REJSEBILLEDER – TURIST I ARKADIEN?

RESUMÉ

Et frodigt italiensk folkeliv, flotte antikke arkitekturruiner, prægtige templer og sol­ beskinnede bugter med lokale fiskere. Det var sådanne motiver, guldalderkunstnerne ­skildrede på deres rejser i Italien. Disse billeder udført under og efter deres dannelsesrejser­ til syden bekræfter manges antagelser af, at Italien dengang var et uspoleret paradis på jorden. Når vi ser nærmere på kunstnernes malerier, virker det netop som om, at guld­ alderkunstnerne nåede at opleve dette autentiske og uspolerede land, hvor den antikke storhed stod uberørt og lyslevende. I dag må vi dele oplevelsen af de antikke ruiner med de mange turister, der flokkes omkring romerske attraktioner som Colosseum,­ Forum Romanum, Vestatemplet m.m. Når vi undersøger guldalderkunstnernes breve og dagbøger viser det sig imidlertid, at de faktisk allerede dengang også oplevede masser af turister i Rom. Disse konsta­ teringer vendte op og ned på kunstnernes forventninger til deres dannelsesrejse. Håbet­ havde været at møde det autentiske Italien, men i stedet mødte de et turistpræget ­Italien. Det fik nogle af kunstnerne til at ændre kurs for deres billedproduktioner: nogle­ skildrede ­turisterne, mens andre skildrede det velkendte fra en ny synsvinkel. Her­igennem opstod nye­ billedstrategier, der forandrede den efterhånden lidt konservative rejsebilledgenre. Atter andre måtte dog fortsætte med at skildre det velpolerede solbeskinnede­ Italien, da det var den eneste billedkategori indenfor rejsebillederne, som kunne sælges til det ­købedygtige danske borgerskab. Det var derfor i kunstnernes ­private gemmer, at man kunne finde billeder, der pegede i en anden retning end den, offentligheden kendte til dengang.

KARINA LYKKE GRAND PH.D., ADJUNKT I KUNSTHISTORIE OG VISUEL KULTUR VED AARHUS UNIVERSITET

200 REJSEBILLEDER – TURIST I ARKADIEN? TRAVEL IMAGES – A TOURIST IN ARCADIA?

ABSTRACT

Exuberant Italian street life, beautiful and ancient architectural remains, magnificent ­temples and sunny bays with local fishermen - it was motifs such as these that the ­artists of the Golden Age depicted on their travels to Italy. These images, completed during and after their grand tours south, confirmed the assumptions of many that Italy was, at the time, an unspoiled paradise on earth. When we look closer at the paintings it ­actually seems as if the artists of the Golden Age managed to experience this authentic and ­unspoiled land, where the grandeur of antiquity stood unaffected and vividly alive. Today we must share the experience of the ancient ruins with the many tourists who flock around Roman attractions such as the Colosseum, the Roman Forum, and the Temple of Vesta, etc. When we examine the letters and diaries of the Golden Age artists, however, it shows that they actually experienced throngs of tourists in Rome, even then. These experiences turned the artists’ expectations for their grand tours upside down. They had hoped to meet the authentic Italy, but instead met a tourist-infested Italy. It made some of the ­artists change the course of their picture production: some depicted the tourists, while others depicted the well-known sights from a new angle. In this way new picture strategies appeared, gradually changing the by now slightly conservative genre of travel ­pictures. Yet others had to continue depicting the well-polished sunny Italy, though, as it was the only category of picture within travel pictures which one could sell to the Danish­ middle classes. It was, therefore, in the artists’ private possessions that one could find pictures pointing in another direction than those that were made public at the time.

KARINA LYKKE GRAND Ph.D., Assistant Professor of Art History and Visual Culture, Aarhus University

TRAVEL IMAGES – A TOURIST IN ARCADIA? 201 Rejsebilleder Travel images – Turist i Arkadien? – A Tourist in Arcadia?

