DOCSLIB.ORG

Ganymede by Bertel Thorvaldsen Treasure from the National Gallery of Iceland Culture House Hverfisgata 5 June 2019 – 31 May 2020

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Ganymede by Bertel Thorvaldsen Treasure from the National Gallery of Iceland Culture House Hverfisgata 5 June 2019 – 31 May 2020 GANYMEDE BY BERTEL THORVALDSEN TREASURE FROM THE NATIONAL GALLERY OF ICELAND CULTURE HOUSE HVERFISGATA 5 JUNE 2019 – 31 MAY 2020 Day and Night Originals made in Rome 1815 Biscuit, Size variable Hólavellir cemetery, Reykjavík The bas-reliefs Day and Night, made by Thorvaldsen in Rome in 1815, are undoubtedly the artist‘s most popular bas-reliefs, widely seen on gravestones in Icelandic churchyards. At the Thorvaldsen Museum the two pieces hang as a pair, as if to symbolise the two phases of the day, and also life and death. Night is depicted as a winged female figure or angel with her head bent and eyes closed, holding two sleeping infants (sleep and death) in her embrace. In the background an owl, the bird of the night, flies towards the observer. The ambiance is peaceful. Day is also a winged female figure, but now embodying strength and movement: Aurora, goddess of the dawn, strews roses on the earth as she glances over her shoulder at the guardian of the light who accom- panies her, holding up a flaming torch to symbolise the sun and light. In the Hólavellir cemetery, other reliefs by Thorvaldsen may also be seen on grave- Bertel Thorvaldsen (1770–1844) stones, such as images from the baptismal font of Reykjavík Cathedral. Sculptor Bertel Thorvaldsen (1770–1844) was one of the most renowned artists in Europe of his time. He sought inspiration in the classical art of the Ancient Greeks and Romans, and is regarded as one of the leading exponents of neoclassical sculpture, together with Italian sculptor Antonio Canova. Thorvaldsen spent most of his career in Rome, where his clients included the Pope, Napoleon, and many European royal families. He is the only non-Catholic sculptor whose work is on display in St. Peter‘s in Rome. Examples of Thorvaldsen’s work are to be seen all over the world, in museums, churches and outdoor spaces. The Thorvaldsen Museum in Copenhagen upholds his memory and preserves his works. The art- ist‘s grave is in the garden of the Museum. Bertel Thorvaldsen was born in 1770 in Copenhagen, where he grew up. His father, Gottskálk Þorvaldsson, was the son of a clergyman from Skagafjörður, north Iceland. Born in 1741, at a young age he went to Copenhagen to train as a wood- carver. In later years, he carved figureheads for ships, and also worked in stone. Bertel‘s mother, Karen Dagnes, was born in 1735 in Jutland, where her father was a deacon. The father’s Icelandic patronymic Þorvaldsson was adapted to Thorvald- sen. The couple lived in rather poor circumstances, but their son‘s artistic talent emerged in boyhood, and in 1781 he entered the Royal Danish Academy of Fine Arts in Copenhagen at the age of only 11. He graduated in 1793. He received many prizes and awards for his art, including a travel grant which enabled him to go to Rome in 1796. Rome was at that time Europe’s mecca of culture and the arts, and Thorvaldsen lived there until 1838, establishing an international reputation. He Jón Eiríksson, head librarian then returned to Denmark, where he was welcomed as a national hero. Original made in Copenhagen before 1796 Plaster, Height 20 cm Bertel Thorvaldsen made over 90 free-standing sculptures, nearly 300 bas-reliefs National Museum of Iceland, Mms-1537 and more than 150 busts, in addition to quantities of drawings, sketches and In the National Museum of Iceland is a plaster mask of konferensråd Jón Eiríks- maquettes. The collection of the Thorvaldsen Museum includes plaster casts of son (1728–1787), head librarian of the Royal Library in Copenhagen. The mask most of his works, as