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Introduktion Til Den Danske Guldalder

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INTRODUKTION TIL DEN DANSKE GULDALDER RESUMÉ Dansk guldalder er en velskattet periode i den danske kunsthistorie, der rummer billed- kunst fra første del af 1800-tallet. Mange danskere kender flere kulturelle personligheder fra den tid: forfatterne og digterne H.C. Andersen, Søren Kierkegaard, N.F.S. Grundtvig og Adam Oehlenschläger, billedhuggeren Bertel Thorvaldsen og malerne C.W. Eckersberg, Christen Købke og J.Th. Lundbye. Introduktionen til den danske guldalder giver et rids af det klima, som kunstnerne voksede op i – kulturelt og samfundsmæssigt. Vi stiller skarpt på de nye udfordringer, som netop disse generationer stod over for. Med et tværfagligt afsæt beskrives tidens kulturelle personligheder og deres respektive kunstarter, dels for at vise, hvor tæt forbundne fagområderne var, men også for at vise, hvordan de inspirerede hinanden. KARINA LYKKE GRAND PH.D., ADJUNKT I KUNSTHISTORIE OG VISUEL KULTUR VED AARHUS UNIVERSITET ANNE METTE THOMSEN UDSTILLINGSKOORDINATOR, CAND.MAG., ARoS LISE PENNINGTON MUSEUMSINSPEKTØR, MAG.ART., ARoS 68 REJSEBILLEDER – TURIST I ARKADIEN? INTRODUCTION TO THE DANISH GOLDEN AGE ABSTRACT The Danish Golden Age is a period in Danish art history replete with treasures, containing art from the first half of the 1800s. Many Danes know several cultural personalities from this era: the writers and poets H.C. Andersen, Søren Kierkegaard, N.F.S. Grundtvig, and Adam Oehlenschläger; the sculptor Bertel Thorvaldsen; and the painters C.W. Eckersberg, Christen Købke and J.Th. Lundbye. The introduction to the Danish Golden Age gives an outline of the climate the artists grew up in – both in a cultural and societal sense. We focus on the new challenges which this generation in particular were faced with. From a multidisciplinary starting point, the cultural personalities of the time and their respective branches of art are described; partly to show how closely linked the fields were, but also to show how they inspired each other. KARINA LYKKE GRAND PH.D., Assistant PROFESSOR OF Art History AND VISUAL Culture, AARHUS UNIVERSITY ANNE METTE THOMSEN EXHIBITION CO-ORDINATOR, MA, ARoS LISE PENNINGTON CURATOR, MA, ARoS TRAVEL IMAGES – A TOURIST IN ARCADIA? 69 INTRODUKTION TIL DEN DANSKE INTRODUCTION TO THE DANISH GULDALDER GOLDEN AGE GULDALDER THE GOLDEN AGE Kan du sige mig hvad der kommer efter Kobberalderen? Guld alder Can you tell me what follows the Copper Age? There have never har der aldrig været i min Lomme. Sølvalderen har hørt op og jeg been golden ages in my pockets. The Silver Age has ended and I gjemmer kun paa 3 Bajoc, for dog endnu at holde paa Kobber- have only 3 Bajoc hiding away, in order to at least hold on to the alderen saa længe som muligt. Naar Jernalderen kommer saa har Copper Age as long as possible. When the Iron Age comes then man ikke andet i Lommen end sin Portnøgle. one has nothing in one’s pockets other than a door key. (Brev fra maleren Constantin Hansen til arkitekten Gottlieb Bindesbøll, februar (Letter from the painter Constantin Hansen to the architect Gottlieb Bindesbøll, 1839, Italien) February 1839, Italy) Dansk guldalder er en velskattet periode i den danske kunsthisto- The Danish Golden Age is a well-cherished period in Danish art rie, der rummer billedkunsten fra første del af 1800-tallet. Kunst- history, containing the visual arts from around the first half of the nerne, der levede i denne periode, var dog ikke klar over, at vi siden 1800s. The artists who lived in this period, however, were not hen skulle komme til at betragte deres tid som en guldalder. Som aware that later on we would come to regard their time as a shining udtrykt af Constantin Hansen havde der aldrig været “guldalder” i golden age. As expressed by Constantin Hansen, there had never hans lomme. Han var i skrivende stund på dannelsesrejse i Italien been “golden ages” in his pockets. He was, at the time of writing, og fattedes penge. Tiden var Kobberalder for