the lake across view and the the lovely wonderful, to windows lured I was with charming the that afternoon so entirely it was yesterday sun and the spring clear sky, that the is one of the things than confess view more finest the once I had to castle pos- sesses. (Molbech Oil on canvas,

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01 82 JOURNAL FOR THE STUDY OF ROMANTICISMS 3 8 yet Lundbye’s work is Lundbye’s work yet 11 844, Lehmann married Ma- 1 8). In 11 - 1 845, which is closely related to a work in Randers Kunst- a work to related is closely 845, which 1 849) and thus prosper- became a member of a particularly 1 844- - 1 1 82 1 National-Liberal Commissions As noted earlier, the tenant of the Vognserup manor was a National-Liberal a National-Liberal the was manor tenant of the Vognserup earlier, As noted ria ( Puggaard This picture was meant to show the fertility and peace that can be in such a small view, the and peace that fertility a small view, show can be in such meant to was This picture the magnificence not that it was to in nature I wanted outside a manor house garden; just – but the everywhere paint – one senses the more opulence thatmuch hand of man per- al. 77) et and plants.’ grass (Henschen for mits the be seen nowhere ground to The political signals in the Aggersborg decoration were unmistakable, and in unmistakable, were The political signals decoration in the Aggersborg a number of commis- received both and Lundbye Skovgaard years subsequent in patrons politicians. Among the prominent most National-Liberal sions from art Lehmann, who built up a substantial Orla group was the National-Liberal 9 (Damsgaard theyears collection over a statement about a process that flows from God (Højerup Church) through through God (Højerup Church) from that flows a process about a statement at (the of nature view Fatherland to Goose Tower) Atterdag’s King (Valdemar that theFrederiksborg Castle). It should be noted and their monuments chosen as a whole; they are of Denmark representative not surrounding landscapes were is in southern Klint in central Zealand, Stevns Goose Tower all in Zealand. The CastleZealand, and Frederiksborg in northern us they give together Zealand; all citadel. Jutland only was of thea picture Zealand that the was National-Liberal the art as a subject for become established beginning to of the a just Golden Age, point that will be dealt with later. sympathizer called Neergaard. In a way the with dialogue Juel’s previously-men- In a way called Neergaard. sympathizer lies bleaching, cotton too Here is obvious. tioned work museum (ill. 8). ous, politically engaged and art-loving family. We find works by, among others, among others, by, find works We and art-lovingfamily. engaged ous, politically collections. in Lehmann’s and Kyhn Lundbye Hansen, Constantin Skovgaard, ground Bleaching at the manor included Lehmann’s collection of Lundbye’s works from of Vognserup otherwise very different. The landscape is no longer seen from an elevated van- an elevated seen from The landscape is no longer otherwise very different. on a normal the to subject, plane in relation situated as viewers are point;tage we dairy red in the grazes a single cow and this with brings it. Here, face to us face Lundbye For is the human presence. only woman landscape, and a single fertile of the patriotic of the a guarantee society peasants is no longer the busy work on citizens’ thewith the Instead its emphasis benefit of their actions for country. the the dairy in the peasant woman, conjunction of the cotton, cow bleaching and thegrass lush green that and mankind’s surroundings nature utiliza- shows of the the but ensure state, economic foundation able to tion of it is no longer glori- of Denmark’s that living representatives the be considered farmers must Along of the theyous past. with are depiction of nature, source the exuberant as in – just constitution a free and its hopes for the budding national movement on the large himself said of the work Lundbye the of prehistory. farming society of a sketch: the background grew up against painting, which 845. 1 844- 1 ound at Vognserup, ound at Vognserup,

Bleaching gr .5 x 42 cm. Randers Niels Erik photo Kunstmuseum, Høybye] 1

Ill. 8 [J. Th. Lundbye, he in pictorial works artLehmann’s interest the can be documented by many the some extent by preserved correspondence.commissioned, and to In particu- using the evi- with Hansen; Constantin Lehmann associated himself closely lar, specific he makes can observe how we commissions and letters dence of major of art exploit the and commissions to advocate potential recommendations to signif- most expression ideas. This comes to the fundamental National-Liberal Con- which of the University, the vestibule for icantly in the decoration large with this, Lehmann on the executed Lehmann not sideline. For Hansen stantin him with the he also provided program; a detailed Hansen sent Constantin only to him Lehmann wanted program the to decoration historical-philosophical key program, the decoration for After proposal realize. the receiving long, detailed has in- Philosophie der Geschicte Lehmann: ‘Hegel’s to wrote Hansen Constantin the gift’ times for many 35). The and I thank (Glarbo you me greatly, terested Oil on canvas, 3

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01 8 JOURNAL FOR THE STUDY OF ROMANTICISMS 5 8 Summer day a group of women and a group of women 14 0). Orla Lehmann’s generally generally Lehmann’s 0). Orla 1 most of them presumably read the read of them most presumably 852 (ill. 1 12 , 842 the first Danish translation of Hegel’s of Hegel’s Danish translation 842 the first 1 846, along with the a Danish idea of creating 1