well as many works chiselled in marble and cast in bronze. In is part of a bust made by Thorvaldsen in his youth, before he left for Rome. Its his time Thorvaldsen was one of Europe‘s most popular sculptors, who received date is uncertain. The bust was long owned by Grímur Thorkelín of Copenha- commissions from royalty and aristocracy all over the continent. Many of his gen, and in 1825 it was the property of regional governor Bjarni Thorsteinsson, leading works draw on themes and models from Graeco-Roman mythology, and who sent it to Iceland. Unfortunately the bust was broken in transit, so badly the theories of Winckelmann and Lessing on the superiority of classical Greek that only the facial mask remained whole. In 1920 Bjarni‘s granddaughter sculpture, with the emphasis on the purity of the marble and perfection of form. Steinunn Thorsteinsson (1886–1978) presented it to the National Museum. In Reykjavík three bronze casts of works by Thorvaldsen are on display in public spaces, and in addition three marble sculptures by the artist are in public col- Ganymede lections, including Ganymede, on display here. In churchyards all over Iceland Original made in Rome 1804 Text: Dagný Heiðdal bas-reliefs by Thorvaldsen are seen on many gravestones, and Icelandic collec- Marble, Height 135 cm English translation: Anna Yates National Gallery of Iceland, LÍ 7016 Photography: Sigurður Gunnarsson, Listasafn Íslands; Thorvaldsens Museum tions have various replicas of his most popular works. For further information on Design: Hildigunnur Gunnarsdóttir Thorvaldsen‘s works in Icelandic collections, visit the museum website sarpur.is © Listasafn Íslands / National Gallery of Iceland The collection of the National Gallery of Iceland includes one sculpture by Bertel Thorvaldsen, Ganymede. The original was made in Rome in 1804, only a year after he completed his Jason with the Golden Fleece, which heralded his period of fame as a sculptor in Rome. The National Gallery also has a pencil drawing of three heads by Thorvaldsen, and 66 prints of works by the artist. In his sculpture of Ganymede, seen here, Thorvaldsen presents a figure from Greek mythology, the goblet and ewer signifying the character and the story behind the sculpture, while the headgear is an allusion to the fact that Ganymede was originally a Trojan from Phrygia, as stated in Homer’s Iliad. Zeus, the king of the gods, had many human attributes, among which was an admiration for beautiful young men – and when he saw (or heard of) Ganymede, his desire to have the boy with him was so overwhelming that he sent an eagle (or perhaps went himself in the form of an eagle, as Ovid says in his Metamorphoses) to snatch him and bring him to Mt. Olympus. Zeus granted Ganymede the gift of eternal youth and appointed him cup-bearer to the gods. Thorvaldsen depicts Ganymede holding out a goblet to the gods on Mt. Olympus. The work is not only an example of the sculptor’s neoclassical themes, but also embodies his fidelity and that of neoclassicists to the Ancients’ ideals of beauty, described by Jo- hann Joachim Winckelmann as “noble simplicity and quiet grandeur” in his Gedanken über die Nachahmung der griechischen Werke in der Malerei und Bildhauerkunst (Reflections on the Imitation of Greek Works in Painting and Sculpture, 1755). The origin of the work was that in the winter of 1803-04 Irina Vorontsova, a Russian countess, commissioned five sculptures from Thorvaldsen on themes drawn from Bertel Thorvaldsen with the Sculpture Hope Original made at Nysø 1839 Adonis Greek mythology, including the stories of Bacchus and Ganymede, as specified in Bronze, Height 198 cm Original made in Rome 1808 their contract of February 1804. Hljómskálagarður park, Reykjavík Bronze, Height 186 cm Hallargarður park, Reykjavík Thorvaldsen’s Ganymede exists in two versions in addition to the one in the National The