ham. I Danmark var on a grand tour in Italy and lacking money. It was the Copper Age tiden ydermere ladet med krige og dybe økonomiske kriser, hvilket time for him. In Denmark the time was, in addition, charged with betød, at den danske guldalders virkelighed så langt fra var gylden wars and severe economic crises, which meant that the reality – historisk og samfundsmæssigt betragtet. of the Danish Golden Age seemed far from golden – seen from a Betegnelsen “dansk guldalder” er af samme årsag et prædikat historical and societal viewpoint. perioden først har fået senere betragtet på historisk afstand og med The designation “Danish Golden Age” is, for the same reason, a en vis portion nostalgi. Omkring år 1900 blev “guldalder” for første title first given to the period much later, and viewed at a historical gang brugt i rosende vendinger til at betegne digtning og romaner distance with a certain portion of nostalgia. Around the year 1900 skrevet i første del af 1800-tallet, men vi skal helt frem til 1940’erne, the term “golden age” was used for the first time like this in com- før “guldalder” betegner billedkunsten fra denne periode.1 I mod- plimentary turns, to describe poetry and novels written in the first sætning til de historiske begivenheder var det kulturen , der blev part of the 1800s, but we have to go all the way up to the 1940s skattet som “guld”. Kulturens frembringelser blev med andre ord before “Golden Age” is used in earnest to describe the visual arts betragtet som en guldalder, da man stod midt i det moderne gen- from this period.1 In contrast to the historical, factual events that nembruds virvar omkring århundredskiftet og søgte længselsfuldt took place in the period, it was the culture which was cherished as mod tidligere tiders harmoni. Ikke kun i den nære eftertid, men også “gold”. The production of culture, in other words, was regarded as helt frem til i dag kender mange danskere flere kulturelle person- a golden age, as one stood in the middle of the modern chaos of ligheder fra denne skattede tid: H.C. Andersen (1805-1875), Søren discovery around the turn of the century and longingly sought the Kierkegaard (1813-1855), N.F.S. Grundtvig (1783-1872), Adam harmony of earlier times. Not only in the time following, but also all Oehlenschläger (1779-1850), August Bournonville (1805-1879), the way up to today, many Danes recognise several cultural perso- Bertel Thorvaldsen (1770-1844), C.W. Eckersberg (1783-1853), nalities from this prized time: H.C. Andersen (1805-1875), Søren Christen Købke (1810-1848) m.fl. blot for at nævne et par navne, Kierkegaard (1813-1855), N.F.S. Grundtvig (1783-1872), Adam som mange vil kunne nikke genkendende til. Oehlenschläger (1779-1850), August Bournonville (1805-1879), Kært barn har mange navne, og betegnelser som romantikken og Bertel Thorvaldsen (1770-1844), C.W. Eckersberg (1783-1853), biedermeier har ydermere været brugt som udtryk for tidens kunst. Christen Købke (1810-1848), and others, to mention a mere couple I dag bruges betegnelsen dansk guldalderkunst fortsat om billed- of names which many will be able to recognise. kunsten, mens kunstarter som romaner og digtning oftest betegnes A dear child has many names, and descriptions such as romanti- som hørende til romantikken. Inden for billedkunsten gælder det cism and biedermeier have, furthermore, been used as an expres- dog, at de mere stemningsbetonede malerier, hvor land skaberne sion for the art of the time. Today the term Danish Golden Age art er skildret med en naturopfattelse, der fore kommer besjælet is still used about the visual arts, while art genres such as novels med “ånd”, også kalder på betegnelsen “romantik”. Og hvad and poetry are often described as belonging to romanticism. Within angår interiører med borgerskabets familier, der samles i harmoni the visual arts it is true, however, that the more emotive paintings omkring hverdagens fritidssysler, anvendes til tider betegnelsen where the landscapes are depicted with a view of nature animated “ biedermeier”. “Dansk guldalderkunst” skal derfor snarere ses