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Medd. 2001, Johansson WÊÊÊtÊÊÈHtKÊÊEÊÊM Fig. i. Wilhelm Bendz: En billedhugger arbejder efter levende model i sit atelier, 1827. Statens Museum for Kunst 138 EJNER JOHANSSON At tegne gips efter Thorvaldsen A f Ejner Johansson Kunstakademier har man haft siden renæssancen. i Vatikanet, i paladsernes cortile’r og sale. Det var Og lige til vor tid var studiet af mennesket - men­ mere besværligt nord for Alperne, hvor der prak­ neskefiguren - i centrum for akademiernes under­ tisk taget intet fandtes af den slags. Men efterhån­ visning. Enten det nu var i Jacques-Louis Davids den spredtes de berømte oldtidsfigurer i gipsaf­ Académie Royale de Peinture et de Sculpture i støbninger til alle Europas kunstakademier, og på Paris, eller det var i Nicolai Abraham Abildgaards vore breddegrader blev studiet af antikkens mester­ kongelige akademi for de skønne kunster på værker som Vatikanets Apolio og den mediceiske Kongens Nytorv i København. Venus således til den mere beskedne akademiske Her dyrkedes to discipliner fremfor alle andre: praksis: at tegne gips! Og man tegnede altså gips at tegne efter antikke statuer for at få det rigtige ikke blot for at få en vis tegnefærdighed - nej, de begreb om menneskets ideale skønhed - og der­ unge kunstnere skulle tilegne sig antikkens skøn­ næst: at tegne efter levende, nøgne (mandlige) mo­ hedsideal for senere at praktisere det på deres egne deller for også at studere sin egen tids mere van- arbejder. slægtede menneskehed. Studiet af det skønne i Wilhelm Bendz’ maleri fra Kunstakademiets kunsten - dvs. at tegne efter antikke statuer - var atelier ved Frederiksholms Kanal: En billedhugger forudsætningen for at kunne se skønheden i natu­ arbejdende efter levende model i sit værksted (fig. i) er så ren; den levende, uregerlige natur skulle korrigeres at sige en illustration af denne teori. Billedhugge­ efter antikke guder og helte, sådan som de var over­ ren Christen Christensen er her i færd med at mo­ leveret fra oldtidens Grækenland og Rom. dellere en statuette efter en muskuløs livgarder, Dette program prædikedes ikke mindst af klas­ men bag garderen og billedhuggeren står antikke sicismens store kunstteroretiker Johann Joachim gipsafstøbninger vagt - den borghesiske fægter, en Winckelmann; han hævdede, at det var langt lette­ Atlas, den mediceiske Venus og andre stykker - så re at se skønheden i græske statuer end at få øje på den moderne billedhugger stadig kunne have naturens skønhed. Som et rent skoleprogram på­ antikken for øje, når han lavede en figur af en stod han, at når kunstneren bare byggede på dette dansk soldat fra Frederik VTs tid. grundlag og lod hånd og sind føre af den græske I begyndelsen af det nittende århundrede var da skønhedsnorm, så var han på den rette vej, der sik­ heller ingen fornuftige mennesker herhjemme i kert førte ham til efterligning af naturen: »Wenn tvivl om, at det var nyttigt - ja, nødvendigt - for der Künstler auf diesen Grund bauet, und sich die unge at danne sig på denne måde. Til den ende griechische Regel der Schönheit Hand und Sinne havde vores kunstakademi helt tilbage fra sin før­ führen lasset, so ist er auf dem Wege, der ihm si- ste spæde begyndelse i det attende århundrede cher zur Nachahmung der Natur führen wird.« samlet gipsafstøbninger af klassiske skulpturer Han mente også, at denne efterligning af de (fig. 2). Winckelmanns danske beundrer, billedhug­ gamle grækere var en god pædagogisk fidus, for så geren Johannes Wiedewelt, fortæller om Christian avancerede eleverne hurtigere: »Ich glaube, ihre VTs kunstakademi, at allerede dengang havde man Nachahmung könne lehren geschwindiger klug zu følgende bestand: »Af Anticke Figurer var der den werden.«1 Tid tilstæde ... Laocon: sin Søn [den ene af sønner­ At studere og tegne oldtidens billedhuggervær­ ne manglede altså], den Mediciske Venus, Faunen: ker var ikke synderlig kompliceret i Italien, hvor dito, Hermaphroditen, den Borghesiske [fægteren Winckelmann virkede, det var jo netop en af grun­ antagelig], samt nogle faa Antique Hoveder, Der dene til, at unge kunstnere fra hele Europa rejste til haver jeg tegnet efter Hand-Tegninger.« Laocoons Rom. Marmorbillederne stod på gader og pladser, manglende søn dukkede op 1 København nogle år AT TEGNE GIPS EFTER THORVALDSEN I39 senere, den blev indforskreven fra Italien 1789 sam­ trængte sig på som relevante emner, var klassicis­ men med adskillige andre antikker ved Abild- mens normer ubrugelige. gaards initiativ.2 Over hele Europa føltes de winckelmannske Wiedewelt nævner også, at han tegnede efter ideer forældede - i vort hjemlige Kunstakademi håndtegninger. Det at kopiere andres tegninger var gjorde Eckersberg, hvad han kunne for at kvitte en øvelse for begyndere, som fortsattes langt op i den gamle praksis. Fra han i 1818 overtog professo­ tiden. Og kunne der ikke skaffes afstøbninger af ratet ved Modelskolen, prædikede han sit evange­ visse berømte antikke værker, hjalp man sig med lium om »Formernes nøjagtige Overensstemmelse tegninger efter dem. Under sit ophold i Rom i med Grundbilledet« - dvs. naturen. »De troer maa- 1770erne udarbejdede Abildgaard 43 fortegninger ske, at De kan gjøre det bedre end Naturen?