first open-air work of art erected in Iceland was a bronze cast of a self-portrait by Thor- Gallery of Iceland: in one Ganymede lifts up the ewer to pour wine into the goblet, valdsen, which was ceremonially unveiled on the artist‘s birthday, 19 November 1875, on In the Hallargarður park, at the corner of Skothúsvegur and Fríkirkjuvegur, stands while in the other he kneels to give Zeus’ eagle a drink. In addition a number of reliefs Austurvöllur in Reykjavík, adjacent to the Cathedral. The sculpture was the gift of Copen- a bronze cast of Adonis, which Thorvaldsen completed in 1808. Adonis is the most and drawings of Ganymede by Thorvaldsen are extant. This Ganymede was in the hagen City Council to the people of Iceland to mark the millennium of the settlement of beautiful and sought-after young man in Greek mythology, the favourite of Aphrodite, collection of the Thorvaldsen Museum in Copenhagen, having been left uncompleted Iceland in 1874. The choice of the gift reflected the artist‘s Icelandic descent, and Icelanders goddess of love and beauty, and the cause of a feud between her and Persephone, in his studio at his death, and later completed for the Museum. It was sold when the were delighted to acquire this work by an artist whom they regarded as one of their own. goddess of the underworld. The bronze belongs to the City of Reykjavík, which had the Museum acquired another exemplar in 1922. It was presented to the National Gallery Thorvaldsen had made the work in Denmark at the urging of Baroness Stampe, although he cast made in 1973 and erected it in the park a year later. The Glyptotek in Munich has of Iceland in 1927 by Johan Hansen, Icelandic consul in Copenhagen. was said to be most reluctant to make a self-portrait. In the sculpture we see Thorvaldsen the sculpture in marble, commissioned by Crown Prince Ludwig of Bavaria in 1808. at work with his hammer and chisel, apparently having taken a break, leaning against his sculpture of the goddess Hope. Other works by Bertel Thorvaldsen in Reykjavík In 1931 the Thorvaldsen sculpture was removed from Austurvöllur to make way for a statue of Jón Sigurðsson, hero of the Icelandic campaign for self-determination, by sculptor Einar Jónsson (1874-1954).
Load more

Recommended publications
  • 56.4Holzapfelmasterslight.Pdf
    Herman du Toit. Masters of Light: Coming unto Christ through Inspired Devotional Art. Springville, Utah: Cedar Fort, 2016. Reviewed by Richard Neitzel Holzapfel BOOK REVIEWS erman du Toit is the former head of audience education and Hresearch at the BYU Museum of Art (MOA). A gifted and talented art educator, curator, critic, and author, du Toit caps his long career of considering, thinking, teaching, and writing about the power of reli- gious art with a beautifully written and illustrated volume, Masters of Light. As Richard Oman, a well-known LDS art historian, states in the fore- word, “Most of us strive for a closer relationship with Christ. Among frequently used external aids are written and spoken words in inspira- tional talks, sermons, and books. In this book, Herman du Toit helps us better understand and use an additional source: inspired visual art” (x). The book highlights the work of four influential nineteenth-century Protestant European artists—Bertel Thorvaldsen, Carl Bloch, Heinrich Hofmann, and Frans Schwartz—who have captured the imagination of Latter-day Saint audiences for the last half century. However, the book is much more than the story of four artists and the devotional art they produced during their careers. Du Toit carefully crafts word pictures equally as beautiful as the art he uses to illustrate the book. The result is a theological discussion of the centrality of Jesus Christ in the lives of believers. Du Toit ties this fundamental core doc- trine of the restored Church to the art the Church uses to proclaim Christ to the world.