16 13 20). 1 while the men are at work in the far background of the background in the far while the at work men are 15 846, Skovgaard received a commission for the work the work commission for a received 846, Skovgaard 1 Lehmann must have been particularly satisfied with the work, for shortly for with satisfied been particularly af- the work, have Lehmann must is a convincing translation of the National-Liberal ideology into a into ideology of the National-Liberal translation is a convincing Summer Day However, if we look more closely at a couple of Skovgaard’s works commis- works at a couple of Skovgaard’s closely look more if we However, If Hegel’s philosophy had such a strong impact in the period, impact prob- it was a strong had such philosophy If Hegel’s ter the end of the First Schleswig War Skovgaard again received a commission received again Skovgaard War Schleswig ter the end of the First View of him; and the was result from children are resting among the kerbstones in the in shelter of an ancient mound among the kerbstones resting are children in vegetation, covered work in the original but in work language, pictorial idiom. Skovgaard gives us the us essence of the gives Danish landscape: beneath pictorial idiom. Skovgaard the blue sky of summer with domed cumulus clouds, (ill. 9). On the occasion of its completion Lehmann wrote to Skovgaard: ‘Dear Skovgaard: to Lehmann wrote (ill. 9). On the occasion of its completion we you expected when effortmore than you piece has cost friend! I suspect my agree- the of earlier of inform price. to me of this,spoke regardless So I ask you Despite the friendly C. Skovgaard). P. to ments and statements’ (Lehmann, letter We the work. for payment extra accept to refused Skovgaard though, enquiry, this. the guess at is that One possibility for can only reason he had no wish to it seems, when the reception possible commissions: especially, future prejudice came letter your ‘After Lehmann wrote: least At so very was positive. of the work that please us both all naturally It must obey. to but no choice I have yesterday, agrees withthe us that it is a charming world picture.’ sioned by Lehmann and the correspondence,sioned by related the less sim- matter appears ple than this. In controversial political activities, and his actions on the occasion of the so-called controversial national gallery (Frandsen national gallery (Frandsen philosophy of Georg Wilhelm Friedrich Hegel was of enormous was Friedrich of Georg Wilhelm among influence Hegel philosophy of the age; thinkers the National-Liberal picture. The whole scene is framed by full-crowned leafy trees, probably beeches, beeches, probably leafy trees, full-crowned by The whole scene is framed picture. of the past starting be seen as the The proud to Danish national tree. were which considered among the farming who were class, country be reinvigorated to was demarcates circle the stone Perhaps of yore. the of the yeomen living heirs free assume that than to thismore the could have ancient barrow; it is tempting of prehistory. site assembly the proto-democratic been a kind of ‘thing-stead’, the of the strengthening national painting thus perfectly exemplified The work in advocating mann was that Leh ably because it supplied the philosophical arguments for the constitutional the because it supplied the ably constitutional philosophical arguments for of artists and a number on their side were the which National-Liberals ideals for rights along democratic bourgeois championed Hegel example, struggling. For with form the of a democratic maintenance of the the and state, introduction is based on monarchy of a constitutional the background against of government to was Hansen Constantin time time to the From of evolutionary progress. idea easier time the artists, the other who ‘had a far especially landscape painters, envy with of than they are colors which the painters, figure a piece of canvas covering admit.’ wise to too far course influential work also appeared. also appeared. influential work 849 he was appointed 849 he was 1 26); Lehmann’s new position 26); Lehmann’s new 1 and all par- Hansen and Constantin 17 864, as a result of a diminished Den- 864, as a result 890) 1 1 - 1 80 1 846. 1 y, 848 – at which Skovgaard, with his National-Liberal with his National-Liberal Skovgaard, 848 – at which 1 09). Viewed from this perspective, one may well speak well one may this perspective, from 09). Viewed 1 Summer Da At this time, Jutland was a relatively new subject for visual art, subject for the though new this At time, Jutland a relatively was 4 until the secession of the in duchies 1 8 of a personal exclusion, but on the other hand it was politically quite in keeping in keeping quite politically but on the hand it was other exclusion, of a personal in with the the of Jutland ceding of Norway intensified from rediscovery which county prefect in Vejle in Jutland. An appointment in Holbæk on Zealand would on Zealand would in Jutland. An appointment in Holbæk in Vejle county prefect possibility (Wammen an obvious been also have sympathies, as well as Jørgen Sonne ( as Jørgen as well sympathies, 1 [P. C. Skovgaard, C. Skovgaard, Ill. 9 [P. of 20 March Casino Meeting literati, topographers and geographers had long been extending their exploration had long been extending their exploration and geographers topographers literati, the second fiddle to and ‘repatriation’ centuries of Jutland, for which had played point of the vantage from culture-bearing defined itself and Denmark elite which 78- the capital (Frandsen took him much further from the centre of power. further him much took the of power. centre from Oil on canvas, 65.5 x 93.5 cm. Svend Pedersen] photo Kunstmuseum, mark’s search for a new national identity. national identity. a new for search mark’s ticipated as representatives of the artists – meant thatticipated as representatives in

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01 86 JOURNAL FOR THE STUDY OF ROMANTICISMS 7 8 852. 1 iew of Vejle, , Lehmann had 1 V 74 1 [P. C. Skovgaard, 0 [P. 1 Ill. 00 cm. Vejle Kunstmuseum, photo Keld Jensen] Keld photo Kunstmuseum, 00 cm. Vejle 1 Oil on canvas, 98 x struggled persistently to mobilize the to farming in the absolut- struggled class persistently battle against the ‘Friends of ism, and after convince of the to the June Constitution adoption (Wammen political ally an obvious the were Farmers’ that the National-Liberals with Lehmann as his com- that Skovgaard, these it was 224-226). factors Perhaps landscape? It is at all referring of the was in his interpretation to Vejle missioner, that worth neither noting of the in groupsevents is present on the figure road Skovgaard’s response to this was a picture that included features associated with that features this a picture included to was response Skovgaard’s but at the the same time dif- by Zealand aesthetic, favoured the woods beech in had no parallel on the terrain which hilly its emphasis itself by ferentiated of Vejle point, with the a high town from landscape is viewed Zealand. The hilly is built up around off in The picture the distance. far of thein the valley embrace is lined with there and on the which slender beeches, road road a winding gravel cart uphill with toiling the aid of a couple belonging to is a scene of an ox-drawn ladies and children a group the of bourgeois road, down the farming Far class. of speech in the Since the moving same direction. Falster are 838, 1 ) helped 11 862; ill. 1 ( Fjord View by Vejle , Lehmann received a major work by by work a major , Lehmann received 862. 1 Fjord, Vejle iew by cm. ARoS Aarhus Pedersen] Ole Hein photo Kunstmuseum, 888), meaning that he no longer lived at the county prefec- 888), meaning that lived he no longer 1 1 2- 1 x 22 8 1 1 5 1 862, Lehmann had joined the Government again, which was now headed now was which 862, Lehmann had joined the again, Government 1 [Vilhelm V Kyhn, In A decade after Skovgaard’s View of Vejle A decade after Skovgaard’s 11 by C. C. Hall ( C. C. Hall by to consolidate theto place of Jutland of the Denmark in the nation state narrative ). Vilhelm Kyhn (Oelsner and Grand, the preliminary sketch for the work; nor are the as promi- nor are beeches tall, slender the work; for the preliminary sketch be assumed to reasonably may which features These are nent as in the final work. the at the accentuate entered picture to wish of the commissioner in order have the in the national statement piece. The imposing artist,another Vilhelm Kyhn. Ill. ture in Vejle. Nevertheless, Vejle was still a sought-after artistic subject, perhaps artistic a sought-after subject, perhaps still was Vejle Nevertheless, in Vejle. ture have to in Copenhagen the of power centre for important because it remained of the part outside the geographi- thatknowledge of the narrow lay kingdom cal confines of northern depiction of the magnificent landscape Kyhn’s Zealand. made on the studies spot nature detailed based on accurate, was Vejle around the to National-Liber- testifies the finished work However, during stays. previous Lehmann put it in As Orla country. as a unified of Denmark al conception ‘There are no provinces in Denmark.’ And despite the‘There starting no provinces are point of the work Oil on canvas,