with “spirit”, are also known by the description “romantic”. As som en samlende paraplybetegnelse for forskellige stilmæssige regards interiors with middle class families harmoniously gathered strømninger og fagudtryk, der dækker over vidt forskellige motiver around everyday pastimes, the term “biedermeier” is used now og malemåder. Fra det antik-elskende, nyklassicistiske udtryk, der and again. Therefore, “Danish Golden Age” art should rather be ynder allegorier fra den romerske og græske mytologi, over det seen as a collective umbrella term for various stylised streams and nationalromantiske historiemaleri der trækker på fortidens fortæl- a technical term which encompasses widely different motifs and linger, til en stadig større udbredelse af et samtidsrapporterende painting techniques. From the antique-loving, neoclassical expres- 70 INTRODUKTION TIL DEN DANSKE GULDALDER [ill. 1] Frederik Sødring, Parti af Marmorpladsen med ruinerne af den ufuldførte Frederikskirke (View of the Marble Square with the Ruins of the Uncompleted Frederik’s Church), 1835. Olie på lærred / Oil on canvas, 77,5 x 98 cm. Statens Museum for Kunst. landskabsmaleri, der ender med at foregribe senere stilarter som sion, fond of allegories from Roman and Greek mythology, to the naturalismen og impressionismen. Dansk guldalderkunst er derfor historical paintings of romantic nationalism, drawing on the narra- i udgangspunktet en rummelig kategori, der spænder over mange tives of the past to a greater extent than landscape paintings, which kunstnere, ideologier og kunstneriske udtryk (ill. 1).2 report on the present and end by anticipating later styles such as naturalism and impressionism. As a starting point, Danish Golden GULDALDERKUNSTNERNE Age art is, therefore, a capacious category stretching over many Navne som C.W. Eckersberg, Bertel Thorvaldsen, Christen Købke, artists, ideologies and artistic expressions (ill. 1).2 Constantin Hansen (1804-1880), Martinus Rørbye (1803-1848), Wilhelm Marstrand (1810-1873), J.Th.
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    VIRKSOMHEDSREGNSKAB 2000 STATENS MUSEUM FOR KUNST LÆSEVEJLEDNING LÆSEVEJLEDNING Endelig er der knyttet en række bilag til virksom- Virksomhedsregnskabet for 2000 er udformet i over- hedsregnskabet. Bilagene uddyber museets anskaf- ensstemmelse med Vejledning i udarbejdelse af virk- felser af kunstværker, museets forskningsprojekter, somhedsregnskaber, Finansministeriet, januar 1998. museets og forskernes udgivelser samt museets del- tagelse i udstillinger uden for museet i regnskabs- Virksomhedsregnskabets opbygning året. Virksomhedsregnskabet består af otte kapitler: Kapitel 1 beskriver kort museets formål og primære Regnskabspraksis og opgørelsesmetode opgaver. I kapitel 2 giver museet sin generelle beret- Regnskabet er udformet som et udgiftsbaseret regn- ning om året 2000 såvel aktivitetsmæssigt som øko- skab, hvilket er det almindelige regnskabsprincip i nomisk og de forventninger, der er til de kommende staten. Alle udgifter er registreret på varernes og år. Kapitel 3 opstiller en skematisk oversigt over de tjenesteydelsernes leveringstidspunkt. resultatmål, som var fastlagt i museets resultatkon- trakt for 1998-2001. Opfyldelsen af målene bliver Driftsregnskab m.m. i kapitel 4 er udarbejdet i yderligere kommenteret i beretningen og kapitel 5. løbende priser, således at der er sammenhæng med I kapitel 4 afgives museets driftsregnskab, bevil- opgørelserne i statsregnskabet og med bevillingslo- lingsafregning og regnskabsmæssige forklaringer – vene. De formålsopdelte driftsregnskaber samt de nærmere principper for opstilling og afgivelse af effektivitets- og produktivitetsmål i kapitel 5 er regnskab beskrives senere i denne læsevejledning. udarbejdet i faste 2000-priser. Driftsregnskabet viser sammenhæng mellem ind- tægter og udgifter registreret på finanslovens § Som andre statsvirksomheder er der i museets ud- 21.33.21 Statens Museum for Kunst. I kapitel 5 gifts- og indtægtsbevilling indlagt beløb til dækning uddybes museets resultater på de otte hovedformål, af afskrivninger.