    [Show full text]
  • Portrætter I Ord Portraits in Words ~
    PORTRÆTTER I ORD ~ PORTRAITS IN WORDS MERETE PRYDS HELLE INTRODUKTION INTRODUCTION Det kan være svært at finde ind bag Finding a way behind the white mar- den hvide marmorhud og frem til ble skin can be difficult, to reach the de mennesker, der i 1800-tallet stod people who, during the nineteenth model til Thorvaldsens skulpturelle century, modelled for Thorvaldsen’s portrætter. Merete Pryds Helle har sculptural portraits. Merete Pryds givet marmormenneskene nyt liv og Helle has breathed new life into the- lader os i 30 små fiktionsbiografier se marble people, and through thirty møde personer, der engang elskede, short fictional biographies, invites sørgede, dansede, slikkede tæer og us to meet people who once loved, huggede i sten. mourned, danced, licked toes and Fantasi og frie associationer får sculpted stone. lov til at blande sig med biografiske In these texts, imagination and læsninger i teksterne, som er blevet til free association are allowed to mingle i åbne skriveværksteder, hvor Pryds with biographical study, which have Helle har inviteret museets besøgende come to life during open writers’ til, sammen med hende, at digte nye workshops, where Pryds Helle has livsfortællinger til portrætterne. invited the museum’s visitors to help Fiktionsbiografierne er skrevet her compose new life stories for the til udstillingen Ansigt til Ansigt. Thor- portraits. valdsen og Portrættet. De 10 værker, The fictional biographies have som danner udgangspunkt for de 30 been written for the exhibition Face to tekster, er markeret med lyserøde sil- Face. Thorvaldsen and Portraiture. These kebånd i udstillingsperioden. ten works, which form the starting point for the thirty texts, are marked with pink silk ribbons for the dura- tion of the exhibition.
    [Show full text]
  • Warsaw University Library Tanks and Helicopters
    NOWY ŚWIAT STREET Nearby: – military objects. There is an interesting outdoor able cafes and restaurants, as well as elegant UJAZDOWSKIE AVENUE Contemporary Art – a cultural institution and THE WILANÓW PARK exhibition making it possible to admire military boutiques and shops selling products of the an excellent gallery. Below the escarpment, AND PALACE COMPLEX The Mikołaj Kopernik Monument The Warsaw University Library tanks and helicopters. world’s luxury brands. The Ujazdowski Park east of the Castle, there is the Agricola Park (Pomnik Mikołaja Kopernika) (Biblioteka Uniwersytecka w Warszawie) (Park Ujazdowski) and the street of the same name, where street ul. St. Kostki Potockiego 10/16 ul. Dobra 56/66, www.buw.uw.edu.pl The National Museum The St. Alexander’s Church gas lamps are hand lit by lighthouse keepers tel. +48 22 544 27 00 One of the best examples of modern architecture (Muzeum Narodowe) (Kościół św. Aleksandra) just before the dusk and put down at dawn. www.wilanow-palac.art.pl in the Polish capital. In the underground of this Al. Jerozolimskie 3 ul. Książęca 21, www.swaleksander.pl It used to be the summer residence of Jan interesting building there is an entertainment tel. +48 22 621 10 31 A classicist church modelled on the Roman The Botanical Garden III Sobieski, and then August II as well as centre (with bowling, billiards, climbing wall) www.mnw.art.pl Pantheon. It was built at the beginning of the of the Warsaw University the most distinguished aristocratic families. and on the roof there is one of the prettiest One of the most important cultural institutions 19th c.
    [Show full text]
  • Portraits of Sculptors in Modernism
    Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction .......................................................................................................................
    [Show full text]
  • Jesus Christ by Thorvaldsen
    Jesus Christ by Thorvaldsen New cast copy 1:1 (armed alabaster, height 35 cm.) of biscuit-miniature by Chr. Christensen, 1840 Church of Our Lady Trinity Denmark The Cathedral of Copenhagen Knud og Birthe Lund Susanne Torgard, phone: +45 3318 6422 Saint Villads Street 1, 8800 Viborg, Denmark Nørregade 8, 1165 Copenhagen K., Denmark Phone: +45 8662 3621 / +45 2020 3621 Mail: [email protected] Mail: [email protected] www.Domkirken.dk www.Trefoldigheden.dk Front cover photos: Top: The Christus Statue by Bertel Thorvaldsen, Our Lady´s Church, Copenhagen (marble, mounted 1839, modelled 1821 in Rome). Photo reproduced by permission from architect-photographer Jens Frederiksen ©. Bottom: Bertel Thorvaldsen´s selfportrait statue, standing with the Goddess of Hope (1839). Photo reproduced by permission from Thorvaldsens Museum ©. THORVALDSENS THOUGHTS ABOUT HIS Bertel Thorvaldsen´s Christus statue STATUE OF JESUS CHRIST Quotations from: Do you believe in Angels? by Inga Boisen Schmidt Printed by permission by publisher Rubel Blaedel, Rhodos Publishing House @ Thorvaldsen expressed his aim to create He made many draft sketches including “Christ over Millennia”. positions, showing Christ blessing, praying and warning. NEW LIGHT ON THORVALDSENS VIEW ON CHRISTIANITY For a long time, he hesitated, groping towards this major task. One day he stood with his friend, Thorvaldsen was by nature reserved … and it Not until his old days Dalhoff felt obliged Should he create the statue as the suffering Hermann Freund, in front of a sketch, was not easy for him to be open opposite one through some records to let the posterity Christ, the anxious, the humiliated or the showing Christ, praying with upraised another.