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01 88 JOURNAL FOR THE STUDY OF ROMANTICISMS 9 8 3; Jacobsen 68), 1 846 (ill. 1 In the book about Monrad and his In the book about Monrad 18 845. 1 887), who over the years built up a similarly built up a similarly the years 887), who over 1 - View of Møns Klint, c. 11 8 1 2). It was not far from Zealand to Jutland. Zealand to from far not 2). It was 1 iew of Lake Skarre, V 845; ill. 1 , 95 cm. Statens Museum for Kunst, Copenhagen, photo SMK Foto] 95 cm. Statens photo Copenhagen, Kunst, Museum for 1 27 x 1 [P. C. Skovgaard, 2 [P. Lehmann was not alone either in his interest in art or his Hegel-inspired po- in art alone either in his interest or his Hegel-inspired not Lehmann was Subjects from Møns Klint preoccupied Skovgaard for several years from from years several for Skovgaard Møns Klint preoccupied Subjects from 1 litical ideology. We recognize both characteristics in the work of the theologian in the recognize work characteristics both We litical ideology. ( and politician D. G. Monrad large collection of art by a number of the same artists (Jacobsen). Both Skovgaard collection of art a number of thelarge by same artists Skovgaard (Jacobsen). Both in his collection. represented were name but two, to Hansen, and Constantin Møns Klint: from ‘When a picture was the exhi- Skovgaard by Among the works the in Norway, one rejected Skovgaard, pieces by two shall have we bition is over, enthusiasticand a about, was the is thuswhich same one that not Elisa Stampe pleased with both.’ I am well “Møns Klint”. being so specific to the place, it is also striking to see how much the much the subject re- being so specific to place, it is also striking see how to Skarresø the lake monumental subject from C. Skovgaard’s P. example, calls, for (View of Lake Skarre Ill. where the dimensions of the cliff and the stratified geological sedimentation are geological sedimentation are thewhere dimensions of the and stratified cliff the the by is exaggerated This feature the despite size of the modest work. marked and the human figures of the at the dog placed picture. vanishing-point two art collection, it is suggested thatart the collection, it is suggested ‘Møns Klint’ is identi- in question picture Kunstmuseum’s Fuglsang cal to Oil on canvas, 850) 1 846. 1 iew of Møns Klint, c. V

853 (Ohrt, danmarksbillede’). a was ‘Historien The result om et 1 868) Skovgaard writes: 868) Skovgaard 852, a steamer in the brings852, a steamer distance about the a message mod- 1 1 until

828- 1 1 84 1 [P. C. Skovgaard, C. Skovgaard, 3 [P. 1 number of works that ranged from the modest sketches to the to often enormous the sketches modest from that ranged number of works took at Møns Klint Romanticism. The artist’sformats stays of National many had no however, which, fact a War, Schleswig place during of the First the years his fiancée Georgia to in a letter although on his motives, consequences direct ( Schouw There has never been a word about politics in your letters – what is happening in the letters about politics in your been a word has never There fleet seen a real I have the peace or the armistice? it with Today the goes war, How world? ships of the also a brig line, one frigateof eight the and and probably east, coming from (Skovgaard Schleswig’. rathertowards Møn, passing the or cliffs, on the pictures; hand, in another other in the Skovgaard see no warships We from picture Ill. about Oil on canvas, 50 x 67 cm. Fuglsang Kunstmuseum, Toreby, photo Ole Akhøj] photo Toreby, Kunstmuseum, cm. Fuglsang Oil on canvas, 50 x 67

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01 9 JOURNAL FOR THE STUDY OF ROMANTICISMS 1 9 855, 1 , Hamme- Beech wood wood Beech 827) in the 1 1 84 894), who was 1 1 748- 3- 1 1 8 ). In 1 1 88 1 - 854) 1 11 The subject of the picture 8 1 2; Ohrt, ‘En forsmag på Paradiset’ på Paradiset’ 2; Ohrt, ‘En forsmag 11 66). 1 23- 1 805. This ordinance was related to the to great related agrar- was 805. This ordinance his preparatory studies. studies. his preparatory 1 [The Fatherland]: ‘On 26th the July Ministry[The Fatherland]: sur- has 848) showing Constantin Hansen, and over the years the years and over Hansen, Constantin 848) showing 1 0- 1 8 1 4) is one of the better elucidated stories elucidated in Danish art4) is one of the better his- 1 w it must come to a serious struggle whether and final settlement, Monrad’s art Monrad’s friendship a wonderful included collection, portrait , which had left, which the country also and unfortunately – without a navy 19 1 857; ill. 1 80 1 37). the commissioner of the The was principal picture of the Borg- school The Democratic Space of theThe Democratic Forest 1 Skovgaard was not only one of the National-Liberals’ favourite painters, he was, painters, favourite one of the only National-Liberals’ not was Skovgaard Although he was far away from the domestic political upheavals, Skovgaard Skovgaard the political upheavals, domestic from away Although far he was Skovgaard found the subject for the picture in the woods behind the the the manor in the picture subject for found woods Skovgaard Only a small percentage of this of of the area country the a small percentage Only of forest; consisted 25- like them, fervently engaged in political life. When he journeyed home again in home again When he journeyed in political life. them, engaged fervently like took a lively interest in the many political complications typical of the time. For political complications the in many interest a lively took he corresponded with Ploug ( Carl away he was whilst example, The account of the genesis of Skovgaard’s undisputed masterpiece, undisputed of Skovgaard’s The account of the genesis Monrad built up an extensive collection of prints.built up an extensive Monrad , ( in May 55- C. Skovgaard tory P. and Grand, (Oelsner rich had married Halling Anna Mathea of the Holger judge Aagaard, a daughter in southern the Zealand. Like Aagaard of the Manor near Vordingborg Iselingen his for a landscape as a decoration wanted Hammerich Aggersborg, stockbroker had been on Prior Copenhagen. the to commission, Skovgaard home in central tripan extended study Georgia; the them with journey Italy, his wife to taken had cit- Rome and other Livorno, Naples, some time in Venice, for they stayed where C. Skovgaard P. ies (Oelsner and Grand, not only a National-Liberal politician, but also the of the of editor leading organ a National-Liberal only not Fædrelandet press, the Liberal prised is however with which called a People’s something Constitution, everyone rid Ab- to of the and lead us back get Constitution to attempt but a grand nothing solutism [....] no do not Absolutism to because we back people or go be a free continue to to are we from use our freedom.’ (Ploug, letter to how understand 1 ern world. ian reforms. The impetus for these of Copenha- the reforms for was bombardment ian reforms. The impetus in gen erdydsskole in Christianshavn, Martin in Christianshavn, ( Hammerich erdydsskole by Christen Købke ( Christenby Købke house. At the time, the Iselingen woods had a reputation as a model forest, in as a model forest, had a reputation thehouse. At time, the woods Iselingen ( Reventlow with theaccordance C. D. F. prescriptions made by Skovgaard received a commission for the work, and shortly the after work, a commission for his homecoming received Skovgaard make to Iselingen to he went in Co- Georgia, who had remained to In a letter established. quickly apparently was writes so fortunate, on a Whitsun morning, was that he ‘[...] Skovgaard penhagen, agreement the find the in complete and theto are picture, subject for Hammerichs idea.’ with my Forest Reserve of Ordinance Forest without one. the rebuild to timber on the communal use of the animals and people could draw both land, where 857. 857. 1 , Iselingen Subject from ood in May. Beech w

