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The Grand Tour of Europe: the Impact of Artistic Travels on Nineteenth- Century Danish Scenography

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The Grand Tour of Europe: the Impact of Artistic Travels on Nineteenth- Century Danish Scenography NORDIC THEATRE STUDIES Vol. 32, No. 2. 2020, 71-88 The Grand Tour of Europe: The Impact of Artistic Travels on Nineteenth- century Danish Scenography WHITNEY A. BYRN ABSTRACT This article investigates the artistic Grand Tour of the nineteenth-century Danish theatre painter C.F. Christensen made between the spring of 1838 and the fall of 1839, and how it influenced his later scenographic work at the Royal Danish Theatre. Using a variety of archival sources, his Grand Tour is reconstructed. His travels through Germany, Bohemia, Moravia, Switzerland, France, Italy, and the Tyrol exposed him to some of the greatest art and most innovative theatre Europe had to offer. Through the sketches done on his trip, it is possible to see the seeds of inspiration that took root in his scenography upon his return to Copenhagen. Scenography for two August Bournonville ballets that Christensen created after his return will be analyzed: The Festival in Albano and Acts 2 and 3 of Napoli. KEYWORDS Historic scenography, nineteenth-century theatre, C. F. Christensen, Royal Danish Theatre, Napoli, Grand Tour, Bournonville scenography. ISSN 2002–3898 © Whitney A. Byrn and Nordic Theatre Studies PEER REVIEWED ARTICLE Open access: https://tidsskrift.dk/nts/index Published with support from Nordic Board for Periodicals in the Humanities and Social Sciences (NOP-HS) DOI: 10.7146/nts.v32i2.124349 Nordic Theatre Studies The Grand Tour of Europe: The Impact of Artistic Travels on Nineteenth- century Danish Scenography Introduction Christian Ferdinand Christensen’s (1805–1883) education as a theatre painter differed from the other Danish theatre painters working at the Royal Theatre in the first half of the nineteenth century. Royal Theatre Painters Arnold Wallick (1779–1845) and Troels Lund (1802–1867) decided to focus on theatre painting after completing their Art Academy education as architectural painters and their Grand Tours. However, from nearly the beginning of his artistic training, C. F. Christensen chose the path of theatre painter. As the son of a twice widowed mother, C. F. Christensen needed to begin earning money as quickly as possible. Unlike other forms of painting that required finding commissions to make a living, once he was trained, theatre painting would afford him an immediate income. Christensen started his artistic training at the Art Academy in 1819 with Prof. Christian August Lorentzen and began apprenticing under Wallick in the Royal Theatre’s atelier in 1822.1 The date of Christensen’s completion of his formal education is unknown. It was, however, sometime between September 1828 and the spring of 1830 when he left Denmark to travel with the Russian Minister Baron Paul von Nicolay to Sweden, Finland and Russia. Baron Nicolay hired Christensen to paint a series of watercolors of his Monrepos estate in Vyborg, Russia and to educate the Baron’s children in drawing and painting. The library of Monrepos is famous, and includes many volumes on art and architecture.2 Christensen returned to Denmark in the fall of 1830. Regarding this trip Christensen wrote, “Overall I received, with Baron Nicolay’s help, good 1 The information surrounding Christensen’s early education comes from a variety of sources, some of which are contradictory. In Byrn 2008, 16–19, there is a lengthy explanation of how these dates were established. 2 Paul Ernst von Nicolay (the Baron’s grandson) donated the library to the University of Helsinki in the early 1900s. Today, it is possible to see the books to which Christensen could have been exposed. These books include works by Aeschylus, Euripides, Shakespeare, Pierre Corneille, Molière, Jean Racine, Ludvig Holberg, Carlo Goldoni, Denis Diderot, Richard Sheridan, Adam Oehlenschläger, and the Italian theatre painter, Pietro di Gottardo Gonzago, to name but a few. Artists and architects represented in these volumes include Vitruvius, Albrecht Dürer, Rafael, Giorgio Vasari, and the three Giovanni Battistas: Passeri, Piranesi and Tieopolo. Havu & Pitkäranta 2006. 72 The Grand Tour of Europe opportunity to familiarize myself with everything that could interest an artist and especially in my subject.”3 Although his formal education had ended, Christensen had not taken the Grand Tour. A Grand Tour would open avenues for career advancement; not taking a Grand Tour would block it. The concept of the Grand Tour developed in the seventeenth century and was considered an important component of completing a young gentlemen’s education. The tour generally included the great European towns and cities of the Renaissance and places containing vestiges of ancient Greek and Roman civilizations. During their travels, young men were exposed to different customs, cultures, and an aesthetic education meant to prepare them for the life of the landed gentry. It served as a rite