    [Show full text]
  • Art Bulletin of Nationalmuseum Stockholm Volume 26:1
    The Danish Golden Age – an Acquisitions Project That Became an Exhibition Magnus Olausson Director of Collections Art Bulletin of Nationalmuseum Stockholm Volume 26:1 Art Bulletin of Nationalmuseum, Stockholm, © Copyright Musei di Strada Nuova, Genova Martin van Meytens’s Portrait of Johann is published with generous support from the (Fig. 4, p. 17) Michael von Grosser: The Business of Nobility Friends of the Nationalmuseum. © National Gallery of Art, Washington D.C. Open © Österreichisches Staatsarchiv 2020 (Fig. 2, Access image download (Fig. 5, p. 17) p. 92) Nationalmuseum collaborates with Svenska Henri Toutin’s Portrait of Anne of Austria. A © Robert Wellington, Canberra (Fig. 5, p. 95) Dagbladet, Bank of America Merrill Lynch, New Acquisition from the Infancy of Enamel © Wien Museum, Vienna, Peter Kainz (Fig. 7, Grand Hôtel Stockholm, The Wineagency and the Portraiture p. 97) Friends of the Nationalmuseum. © Rijksmuseum, Amsterdam/Public Domain (Fig. 2, p. 20) Graphic Design Cover Illustration © Christies, 2018 (Fig. 3, p. 20) BIGG Daniel Seghers (1590–1661) and Erasmus © The Royal Armoury, Helena Bonnevier/ Quellinus the Younger (1607–1678), Flower CC-BY-SA (Fig. 5, p. 21) Layout Garland with the Standing Virgin and Child, c. Four 18th-Century French Draughtsmen Agneta Bervokk 1645–50. Oil on copper, 85.5 x 61.5 cm. Purchase: © The Metropolitan Museum of Art, New York, Wiros Fund. Nationalmuseum, NM 7505. NY/Public Domain (Fig. 7, p. 35) Translation and Language Editing François-André Vincent and Johan Tobias Clare Barnes and Martin Naylor Publisher Sergel. On a New Acquisition – Alcibiades Being Susanna Pettersson, Director General. Taught by Socrates, 1777 Publishing © The Metropolitan Museum of Art, New York, Ludvig Florén, Magnus Olausson, and Martin Editors NY/Public Domain (Fig.
    [Show full text]
  • Some Late Etruscan Mirrors in the Thorvaldsen Museum
    Some late Etruscan mirrors in the Thorvaldsen Museum Autor(en): Melander, Torben Objekttyp: Article Zeitschrift: Cahiers d'archéologie romande Band (Jahr): 17 (1979) PDF erstellt am: 29.09.2021 Persistenter Link: http://doi.org/10.5169/seals-835586 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch Some Late Etruscan Mirrors in the Thorvaldsen Museum Torben MELANDER The Etruscan mirrors discussed in the following are to be found in the Antique Collection at the Thorvaldsen Museum. A short introduction to this the third and smallest of the Antique Collections in Copenhagen would be appropriate at this point and will contribute to an understanding of the mirrors that we shall be considering.