58.5 cm. Statens Museum for Kunst, Copenhagen, photo SMK Foto] 58.5 cm. Statens photo Copenhagen, Museum for Kunst, 1 89.5 x 1

[P. C. Skovgaard, C. Skovgaard, 4 [P. The tall, erect beeches in Skovgaard’s picture speak their own clear language language clear speak their picture own in Skovgaard’s beeches The tall, erect 1 Oil on canvas, in this respect. Iselingen had succeeded in regenerating the forest so that the the forest had succeeded in regenerating in this Iselingen respect. very was which country become a military could once more and political power, Ill. be- difficult. Timber had suddenly made its reproduction of the forest, resources in the Danish king- scarce that decidedly was political resource come a valuable Reserve the Ordinance’s by Forest of be remedied regulation to dom. This was and of the and the forests; fencing-in orders its protection areas, forest access to between one of the the as mentioned, was places where interaction Iselingen, these and Ordinance’s and economically regulations instructions rational for borne conspicuously had most forestry fruit.sustainable

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01 9 JOURNAL FOR THE STUDY OF ROMANTICISMS 93 858. 1 852- 849. 1 1 and the full-crowned trees leave leave trees and the full-crowned 20 [There is a lovely is a lovely [There after soldier ave the victory, [H. W. Bissen, The br 5 [H. W. In this perspective, the beech plays an important role. Since the beginning of role. an important the plays beech In this perspective, 1 the century, the beech had been profiled with increasing impact as Denmark’s as Denmark’s with impact theincreasing had been profiled the beech century, of the emphasized Molbech nation of Denmark. image a genuine national tree, wrote Oehlenschläger Adam fatherland; of thethe as a hallmark beloved beech about it in the text of the room for a modest glimpse of the Danish summer sky with its characteristic glimpse a modest for room and in the are month of May, We passing cumulus clouds. by through blue, shot foliage its delicate green, partly still transparent developed has just the forest links the road a gravel where floor, the to forest penetrate of light plenty that lets and middle ground in the walking withgroups foreground of children a single Aagaard himself. The chil- the owner estate presumably man in the background, cousins the girls, in the are dren commissioner’s picture and two children own on the mother’s seen in some of have side; the Leo. As we dog is the Broholmer of the rebirth guarantors are the too children here the mentioned earlier, pictures has just Nature levels. theme of the linking its several picture, that is the overall everything forth, is greening and bursting symbolizing the picture’sawakened; spring politics thathope of a new the had been labouring democratic for under in difficult conditions since their introduction important in the politically unsettled years between the two Schleswig Wars. The Wars. Schleswig the two between years in theimportant unsettled politically soaring rise like beeches columns, skyward Ill. Bronze, height 375 cm. .] Bronze, height 375 [The brave soldier after [The brave . 1 86 1 858 to commemorate Denmark’s victory Denmark’s in the commemorate First 858 to 1 iew from Iselingen, Iselingen, iew from 5). 1 6; we hear about the virtues6; we the both geologist of the from beech 22 x 98 cm. Fuglsang Kunstmuseum, Toreby, photo Ole Akhøj] photo Toreby, Kunstmuseum, 22 x 98 cm. Fuglsang 1 1 8 1 868) monument Den tapre Landssoldat efter Seiren 1 V C. Skovgaard, 6 [P. In other words, the beech had been conventionalized as a symbol of the politi- the had been conventionalized beech words, In other 1 798- 1 Ill. Oil on canvas, Edvard Erslev and the botanist Christian Vaupell. Nor should we forget that the forget should we Nor Christian and the Vaupell. botanist Erslev Edvard Bissen’s as a symbol of victory in H. W. private branch soldier wields a beech ( land] from land] from Schleswig War (ill. War Schleswig the victory], in established cally democratic Denmark, thus assuming the role of Denmark’s national tree. national tree. thus Denmark, of Denmark’s the assuming democratic role cally