of passage. Over time, the Grand Tour became essential for budding artists as well. It exposed them to paintings, classical sculptures and architecture, and through this exposure and practice, they learned proper artistic techniques. They traveled to become better artists and hone their skills. The usual destinations for the Grand Tour of artists from the Danish Art Academy included France and Italy and may have also included Germany, Austria, Switzerland and Greece, among others; so Christensen’s tour with the Baron to Sweden, Finland and Russia could not be considered the Grand Tour because it had not taken him to the places that the Art Academy deemed the most valuable and relevant. In 1838, C. F. Christensen faced a major obstacle in his career advancement. He had not had the opportunity to take the Grand Tour when he was younger. In 1838 at the age of 33 with a wife and family to support, he would not be granted membership into the Art Academy unless he took the Grand Tour. An Art Academy education and membership were prerequisites for obtaining an appointment as Royal Theatre Painter.4 Christensen sought money from the Royal Fund ad usus publicos to finance his trip. Both Wallick and Lund had received travel grants for their Grand Tours from the fund. In May 1837, Christensen received a grant of 600 Rigsbankdaler (Rdl) yearly, in silver, for two years.5 Instead of accepting, Christensen sought additional support from the Theatre Direction.6 Christensen was not prepared to travel abroad until his wife and child’s financial stability was assured during his absence. The Theatre Direction sent a request to the King seeking additional funds for Christensen,7 and by Royal Resolution, Christensen received an additional 300 Rdl per year for two years to be paid by the Theatre’s cashier. Christensen left for his Grand 3 All translations from the Danish were done by the author unless otherwise indicated. C. F. Christensen letters 1869 and 27.6.1877. 4 ...The theatre painter Ander Poulsen (1759/60–1821) who had apprenticed under Thomas Bruun (1742–1800) and acted as the Royal Danish Theatre’s painter from Bruun’s death in 1800 until Wallick’s appointment as Royal Theatre Painter in 1814 was denied the appointed of Royal Theatre Painter because of his lack of Art Academy education and Art Academy membership. 5 Royal Resolution 503, 6.6.1837. Glarbo 1947, 448–449. I have chosen a literal translation of the Danish Teater Direktion to Theatre Direction rather than Theater Management that is too heavily laden with a contemporary understanding. 6 C. F. Christensen, letter 1837. 7 Direktions Deliberationer. Danish National Archives. 73 Nordic Theatre Studies Tour on 21 May 1838. 8 Christensen’s Grand Tour throughout Europe exposed him to some of the greatest art and most innovative theatre Europe had to offer. This article will firstly reconstruct Christensen’s Grand Tour, and secondly, through an examination of the sketches he did while on the tour, it will investigate how these experiences abroad became the seeds of inspiration that took root in his later scenography9 at the Royal Danish Theatre specifically through an analysis of the scenography for the ballets The Festival in Albano and Napoli. The Grand Tour Little is known about the beginning of Christensen’s trip from his own hand, but he had two traveling companions who both kept diaries. His travelling companions were the architects Theophilus Hansen (1813–1891) and Laurits Albert Winstrup (1815–1889). Christensen was known as a landscape painter, but as a theatre painter, he also needed to be proficient with architectural painting. Visiting famous architectural sites and traveling with architects on his trip undoubtedly helped him in this pursuit. They visited some of the greatest theatres and art collections in Europe including the Linden Opera10 and the new National Theatre11 both in Berlin; Gottfried Semper’s Opera House in Dresden;12 in Prague, Theatre of the Estates built in 1787; Albrecht Dürer’s house in Nuremburg; and the National Theatre in Munich. In their diaries, both architects discussed theatre architecture, stage technology and theatre scenography with various comparisons to the Royal Danish Theatre. It is not hard to imagine that Christensen was a spirited part of the debate with his specialized knowledge of theatre. France and Italy: Immersion in His Art Christensen continued his journey traveling to Paris via Switzerland. Nothing is known about this portion of his trip, other than his route and a couple of sketches.13 By December 1838, Christensen was in Paris.14 In a letter to Jørgen Hansen Koch, Court Architect and a professor at the Art Academy, Christensen gave 8 Villadsen 1979, 90. 9 I use the term scenography as it is used in Scandinavia. Having spent many years researching and analyzing Christensen’s work and working in the theatre myself, there is little difference between what Christensen was doing in the nineteenth century and what scenographers do today. Christensen did not just create decorations in front of which actors stood.
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