  • KUNSTLEX Juni 2020: Wolthers KUNSTLEXTM

    KUNSTLEX Juni 2020: Wolthers KUNSTLEXTM

    KUNSTLEX juni 2020: TM Wolthers KUNSTLEX Udarbejdet af Anette Wolthers, 2020 Wolthers KUNSTLEXTM er udarbejdet i forbindelse med min research og skrivning af bogen: Kvindelige kunstnere i Odsherred gennem 100 år, publiceret af Odsherreds Kunstmuseums og Malergårdens Venner og Museum Vestsjælland i 2020. Bogen, der er på 248 sider, har også bidrag af museumsinspektør Jesper Sejdner Knudsen og formand for Venneforeningen Alice Faber. Bogen kan købes på de enkelte museer i Museum Vestsjælland eller kan bestilles på: [email protected] eller telefon 2552 8337. Den koster 299 kr plus forsendelsesomkostninger (ca. 77 kr.) Der var ikke plads i bogen til at alle mine ’fund og overvejelser’. Derfor har jeg samlet nogle af disse, så interesserede kan få adgang til denne viden i bredden og dybden, samt gå med ad de tangenter, der kan supplere bogens univers. Researcharbejdet til bogen Kvindelige kunstnere i Odsherred gennem 100 år er foregået 2016‐2019, og i denne proces opstod ideen om at lave mine mere eller mindre lange skrivenoter om et til et kunstleksikon. Så tænkt så gjort. Alle disse fund er nu samlet og har fået navnet Wolthers KUNSTLEX TM Man kan frit og gratis bruge oplysningerne i Wolthers KUNSTLEXTM med henvisning til kilden, forfatter, årstal samt placering: www.anettewolthers.dk Hvis der er brug for at citere passager fra Wolthers KUNSTLEXTM gælder de almindelige regler for copyright©, som er formuleret i Ophavsretsloven. Wolthers KUNSTLEXTM består af elementer af kunstviden fra ca. 1800‐tallet op til moderne tid og indeholder: 1. Korte biografer af overvejende danske kunstnere, deres familier, lærere, kolleger, kontakter og andre nøglepersoner i tilknytning til bogens 21 kunstnerportrætter samt enkelte tangenter ud og tilbage historien til vigtige personer – side 4 2.
  • Encyklopédia Kresťanského Umenia

    Encyklopédia Kresťanského Umenia

    Marie Žúborová - Němcová: Encyklopédia kresťanského umenia Daňo Juraj - (2007) do výtvarného života vstúpil tesne po 2. svetovej vojne; v tvorbe prekonal niekoľko vývojových zmien, od kompozícií dôsledne a detailne interpretujúcich farebné a tvarové bohatstvo krajiny, cez krajinu s miernou farebnou, tvarovou i rukopisnou expresionistickou nadsádzkou, až ku kompozíciám redukujúcim tvary na ich geometrickú podstatu; tak v krajinárskych, ako aj vo figurálnych kompozíciách, vyskytujúcich sa v celku jeho tvorby len sporadicky, farebne dominuje modro – fialovo – zelený akord; po prekonaní experimentálneho obdobia, v ktorom dospel k výrazne abstrahovanej forme na hranici informačného prejavu, sa upriamoval na kompozície, v ktorých sa kombináciou techník usiloval o podanie spoločensky závažnej problematiky; vytvoril aj celý rad monumentálno-dekoratívnych kompozícií; od roku 1952 bol členom východoslovenského kultúrneho spolku Svojina, zároveň členom skupiny Roveň; v roku 1961 sa stal členom Zväzu slovenských výtvarných umelcov; od roku 1969 pôsobil ako umelec v slobodnom povolaní; v roku 1984 mu bol udelený titul zaslúžilého umelca J. Daňo: Horúca jeseň J. Daňo: Za Bardejovom Heslo DANO – DAR Strana 1 z 22 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia J. Daňo J. Daňo: Drevenica Heslo DANO – DAR Strana 2 z 22 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia J. Daňo: J. Daňo Heslo DANO – DAR Strana 3 z 22 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia J. Daňo: Ulička so sypancom J. Daňo: Krajina Daňový peniaz - Zaplatenie dane cisárovi dánska loď - herring-buss Dánsko - dánski ilustrátori detských kníh - pozri L. Moe https://en.wikipedia.org/wiki/Category:Danish_children%27s_book_illustrators M Christel Marotta Louis Moe O Ib Spang Olsen dánski krajinári - Heslo DANO – DAR Strana 4 z 22 Marie Žúborová - Němcová: Encyklopédia kresťanského umenia http://en.wikipedia.org/wiki/Category:Danish_landscape_painters dánski maliari - pozri C.