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01 94 JOURNAL FOR THE STUDY OF ROMANTICISMS 95 2- 1 8 1 ) received ) received 883) (Oel- 1 1 2- 89 1 1 8 1 6- 09). 1 1 8 1 6), where the6), where combination of 1 Brøndsted ( née Brøndsted (ill. 1 86 850) had also used the forest as a meta- the850) had also used forest 1 1 ), but before them Martinus), but before Vilhelm Kyhn 769- 848) said, 1 1 782- 1 864 were Vilhelm Kyhn and Thorald Brendstrup ( and Thorald Vilhelm Kyhn 864 were 1 848) and Skovgaard had also visited the mainland peninsula and 848) and Skovgaard 1 803- 4 and 1 1 8 1 Political Mapping Political This inherent evolutionary power in nature and society, which of necessity which and society, in nature evolutionary power This inherent As Steen Steensen Blicher ( Blicher Steensen As Steen 888), who with his wife Augusta Mathea Hall, Mathea Hall, Augusta 888), who with his wife must bringmust at the forth expense of the government popular ab- constitutional, the of the in the by negation dead tree (symbolized here fore- solute monarchy had a certain with resonance the have seems to the moreover ground by beech), permeated seen elsewhere, National-Liberal have as we ideas which, Hegelian thinking. Of this the both and the commissioner of the Hammerich, art- picture, ( C. C. Hall was as, presumably, aware; fully undoubtedly were Skovgaard ist their version of the woods at Iselingen in in at Iselingen of the woods their version 1 In the spring the of spring, array the of hope and joy. colour of youth, ‘Green is the festive the spring like green unfolds, – and thus grow now fields and meadows Danish forests, after popular life powerful into of the the rejuvenation beech, hope of Denmark’s foliage the long, long, cold, cold political winter’ 458). (Blicher In the process it had overtaken the oak, which had long taken precedence in precedence the oak, had long taken which had overtaken it In the process had been a sanctuary National- Iselingen the the young for years, Over this role. has grown wood beech the picture democratic In Skovgaard’s politicians. Liberal are which regimes, forest at the expense of less viable and forward-looking strong in thevisualized here form doomed in the of the tree foreground, small stunted a century perishto Half earlier, beeches. in the shade of the vital, upward-striving ( Merkel disciple Garlieb the Herder the dead tree and the vital beeches has been retained. the and the has been retained. tree dead vital beeches phor for the republic: ‘A republic is like a well cared-for forest. Each trunk Each strives forest. cared-for a well is like republic the ‘A republic: phor for its arms, as thick so long, so with leaves, with stretching all its strength, upward permits. strength as its inner All that is in its proper and downward upward far dies’place flourishes, (Warnke all that is diseased and defective sner and Bugge; Oelsner and Grand, Oelsner and Grand, sner and Bugge; ( Rørbye In the above, the beech forest, hills and slopes have been investigated as expres- been investigated hills and slopes have the forest, beech In the above, their origins efforts of as have sions of the in Juel’s part age, the democratic patriotic idylls and part politicizing allegories and after of the the time before subjects from National-Romantic the many abolition of adscription. Together motivated a politically constitute of the regions fatherland the ramified widely from chosen these subjects were first mapping of the At of Denmark. nation state based; and northern was Copenhagen administration the Zealand, where central of Zealand and the the islands, rest encompass out to radiated the movement issue that important also Jutland, in time became a politically and finally which ever hardly and Lauenburg were Holstein visual iconography. demanded its own Among rarely. relatively but still frequently, more appeared depicted – Schleswig be- Jutland in the subjects from chose years the persistently artists who most tween View of the sea, 845. 1 and this perspective makes the meeting of land and the meeting makes and this perspective 21 885), showed that he was aware of this during a visit to that aware he was 885), showed 1 iew of the sea, Bulbjerg,

0- cm. Private Knud Sejersen] photo collection, 1 1 7) particularly so. 7) particularly 8 1 1

845; ill. 1 7 [Vilhelm V Kyhn, As is the case in several of the two artists’ works, Kyhn has here chosen to to chosen has here Kyhn artists’ of the two works, As is the case in several 1 show his subject from a greatly elevated viewpoint. We look down from a height a height from look down We viewpoint. a greatly his subject from elevated show along the at Bulbjerg, coast water, Jutland’s outer, nation-defining boundary, the concern important most of nation-defining boundary, Jutland’s outer, water, landscape between found affinity can be thus, a considerable the Viewed picture. of the topographer painting and the The omnipresent mapping of the country. ( Trap time, J. P. Denmark’s eastern boundary, the the eastern Baltic island of : platformDenmark’s boundary, ‘From of all of the view land of Born- geographical has an interesting one of the tower Ill. it remained of subjects, although a while incorporated Jutlandfor in their range and Brendstrup, Jutland though, Kyhn For oeuvres. in their overall parenthetical than other became something an artistic intermezzo, worth and it is therefore in this exemplary, are respect works Kyhn’s on this briefly. dwelling Bulbjerg ( Oil on canvas, 30 x 4

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01 9 JOURNAL FOR THE STUDY OF ROMANTICISMS 97 860) – con- 1 858- 1 966 246). 1 ( -2). 1 856, in which the856, in which whole of the Danish kingdom 1 864, when Denmark emerged in earnest emerged as a defined nation state 864, when Denmark 1 Statistisk-topografisk Beskrivelse Denmark af kongeriget Statistisk-topografisk Kyhn, and with him Brendstrup and many of the of and with artists other him Brendstrup of the many and time, Kyhn, If one ascends high enough into the air, the encounter between land and wa- the between encounter the into air, enough If one ascends high picked up the thread from Erslev’s book: the up the history Erslev’s thread of Danish art from picked abounds with been inscribed in a politi- rarely they have the of However, pictures Danish coasts. of the land- cal reading Danish landscape painting of the The panoramic time. the a nod to map- age’sscapes, often ongoing with subjects, that coastal gave ping of the find them country in the became popular subjects in theperiod. We the for chosen were works and Kyhn’s exhibitions at Charlottenborg, Academy than Thomsen; but, more this, and Jürgensen art- Art Høyen by Collection Royal a great popular descriptions to into of the extent integrated these were like works Emil Bærent- Danmark, published by of this One example is the work country. zen’s Lithographical in Institute ter will almost inevitably meet one’s boundaries meet These coastal gaze. inevitably also preoc- ter will almost in the: ‘It is the book Den Danske Stat Erslev cupied the sea that geographer makes the view point [one] can sea, high any almost from land what it is […] our native a Swiss to as mountains as much a Danish landscape, belongs to and it therefore the , except we if our sea is also verylandscape. […] But True, beautiful. no means as magnificent as theit is by great and mighty ocean; on the other smiling and friendly so hand there is something by about it, because it is cut into these times suited to recent It is well of land and islands. [...] tongues these many and glory: of the sea that praise the it is behind thein which Dane has won waves others’ (Erslev from in safety lived have we within the framework of the ‘Denmark to the of the to in Eider’ ‘Denmark is portrayed within program the framework of the period tell- works – particularly other This and several and pictures. words Trap’s ingly holm, both its rocky northern its rocky holm, both part southern and its flatter part, of the sea round a view such I enjoyed have times later Christiansø. a few to Only it and across one’s the a map before where (Trap, surroundings feet’ like lie tributed the in to pictorial textual and that called for of Denmark was mapping up to the years with a unified language, culture and history. This was a development to which which to a development This was and history. with culture a unified language, the pictorial artists of the politi- time, often at the urging of the National-Liberal cians, had made their contribution. 997. 1 989. 42-53. 1 2. 999): 3-26. 1 1 935). . Copenhagen: 850. Copenhagen: 1 1 986. 1 . Copenhagen: . Copenhagen: 934- 800- (March, (March, 983. 1 1 1 1 880. Odense and Mari- 995. 1 1 982- 770- 1 . Copenhagen: Kittendorff. Copenhagen: 1 988. 32-42. 1 820. 1 873. 2. www.danmarkshistorien.dk. . Copenhagen: Gyldendal. . Copenhagen: 1 1 8- . Ed. Gertrud Oelsner and Iben og Nutid Fortid 1 Aftenlandet. i og stemninger Motiver 8 1 2. www.danmarkshistorien.dk. 1 6 May 20 6 May 1 . Vejle: Vejle Kunstmuseum, Kunstmuseum, Vejle . Vejle: 848. ... At male det kjære Danmark. Copenhagen: . Eds. Denis Cosgrove . Eds. Denis Cosgrove of landscape The iconography 1 846. Skovgaard Museet. 846. Skovgaard 6 May 20 6 May 1 8- . Vejle and Nivå: Vejle Kunstmuseum and Kunstmuseum Vejle and Nivå: 800-tallet. Vejle 1 1 1 8 . Copenhagen: Museum Tusculanums Forlag, 2000. Forlag, Museum Tusculanums . Copenhagen: 1 . Copenhagen: Thorvaldsens989. Copenhagen: Museum, 1 842. Web 842. Web April 1 . Web . Web 1 1 . Vol. 4. Copenhagen: Dansk selskab for fædrelandets fædrelandets for Dansk selskab 4. Copenhagen: . Vol. 84 1 Copenhagen: Chr. Bruun, Chr. Copenhagen: . Copenhagen and Odense: Thorvaldsens800. Copenhagen Museum and Fyns 1 . 28 May . 28 May 992. Forelæsninger over historiens over filosofi Forelæsninger 1 Himlens spejl. Skyer og vejrlig i dansk kunst og vejrlig Himlens spejl. Skyer 994. 5-34. 857. 994. 1 1 1