«, sag­ efter antikker og Rafael til Kunstakademiet hjem­ de han til de unge, der endnu på gammel vis så mo­ me i København; så måtte eleverne se at klare sig dellen gennem antikkens briller. Maleren Constan­ med dem. Også Abildgaards egne modeltegninger tin Hansen, der gik på akademiet 1816-33, kaldte sad begyndere og øvede sig på; den frisiske maler Eckersberg »naturalistisk« og fortalte, at professo­ Harro Harring fortæller, hvorledes eleverne endnu ren »ikke kunde lide, at man overførte sit Studium på Eckersbergs tid kopierede professorernes mo­ af Antikerne og af det Anatomiske paa Tegningen deltegninger: »Alles krazt und scharrt und wischt efter levende M odel... Han forlangte en tro Gjen- nach dem Modell-Figuren von Abildgard und givelse i et og alt af Modellen.«5 anderen alten und neuen Professoren, welche erste- Men trods Eckersberg var den winckelmannske re - nämlich die Zeichnungen Abildgards in ihrer ide, at antikstudierne skulle hjælpe kunstnerne til Art vortrefflich sind.«3 at »see og gjengive det Skjønne i Naturen«, utrolig Tegning efter de klassiske figurer foregik i Gips­ sejlivet. Et behjertet forsøg i Eckersbergs dødsår skolen, og den måtte man igennem for at komme 1853 på definitivt at få taget livet af de hundrede år videre op i Modelskolen, hvor eleverne mødte gamle teorier blev ikke til noget. En kommission til »naturen« i form af mere eller mindre velskabte ordning af Kunstakademiets forhold affødte gan­ mandlige modeller. Gipsfigurerne var opstillet ske vist en mindretalsudtalelse af blandt andre bil­ rundt om i akademiets lokaler, først og fremmest i ledhuggeren Hermann Wilhelm Bissen og kunst­ Charlottenborgs store sal, den såkaldte Figursal historikeren Niels Laurits Høyen, hvori det hed, at eller Antiksalen, som den også kaldtes. Hvorledes de fuldt ud anerkendte antikkens betydning: her så ud i begyndelsen af det nittende århundrede, »- men Eet er Studium af Antikken, et Andet kan vi se af billeder, som Ditlev Martens, Martinus Anvendelsen af Antikken som Forbilleder ved Tegne­ Rørbye, Christen Købke og mange andre malede øvelser. Studiet a f Antikken kan og bør ikke gaae forud fra Charlottenborgs lokaler i i820rne og fremefter; for Undervisningen i Modelklassen, thi deels er det vist her ser vi de unge kunstnere i fuld gang med at øve nok en urigtig Anskuelse, at Studiet af det Skjønne sig efter den antikke gips. Det fortsatte man med 1 Kunsten skulde være en Forudsætning for Studiet helt op i det tyvende århundrede - ja, nogle gør det af Skjønheden i Naturen, deels kan en kunstnerisk vel endnu.4 Opfattelse a f Antikken ikke finde Sted, forinden et grun­ Med tiden rejste der sig dog en opposition mod digt Kjendskab til det menneskelige Legeme er erhvervet, dette akademiske antikstudium. Ikke mod selve dette sker først i Modelklassen, og først efter at det at tegne efter græske statuer, men mere og have gjennemgaaet denne vil Kunstneren, frigjort mere vendte man sig mod den filosofi, at de klas­ for alle techniske Vanskeligheder, med Kjærlighed siske skulpturer skulle og kunne være norm for og Nytte kunne træde til Studiet af Antikken.«6 moderne figurfremstillinger. Det var i orden i klas­ Altså det stik modsatte af Winckelmanns pro­ sicismens tid, da der var overensstemmelse mellem gram, men som nævnt var det kun et mindretal, midler og mål: dvs. så længe historiemaleriet med der havde fundet ud af det. Kunstakademier er bibelske, historiske og antik-litterære emner var institutioner, og institutioner overgiver sig ikke så­ kunstnerisk aktuelle opgaver - her kunne en vis dan uden videre; maleren Laurits Tuxen havde i sin antik gebærden og formfølelse være på sin plads. tid Jørgen Roed som lærer, og han fortæller, at Men efterhånden som nutiden og hverdagslivet endnu i 1860erne, da han var elev på akademiet, 140 EJNER JOHANSSON Fig. 2. Hans Ditlev Martens: Antiksalen på Charlottenborg 1824. Thorvaldsens Museum. baseredes tegneundervisningen »- udelukkende og Kunstner havde set den - uden den mindste Hen­ altfor tidligt paa Studier af Antiken, saa den unge syntagen til den forskellige Legemsbygning.« Han Elev ligefrem opdroges til at se ved Siden af, naar huskede også en bemærkning fra en lærer, at hjem­ han tegnede efter den levende Model. Et Stykke me kunne man more sig med at kopiere en model, antik stilledes hen ved Siden af Modellen for at på Kunstakademiet skulle man lære den »skønne vise, hvordan Naturen var, og hvordan den antike Form «!7 AT TEGNE GIPS EFTER THORVALDSEN 141 Nu var det ikke kun oldtidens klassiske skulp­ Allerede året før havde forfatteren Peder Hjort turer, der stod opstillet i akademiets Antiksal - i gjort sig til talsmand for at få nogle Thorvaldsen- tæt trængsel efterhånden, som det ses af Martens’ værker til landet: »Pengevæsenets stadige Forbed­ og andres malerier, der var også værker af »de mo­ ring er gunstig. For det første kunde man for halv­ derne«.
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