Til Rom, til Rom, til Rom…! Sådan kan tankerne for de guldalder­ To Rome, to Rome, to Rome…! This thought was presumably kunstnere, der netop var blevet færdige med deres uddannelse fra on the minds of those Golden Age painters who had recently Det kongelige Academie for de Skønne Kunster, nemt have taget sig ­completed their studies at Det kongelige Academie for de Skønne ud. Italien og Rom i særdeleshed var nemlig kunstnernes absolutte­ Kunster (Royal Academy of Fine Arts). Italy and Rome in particular­ foretrukne rejsemål, når de stod foran at skulle af sted på deres were, namely, the absolute favourite destinations of the artists ­første større udenlandske dannelsesrejse, der ofte varede i flere as they stood contemplating their first major grand tours abroad, år. Rejserne­ blev typisk finansieret af ­kunstakademiets og kongens which often lasted several years. The trips were typically financed ­fonde i form af rejsestipendier, og med midlerne fulgte også krav by ­funding from the art academy and the king in the form of a travel­ til hvilke byer, steder, seværdigheder m.m., der skulle besøges.­ 1 ling bursary, and with these funds there also followed demands Kunstnerne­ skulle blandt andet omkring så mange ­italienske as to which cities, locations, sights, etc., should be visited.1 The ­seværdigheder som muligt for at sikre, at de oplevede den antikke artists, for example, had to visit as many Italian landmarks as pos­ storhedstids tilsynekomst i samtiden. Inden afgangen med sejlskib sible in order to ensure that they experienced the appearance of the eller dampskib fra Toldboden i København og ud i den vide verden (ill. great period of classicism in its present day form. Before departure­ 1) læste og orienterede kunstnerne sig i tidens rejselitteratur og fik by sailing ship or steamship from Toldboden (The Customs House gode råd fra andre kunstnere, der havde gennemført­ rejsen til Italien. in Copenhagen) and out into the wide world (ill. 1), the artists read

[ill. 1] Jørgen Roed, Afskedsscene på Toldboden (Departure from Toldboden), 1834. Olie på lærred / Oil on canvas, 66 x 82 cm. Privateje / Private collection.

202 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 2] Jens Juel, Italiensk Landskab, kaldet De elysæiske Marker. Bajæ ved søen Acheron [ill. 3] Andrea Locatelli, Arkadisk landskab (Arcadian Landscape), ca. 1708-1741. ikke langt fra Napoli (Italian Landscape, entitled the Elysian Fields. Bajæ by Lake Acheron, Olie på lærred / Oil on canvas, 80 x 95 cm. Statens Museum for Kunst. not far from Napoli), 1791. Olie på træ / Oil on wood, 25 x 34 cm. Statens Museum for Kunst.

Kunstnernes forventninger til Italien var derfor høje; det samme­ and oriented themselves in the travel literature of the time and var deres forestillinger om de folk, kulturer og landskaber, de ville ­received good advice from other artists who had completed the møde. På mange måder var kunstnernes forestillinger om alt det journey to Italy. nye, fremmede og skønne, der ventede dem, således formet og The artists’ expectations of Italy were therefore high, as was præget af forudgående generationer, det vil sige ikke kun ­kunstnere, their conception of the people, culture and landscapes they were to men også forfattere og videnskabsfolk, der var rejst ud og hjem­ meet. In many ways the artists’ expectations of all the new, foreign bragt skitser, malerier, rejseberetninger og genstande fra det frem­ and beautiful things that awaited them were in this way formed and mede. De nyudklækkede kunstnere havde desuden i studietiden­ influenced by previous generations; not only the ­artists but also the stiftet nært bekendtskab med akademi­professorernes ­tegninger writers and scientists who had travelled out in the world and brought og billeder fra disses rejser (ill. 2), set fjernere generationers­ home sketches, paintings, accounts of journeys and ­objects from ­malerier i Den Kongelige Malerisamling (ill. 3) og sammenlagt heri­ foreign lands. Furthermore, during their time ­studying, the newly gennem fået en fornemmelse af de sydlige landes karakter. Det hatched artists had formed acquaintances with the professors’ ­visuelle budskab var her klart: Kunstnerne kunne forvente at op­ sketches and pictures from their travels (ill. 2), seen paintings­ from leve autentiske­ kulturer og se uberørte og æstetisk smukke land­ more distant generations in Den Kongelige Malerisamling (Royal skabsområder rede for deres generations pen og pensler. Italien Collection of Paintings and Sculptures) (ill. 3) and hereby obtained a var et Arkadien!2 sense of the character of the southern lands. The visual message Ser vi nærmere på guldaldertidens rejsebilleder ­eksempelvis here was clear: the artists could expect to experience authentic ­Jørgen Sonne (1801-1890), Martinus Rørbye (1803-1848), cultures and see unaltered and aesthetically beautiful landscape ­Constantin Hansen (1804-1880), Christen Købke (1810-1848) og ­regions ready for the pen and brush of their generation. Italy was Jørgen Roeds (1808-1888) skildringer af italiensk folkeliv, antikke an Arcadia!2 arkitekturruiner, templer og klippefyldte bugter med lokale fiskere If we look closer at the travel images of the Golden Age, such bliver vi bekræftet i vores antagelser af, at Italien dengang var et as Jørgen Sonne (1801-1890), Martinus Rørbye (1803-1848), uspoleret paradis på jorden (ill. 4-11). ­Constantin Hansen (1804-1880), Christen Købke (1810-1848) and Det er disse rejsebilleder, guldalderkunstnerne huskes for i dag. Jørgen Roed’s (1808-1888) depictions of Italian crowds and street Efter guldaldertidens afslutning og især i tiden omkring år 1900 scenes, classical architectural remains, temples and bays filled with ­oplevede mange folk, at verden havde forandret sig. Det ­moderne cliffs and local fishermen, then our assumptions that Italy at that gennembrud var en realitet, og i det lys blev ­guldalderen ­opfattet som time was an unspoiled paradise on earth are confirmed (ill. 4-11). endnu mere idyllisk, oprindelig og uspoleret. Den tone­angivende It is these travel images which the Golden Age painters are kunsthistoriker Emil Hannover (1864-1923) havde ­ligefrem antydet, ­remembered for today. After the end of the Golden Age, and at de danske guldalderkunstnere hørte til den ­sidste generation ­especially in the time around the year 1900, many people per­ af rejsende, der lige akkurat nåede at opleve sydens­ autentiske ceived that the world had changed. The modern breakthrough was og ­arkaiske stemning. De nåede at rejse ud, inden alt for mange a reality,­ and in that light the Golden Age became regarded as even ­turister senere i århundredet påvirkede og ­ændrede tidligere tiders more idyllic, original and unspoiled. The leading art historian Emil tilsyneladende harmoniske balance, der for altid forandrede Italien Hannover (1864-1923) had plainly implied that the Danish artists of og den italienske folkekultur: the Golden Age belonged to the last generation of travellers who only just managed to experience the authentic and archaic atmos­ Italienerne den Gang var det malerisk klædte, sorgløst syngende, phere of the south. They managed to travel out before all too many spillende og dansende Folk, man nu forgæves vil søge sønden for tourists later in the century affected and changed the apparently