855- . 1 967. 958. 1 11 1 Danske politiske Breve . Aarhus: Aarhus Universitetsforlag, 20 . Aarhus: Rejsebilleder Aarhus Universitetsforlag, Dansk guldalder. 942. 1 Fædrelandskærlighed og borgerdyd Fædrelandskærlighed . Introduction and notes by Mogen Lebech. Copenhagen: Foreningen Foreningen Copenhagen: Lebech. Mogen by Et Aar and notes af mit Liv. Introduction . : W. Philips, The Climate of London I-II. London: W.

Meddelelser fra Thorvaldsens Museum Thorvaldsens Meddelelser fra Literature seum’. seum’. historie og sprog, historie og sprog, 2008. “Ungdomsvandringer i mit Fødeland”’. Udsigt til Guldalderen i mit Fødeland”’. “Ungdomsvandringer 2005. 65-75. Museet, and Skovgaard Kunstmuseum Maribo and Viborg: Storstrøms Overgaard. and Stephen Daniels. Cambridge: Cambridge University Press, Press, Cambridge: Daniels. and Stephen Cambridge University & Aagaards Forlag, & Aagaards Forlag, Kunstmuseum, 20 Kunstmuseum, for boghåndværk, boghåndværk, for Thorvaldsens Museum, Malerisamling, Nivaagaards versity of Chicago Press, Press, of Chicago versity Thorvaldsens Museum, 2000. Forlag, Fischers dansk landskabsmaleri omkring år bo: Fyns Kunstmuseum and Storstrøms Kunstmuseum, 2002. Kunstmuseum, and Storstrøms bo: Fyns Kunstmuseum Lehmann, Orla. Letter to P. C. Skovgaard, 2 C. Skovgaard, P. to Letter Lehmann, Orla. Lehmann, Orla. Danmark til Ejderen Lehmann, Orla. Kold, Anders. ‘Ej blot af lyst og i ledige stunder: to landskaber af Jens Juel på Thorvaldsens stunder: landskaber to Mu- og i ledige af lyst ‘Ej blot Anders. Kold, Holten, Susette. ‘Et Patricierhjem fra forrige Aarhundrede’. Berlingske Tidende ( forrige ‘Et Patricierhjem fra Aarhundrede’. Susette. Holten, Damsholt, Tine. kunst Land og by i tysk samme himmel. Miss, eds. Under Gelius, William and Stig Luke, Howard, Damsholt, Tine. ‘En national turist i det patriotiske landskab’. landskab’. patriotiske turistDamsholt, Tine. ‘En national i det Orla Lehmann og den nationale kunst Orla Lehmann og den nationale Nina. Damsgaard, Hvidberg-Hansen, Gertrud,Hvidberg-Hansen, ed. Bagge, Povl et al., eds. al., et Povl Bagge, . Aarhus: Aarhus Universitetsforlag, . Aarhus: Aarhus Universitetsforlag, af Jylland Bo. Opdagelsen Steen Frandsen, . Toreby: Fuglsang Kunstmuseum, Kunstmuseum, Fuglsang Tine Nielsen and Gertrud eds. Our best Pieces. Toreby: Fabienke, Oelsner, eds. Johan Thomas Lundbye al., et Eva Henschen, Guldberg, Jørn. ‘Danmark som billede. Naturvidenskab, historie og æstetik i Christian Guldberg, Jørn. Molbechs som billede. Naturvidenskab, historie og æstetik ‘Danmark Georg Wilhelm Friedrich. Hegel, Davies, Douglas. ‘The evocative of trees’. of trees’. symbolism ‘The Douglas. evocative Davies, Den danske Stat, en almindelig geographisk Skildring for Folket en almindelig geographisk Den danske Stat, Edvard. Erslev, Lehmann, Orla. Falstertalen. 30 JanuaryLehmann, Orla. Breve fra danske Krigsmænd. fra Breve Allen, C. F. Lundbye, J. Th. Lundbye, . Ed. W. J. T. Mitchell. Chicago: The Uni- Chicago: Mitchell. J. T. . Ed. W. Landscape and Power ‘Imperial Landscape’. J. T. W. Mitchell, D.G. Monrad: en kunstsamler i Monrad: Jacobsen, Signe, ed. D.G. Grand, Karina Lykke. KarinaGrand, Lykke. værker. Vol. 4. Copenhagen: Gyldendal, 4. Copenhagen: Vol. værker. Udvalgte Steensen. Steen Blicher, En Brevveksling mellem maleren Constantin Hansen og Orla Lehmann En Brevveksling mellem maleren Constantin Hansen Henny. Glarbo, Hvidberg-Hansen, Gertrud,Hvidberg-Hansen, eds. Miss and Birgitte Zacho, Stig