    [Show full text]
  • Thermal Sustainability
    $UFKLWHFWXUDO Liefooghe, M. 2019. Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author. Architectural Histories, +LVWRULHV 7(1): 12, pp. 1–13. DOI: https://doi.org/10.5334/ah.296 RESEARCH ARTICLE Buildings for Bodies of Work: The Artist Museum After the Death and Return of the Author Maarten Liefooghe Critiques of the cult of artists, life-and-work narratives, and the authority of authors over the meaning of their works not only unsettle the conventions of literary and art historical studies. They also challenge the importance of the artist museum and its architecture. Adopting Roland Barthes’ discussions of the ‘death’ and ‘return of the author’ of the late 1960s and early 1970s as a critical lens, this article examines how the architecture of artist museums reflects and contributes to the discursive construction of the resilient figure of the artist-author. To do so, the article compares the cultist make-up of the 19th- century Thorvaldsen Museum-Mausoleum (opened in 1848) with the resolutely work-centred museums of Van Gogh (1973) and Roger Raveel (1999). The architecture of the last two examples is significantly different, however. The Van Gogh Museum seemingly negates its monographic orientation, while the Raveel Museum amends a white cube logic with a reserved interpretation of artistic individuality and site-boundedness. Parallel to the institutional interpretation of a museum’s monographic mission, and the curators’ representation of the artist-life-work nexus in exhibitions, architecture is yet another element in a museum’s assemblage of an artist presented as a dead or revived author to its visitors.
    [Show full text]
  • Article Were Taken by the Author, with the Exception of the Lower Inscription, Which Was Taken by Deidre Green
    Christus, by Bertel Thorvaldsen (born 1768 or 1770, died 1844), in the Cathedral of Copenhagen. The Danish words on the pedestal read “Come unto me” (Matt. 11:28). The Christus in Context A Photo Essay John W. Welch mong the many good reasons to go to Copenhagen, Denmark, is to A experience firsthand the famous Christus statue by Bertel Thor- valdsen (1770–1844) in the Vor Frue Kirke (The Church of Our Lady), the Lutheran Cathedral of Copenhagen. While this classic sculpture of Christ, in stunning white Carrara marble, would be impressive in any setting, it is especially meaningful and emotive in its original architec- tural setting.1 Many circumstances providentially welcomed the Apostle Erastus Snow when he and three other missionaries arrived in 1849 in Copen- hagen, the first missionaries of the Restoration to set foot on the con- tinent of Europe.2 Most significantly, only months before their arrival, the Danish constitution had been adopted,3 containing one of the most progressive provisions guaranteeing religious liberty ever to be adopted. This significant constitutional development was the first in the world to follow the Constitution of the United States, fulfilling a hope expressed 1. Anne-Mette Gravgaard and Eva Henschen, On the Statue of Christ by Thorvaldsen (Copenhagen: The Thorvaldsen Museum and the Church of Our Lady, 1997). See also David Bindman, Warm Flesh, Cold Marble: Canova, Thor- valdsen, and Their Critics (New Haven, Conn.: Yale University Press, 2014), Matthew O. Richardson, The Christus Legacy (Sandy, Utah: Leatherwood Press, 2007); and Matthew O. Richardson, “Bertel Thorvaldsen’s Christus: A Mormon Icon,” Journal of Mormon History 29, no.
    [Show full text]
  • Press Release Beauty and Revolution
    PRESS RELEASE BEAUTY AND REVOLUTION. NEOCLASSICISM 1770–1820 20 FEBRUARY–26 MAY 2013 Press preview: Tuesday, 19 February 2013, 11 am Städel Museum, Exhibition House Frankfurt am Main, 19 December 2012. A comprehensive special exhibition Städelsches Kunstinstitut und Städtische Galerie presented by Frankfurt’s Städel Museum from 20 February to 26 May 2013 will Dürerstraße 2 highlight the art of Neoclassicism and the impulses it provided for Romanticism. 60596 Frankfurt am Main Phone +49(0)69-605098-170 Developed in collaboration with the Liebieghaus Skulpturensammlung, the show Fax +49(0)69-605098-111 Beauty and Revolution will assemble about one hundred works of the period from [email protected] www.staedelmuseum.de 1770 to 1820 by such artists as Anton Raphael Mengs, Thomas Banks, Antonio PRESS DOWNLOADS Canova, Jacques-Louis David, Bertel Thorvaldsen, Johann Gottfried Schadow, and www.staedelmuseum.de Jean-August-Dominique Ingres. The major survey, whose range also comprises a PRESS AND PUBLIC RELATIONS Axel Braun, head number of impressive examples of “Romantic Neoclassicism,” will be the first in Phone +49(0)69-605098-170 Germany to convey an idea of the variety of the different and sometimes even Fax +49(0)69-605098-188 [email protected] contradictory facets of this style. Sarah Heider, press officer Phone +49(0)69-605098-195 Fax +49(0)69-605098-188 Based on significant sculptures, paintings, and prints from collections in many [email protected] countries, the exhibition will explore the decisive influence of classical antiquity on Silke Janßen, press officer the artists of the era. Struggling for a socially relevant art, the artists directed their Phone +49(0)69-605098-234 Fax +49(0)69-605098-188 attention to the aesthetics of Greek and Roman art as well as to their virtues and [email protected] moral standards conveyed by history and mythology.