TRAVEL IMAGES – A TOURIST IN ARCADIA? 203 Alperne. Den Gang sang og spillede og dansede de, fordi det var harmonic balance of earlier times, changing Italy and the Italian folk deres Natur og deres Lyst, og ikke fordi nogle rejsende ønskede­ culture for ever: at se dem saaledes. […] De [guldalderkunstnerne] havde ­rigtigt den Forudfølelse, at dette Æventyr var sin Ende nær, at der ­vilde The Italians back then were the painterly dressed, singing, carefree, ­komme en Tid, hvor der ikke mere blev sunget og danset og ­spillet iridescent and dancing people one now in vain would seek south of som den Gang. […] Det skønnedes da, at man var kommen i the Alps. Then they sang and played music and danced because it den ­ellevte Time til Rom, og den Følelse blev de nordiske Malere was their nature and their passion, and not because some traveller ­naturlig, at de var en Art højere Etnografer, hvem det var betroet wished to see them like this. […] They [the Golden Age artists] had at give ­Efterverdenen en Forestilling om det mærkeligste, de fandt a real foreboding that this adventure was nearing its end, and that paa ­deres Vej.3 there would come a time where there would be no more singing and dancing and playing music as there was back then. The feeling Hannover og flere af hans tids kunstinteresserede folk ville ­således was that they had arrived in Rome at the eleventh hour, and the gerne forstå første del af 1800-tallet som en tid, hvor verden Nordic painters actually felt that they had become a type of higher ­endnu var intakt og uberørt af turisme. Men som vi vil se og læse ethnographer entrusted to give an impression of the most extra­ via ­andre af guldalderkunstnernes egne tegninger, malerier, breve ordinary occurrences they found on their travels for posterity.3

[ill. 4] Jørgen Sonne, Scene ved brønd i en neapolitansk by henimod aften (Scene by a well in a Neapolitan city towards evening), 1845. Olie på lærred / Oil on canvas, 61,6 x 72,5 cm. ARoS Aarhus Kunstmuseum.

204 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 5] Martinus Rørbye, En loggia fra Procida (A loggia from Procida), 1835. Olie på lærred / Oil on canvas, 37,8 x 55,4 cm. ARoS Aarhus Kunstmuseum.

[ill. 6] Martinus Rørbye, Rafaels Villa i Borghesehaven (Rafael’s villa in the Borghese garden), 1841. Olie på lærred / Oil on canvas, 38 x 55,5 cm. ARoS Aarhus Kunstmuseum.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 205 [ill. 7] Constantin Hansen, Vestatemplet med dets omgivelser (The Temple of Vesta and surroundings), 1837. Olie på lærred / Oil on canvas, 75,5 x 100 cm. Statens Museum for Kunst.