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01 9 JOURNAL FOR THE STUDY OF ROMANTICISMS 99 . Histo- ’. 858-60. 1 . Aarhus: . Aarhus: 9. århund- 37. 37. 1 1 25- . 1 . Aarhus: Aarhus 11 Møen i dansk kunst. . 1 87 5. 1 1 8 1 / 11 Landskab. Meddelelser fra Ny Landskab. fra Meddelelser 8 1 . Copenhagen: G.E.C. Gad, . Copenhagen: . Maribo and Viborg: Storstrøms . Maribo Viborg: Storstrøms and 994. 23-44. 1 966. 986. 1 1 . Eds. Gertrud Oelsner and Iben Overgaard. . Copenhagen, . Copenhagen, 850. Skovgaard Museet. 850. Skovgaard 1 853. Rigsarkivet. 854. Skovgaard Museet. 854. Skovgaard 1 1 P.C. Skovgaard. Dansk guldalder revurderet Skovgaard. P.C. Vilhelm Kyhn & det danske landskabsmaleri Vilhelm Kyhn . June 11 . Ed. Jørgen Dehs. Odense: Odense Universitetsforlag, Dehs. Odense: Odense Universitetsforlag, . Ed. Jørgen Thorald Brendstrup. I guldalderens skygge Thorald 8 11 Udsigt til guldalderen 1 6 August 6 August 1 0. 2. 1 1 . Copenhagen: Museum Tusculanums Forlag, 20 Forlag, Museum Tusculanums . Copenhagen: 863. Randers: Press, Nabu 5-29. 1 1 . . Copenhagen: G.E.C. Gad, -3. Copenhagen: 1 2. 1 . Vol. 7. Ed. Anne Marie Nielsen. Ny serie 7. Copenhagen: Ny Carlsberg Glyp- Ny Carlsberg Copenhagen: Ed. Anne Marie Nielsen. Ny serie 7. 7. . Vol. Maler-Billedhugger-Kobberstiks-Bygnings og Stempelskjærer Kunstens Historie Kunstens i Danmark og Stempelskjærer Maler-Billedhugger-Kobberstiks-Bygnings 995. 1 (2009): 35-63. 1

995. 23-50. Carlsberg Glyptotek totek, 2005. 9-23. totek, Aarhus Universitetsforlag, 20 Aarhus Universitetsforlag, Press, Press, Ed. Claus M. Smidt. Nivå: Nivaagaards Malerisamling, Nivaagaards Ed. Claus M. Smidt. Nivå: Aarhus Universitetsforlag, 20 Aarhus Universitetsforlag, rie Maribo and Viborg: Storstrøms Kunstmuseum and Skovgaard Museet, 2005. Museet, and Skovgaard Kunstmuseum Maribo and Viborg: Storstrøms 1 Universitetsforlag, 20 Universitetsforlag, Kunst museum and Skovgaard Museet, 2005. Museet, and Skovgaard museum Kunst Copenhagen: Johan Frederik Schultz, Johan Frederik Schultz, Copenhagen: rede’. Slagmark 50 (2007): rede’. Høyens samlede Skrifter ed. Høyens Ussing, J. L., Thieles Bogtrykkeri,. Copenhagen: En lille mentalitetshistorie’. landskaber. Jacob. ‘Kunstens Wamberg, Den tomme stat Hans. Wammen, Oelsner, Gertrud eds. Oelsner, Grand, and Karina Lykke Nygaard, Bertel, ‘Frihed, enhed og historie. Hegelianisme i dansk politisk kultur i det i det Bertel, kultur i dansk politisk ‘Frihed, enhed og historie. Hegelianisme Nygaard, . Cambridge, MA: Harvard University Landscape. The Art University . Cambridge, Martin. History MA: Harvard Political of Nature Warnke, Oelsner, Gertrud eds. Oelsner, Grand, and Karina Lykke Klint’. og Møens Skovgaard P.C. Ohrt, danmarksbillede: ‘Historien Nils. et om Haandbog i Fædrelandets Historie i Fædrelandets Allens og fremskrift Haandbog Bertel. ‘Civilisation, kamp i C.F. Nygaard, Vaupell, Chr. De danske Skove Chr. Vaupell, Ohrt, Nils. ‘En forsmag på Paradiset’. Udsigt til guldalderen Ohrt, på Paradiset’. ‘En forsmag Nils. Ploug, Carl. Letter to P. C. Skovgaard. C. Skovgaard. P. to Letter Ploug, Carl. tid fire kongers Fra J. P. Trap, Ungdomsvandringer i mit fødeland Christian.Molbech, Ungdomsvandringer Skovgaard, P. C. Letter to Orla Lehmann. 25 July Lehmann. 25 July Orla to C. Letter P. Skovgaard, Danmark Beskrivelse af Kongeriget Statistisk-topographisk J. P. Trap, Ritter, Joachim. ‘Landskab’. Æstetiske Teorier ‘Landskab’. Joachim. Ritter, Skovgaard, P. C. Letter to Georgia Schouw. Georgia Schouw. to C. Letter P. Skovgaard, Oelsner, Gertrud eds. Oelsner, and Iben Overgaard, Oelsner, Gertrud eds. Bugge, Oelsner, and Ingeborg Weinwich, N. H. Weinwich, 6, 1 8 1 858. Oil on 1 , 850. The Golden Age 1 844, and ‘Om national Kunst’ 1 800- 1 808 belonged to a Mrs. Rejersen, was then Rejersen, was a Mrs. trans- to 808 belonged 1 5-29. 1 857) and C. W. Eckersberg, among others, we find a suite of sub- we among others, Eckersberg, 857) and C. W. 1 863. 1 788- 1 Notes Notes who were presumably willing to be elected. willing to presumably who were artists. See Holten. contemporary other by works several bought form it seems all of perfect harmony a glorious in which union and most picture, in theest closest Guldberg 70. from here beauty is reflected.’ Quoted natural Denmark’s the Preserva- Commission for of the As part Royal of the work cases in Danish history. vation ser until which the Goose Tower, tion of Antiquities, the poet Adam Oehlenschläger wrote of Valdemar’s Tower, as it was then as it was called: ‘In the dusk we Tower, of Valdemar’s wrote Oehlenschläger Adam the poet ruin, me so see this and it pleased ancient stone the in the oldest Tower; Valdemar’s out to walked hidden in a light a great giant while the was black present looming like in the twilight, kingdom, If it were the it to Crown. has presented owner The previous the up into tower. One can walk mist. and the Snorri up there. Grammaticus, There, a chamber and Saxo have Sturlusson, mine I would them, read and drink bindings; and there I would lie in beautiful vellum ballads, would old heroic 99. a Golden Horn in thebeer from afternoon.” Oelsner and Overgaard from Quoted concept has had its greatest impact on the internal has had its greatest impact Danish context;concept the same period is often called ‘’ the term ‘Romanti- world In the in theEnglish-speaking German-speaking world. but as Romantic; to of this referred time is usually the literature cism’ is used, and in Denmark since the subject of this article is a survey of the period’s visual-art the idiom in Denmark, term here.‘Golden Age’ is retained 93. Damsholt, Fædrelandskærlighed and Hans L. Martensen, but as Bertel Nygaard shows, National-Liberal politics were based on a politics were National-Liberal L. Martensen, shows, but as Berteland Hans Nygaard On this, see Nygaard foundation. Hegelian typified the age, inspired not least by Herder’s linkage of culture, language and history. In and history. language Herder’s of culture, by linkage least not typified the inspired age, history, where the where term is normally designate used to history, the c. epoch canvas, 44.5 x 36.5 cm. Statens Museum for Kunst, inv. KMS3772. inv. 44.5 Kunst, for Museum x 36.5 cm. Statens canvas, jects that seem closely related to Molbech’s. This is true of several of Dahl’s subjects from southern of Dahl’s subjects from is true This Molbech’s. to related of several jects that seem closely Møn pictures. Zealand and Eckersberg’s in their united the struggle abolition of absolutism and a demo- for people who were like-minded on this more see Wammen. For constitution. cratic March a national art],vikling’ [On the on 23rd conditions for given ferred to the Crown as a protected building. as a protected the to Crown ferred [On national art], in given ground trees in his Bleaching beneath large work, C. Skovgaard’s also find in P. we A motif 2 Brøchner Hans Johan Ludvig Heiberg, to has as a rule in relation Hegelianism been understood 0 became part of the cult of the that past the Goose Tower indications of how several are There that here of the the ‘Danish Golden Age’noted It should be concept in Danish art is widespread 6 of candidates on a list name featured that Høyen’s al. 295-296. It should be remarked et See Bagge 7 who Aggersborg, of the stockbroker the enjoy patronage the one to only not was Skovgaard 8 and land and for- harbour where ‘a region wrote: Molbech After the of Goose Tower a visit to top 9 the heritage was object of one of the pre- first mentioned that It should also be the Goose Tower 2 On this, Greece. some extent in ancient see to its premises This mode of thinking found 3 of J. C. Dahl ( In the work 11 1 1 1 4 a true but a group not of program, party were with electoral a related the National-Liberals first, At 5 Ud- Nationalkunsts en skandinavisk for ‘Om betingelserne Among the are influential lectures