    [Show full text]
  • Agenda-Setting During Crisis
    MA in Tourism 2021 Aalborg University Copenhagen AGENDA-SETTING DURING CRISIS Agenda-setting and persuasive communication in entertainment and education sector during COVID-19 pandemic in Denmark Authors: Inga Marika Adamska (20196593) and Ance Zake (20191085) Supervisor: Martin Trandberg Jensen Number of keystrokes (pages): 252 056 (105 pages) Key words: agenda-setting; persuasion; persuasive communication; persuasion in crisis; crisis communication; tourism communication Date: 31st May 2021 Ance Zake and Inga Adamska Acknowledgements This project could not be possible without the participation and help of so many people. Though we cannot list them all, their contribution is greatly appreciated. We want to thank at least some of them for their support while writing this thesis. First of all, we would like to thank Aalborg University Copenhagen for the opportunity to conduct this project within the MA in Tourism program. They have provided us with the knowledge and thrive to pursue our interests behind this project. Secondly, we would like to thank our supervisor, Martin Trandberg Jensen, who had given us insights into what is necessary to fulfill our goals for this project. We greatly appreciate the guidance through the whole process of project writing. We want to thank all the companies that collaborated with us in this research: JyllandsAkvariet, Kronborg Castle, Danish Architecture Center, Thorvaldsen’s Museum, Glyptotek, and Christiansborg Palace. We appreciate the time they spent giving us all the necessary information and their interest in this project. Naturally, we could not do this research without each other, so we would like to express our gratitude for our support toward each other.
    [Show full text]
  • Athanor Cover.Indd
    Painting Instruction: C. W. Eckersberg and Artistic Labor in the Danish Golden Age Leslie Anne Anderson Until the appointments of Professors Christoffer Wilhelm Jørgen Sonne (1801-1890).4 In addition, Eckersberg’s private Eckersberg (1783-1853) and Johan Ludvig Lund (1777- pupils — Constantin Hansen (1804-1880), Christen Købke 1867) in 1818, the ossified curriculum of the Royal Danish (1810-1848), Wilhelm Marstrand (1810-1873), Adam Mül- Academy of Fine Arts officially consisted of sketching plaster ler (1811-1844), Jørgen Roed (1808-1888), and Frederik casts of antique statuary, écorché sculptures, and artificially- Sødring (1809-1862) — made significant contributions to illuminated male models assuming heroic poses.1 During this genre as both painters and subjects.5 Shown at work or their tenure at the Academy, however, the two professors posed in the studio, these artists are often surrounded by a introduced supplementary tuition in painting from life under carefully selected sampling of tools and instructional aids. In natural light — a practice assimilated by Eckersberg and Lund this examination, it is argued that such artistic accoutrements in Jacques-Louis David’s Paris studio.2 In addition, private reference the respective methodologies of the sitters, who instruction under Eckersberg inaugurated plein-air sketching typically subscribed to Eckersberg’s artistic program. More excursions and specialized tutorials in the science of linear specifically, these objects often allude to and celebrate the perspective. Thus, Eckersberg’s
    [Show full text]