ROMANTIK · 00 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 1 0 1 03.5 x 1 Midsummer Beech wood in wood Beech 849. After the enemy 1 860. Oil on canvas, 860. Oil on canvas, 1 90 cm. Fuglsang Kunstmu- 90 cm. Fuglsang 1 Himlens spejl. 26 x 855. Skovgaard had just come had just 855. Skovgaard 1 848, repr. in Bagge et al. 38. The al. et in Bagge 848, repr. 1 1 852. Oil on canvas, 852. Oil on canvas, 1

8 published the two-volume work The Climate of London, in work 8 published the two-volume 1 8 1 842 Bulbjerg hosted the842 Bulbjerg hosted so-called Bulbjerg Rallies, in- were which 1 849, [watercolors]. Pencil on paper, 320 x 780 mm. Museum of National His- 320 x 780 mm. Museum of National on paper, Pencil 849, [watercolors]. 840 and 1 1 , , Karina Lykke Grand also includes a discussion of the also includes Grand Rejsebilleder, Karina Lykke Dansk guldalder. , in which he reviews the distinctive characteristics of the of a Danish landscape in characteristics the distinctive he reviews , in which 847, Høyen backed up Lehmann’s ideas by founding the Society for Nordic Art. Nordic for the Society founding up Lehmann’s ideas by backed Høyen 847, 1 Den danske Stat, en almindelig geographisk en almindelig geographisk published Den danske Stat, Erslev 857 Edvard the geographer 1 855- 1 43.5 cm. Statens Museum for Kunst, KMS 3780. Kunst, The Battle of Fredericia, for Museum 6th July 43.5 cm. Statens batteries have been taken and the battle won, during been takenbatteries the pursuit the Danish troops and the battle won, come upon an enemy artil- have Inn lery park at Heise tiquity and its democratic forms of government. Unfortunately there is no room for this analysis for there is no room Unfortunately forms of government. and its democratic tiquity here. seum, Toreby. In In seum, Toreby. patterns of these artists.significance the of the travel for infrastructure belonged to the group of artists whose work Orla Lehmann, through purchases and commissions, purchases Lehmann, through Orla the to group of artistsbelonged whose work and Con- Skovgaard by works incorporated his private in the collection. Besides above-mentioned follow. Sonne; details Jørgen by works two at least Lehmann owned Hansen, stantin tasked with the exploitation. preservingtasked country’sfrom ancient monuments and protecting many that the there this as I can see, though, is no doubt by is an ancient burialAs far mound, marked circle. telling stone on a burial lit a bonfire mound dancing around the fire, have who Peasants Eve. 1 Skildring for Folket that in understand the also discussed giving us to Danish climate, Erslev political manner. highly summer the is capricious rarities weather in Denmark. are and that and mutable, days cloudless ap- accurate a detailed, the that Danish Golden Age they from take of painters It is characteristic the English from inspiration also drew conditions; they presumably weather the to given proach in who Howard Luke meteorologist spired by Steen Steensen Blicher’s Steensen Steen by Himmelbjerg Rallies.spired which he drew up a systematic account of various cloud types which is used to this day, with a few with a few this is used to day, account of various types which up a systematic cloud he drew which on this, more variations see Hvidberg-Hansen, and additions. For tory at Frederiksborg, inv. A4939. tory at Frederiksborg, inv. for Martin Hammerich. The letter is reproduced in Glarbo, 96-97. in Glarbo, is reproduced Martin for The letter Hammerich. May discussed in Ja- Deer Park, the Jægersborg from a view mentioned is presumably picture rejected cobsen 42. home from his long journey abroad and had been commissioned to paint the journey his long been commissioned to and had large home from abroad between In the years 1 8 dated 29 January Monrad, Emilie to D. G. Monrad from Letter 9 Klint, Prospect of Møn’s C. Skovgaard, See P. 6 year, The next 7 coincidental: they all hardly of the Danish artists Discussed in Allen. were The representatives 4 In 5 Commission was since the Antiquities about the plants on the wonder ancient barrow, One might 3 Lehmann, dated 9 July Orla to Hansen Constantin from Letter 2 20 the to period’s in relation in an- be researched interests could profitably The column metaphor 1 1 1 1 1 1 1