[ill. 8] Constantin Hansen, Scene på Molo’en ved Napoli (Scene on the Molo near Naples), 1838-39. Olie på lærred / Oil on canvas, 93,5 x 118 cm. Statens Museum for Kunst.

208 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 9] Christen Købke, Parti af Marina Grande på Capri. I baggrunden forbjerget Massa. Eftermiddag. Optrukne både i mellemgrunden (Part of Marina Grande on Capri. In the background the headland of Massa. Afternoon. Boat pulled ashore in the middle ground), 1839. Olie på papir, klæbet på lærred / Oil on paper, glued on canvas, 39,5 x 54 cm. ARoS Aarhus Kunstmuseum.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 209 [ill. 10] Constantin Hansen, Forum Romanum med Concordiatemplet og Septimuis Severus’ Triumfbue set fra foden af Capitol (Roman Forum with the Temple of Concord and the Arch of Septimius Severus seen from the foot of Capitoline Hill), 1843. Olie på lærred / Oil on canvas, 34,5 x 43,3 cm. ARoS Aarhus Kunstmuseum.

210 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 11] Jørgen Roed, Neptun templet, Pæstum (Temple of Neptune, Paestum), 1838. Olie på papir, klæbet på lærred / Oil on paper, glued on canvas. 39,9 x 58,1 cm. ARoS Aarhus Kunstmuseum.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 211 og dagbøger,­ var de måske snarere første generation af rejsende, Hannover and several others of his era were thus interested in per­ der ­bemærkede og erkendte, at noget allerede var forandret. Med ceiving the first part of the 1800s as a time where the world was ­andre ord: dannelsesrejsens oplevelser tog sig ikke helt sådan ud, still intact and unaffected by tourism. But as we will see and read via som generationsoverleveringen havde præsenteret og givet indtryk other images created by the Golden Age painters, their paintings, af, eller som de malerier guldalderkunstnerne bragte med hjem. De letters and diaries, they were maybe rather the first generation of danske guldalderkunstnere oplevede reelt at være turister på rejse, travellers who recognised and acknowledged that something had men disse oplevelser ønskede de ikke at udpensle i deres malerier. already changed. In other words: the experiences of grand tours I lyset af de forandringer som guldalderkunstnerne oplevede, did not entirely match what had been handed down by previous blev spørgsmålet derfor, hvordan de nu skulle skildre rejsens generations or the impressions given by them, nor did they match ­oplevelser? Skulle landskaberne og de lokale kulturer skildres, the paintings which the Golden Age artists had brought home with som de havde hørt, set og læst om hjemmefra, eller som de rent them. The Danish artists of the Golden Age actually experienced ­faktisk så og ­oplevede verdenen? Tag med guldalderkunstnerne being tourists on a journey, but they did not wish to paint these C.W. Eckersberg­ (1783-1853), J.Th. Lundbye (1818-1848), Martinus experiences in their paintings. Rørbye, Wilhelm Bendz (1804-1832) og Wilhelm Marstrand (1810- In light of these changes which the artists of the Golden Age 1873) gennem Europa og få et anderledes svar, når vi i ord og i ­experienced, the question then became, how were they to depict ­billeder rejser ned til den antikke storhedstids by, Rom! the experiences of the journey? Should the landscapes and the ­local culture be depicted as they had heard, seen and read about PÅ VEJ – TIL FODS, I HESTEVOGN OG MED TOGET TIL ROM from home, or as they actually saw and experienced the world? De kunstneriske dannelsesrejser til Rom gik ofte gennem de tyske­ Take a journey with the Golden Age artists C.W. Eckersberg (1783- hertugdømmer med længerevarende stop ved Rhinens mange 1853), J.Th. Lundbye (1818-1848), Martinus Rørbye, Wilhelm ­attraktive naturområder efterfulgt af bymæssige ophold ved kunst­ Bendz (1804-1832) and Wilhelm Marstrand (1810-1873) through akademiet i München. Sociale sammenkomster med andre danske Europe and get a different answer, when we in words and pictures eller skandinaviske kunstnere var her ofte til stor glæde for dem travel down to Rome, the glorious city of classical antiquity! (ill. 12), inden rejsen gik over eksempelvis Dresden og evt. Berlin og herefter videre gennem de Schweiziske alper (ill. 13-14). ­Nogle EN ROUTE TO ROME – BY FOOT, HORSE-DRAWN CARRIAGE af kunstnerne eksempelvis C.W. Eckersberg tog over Paris for AND TRAIN at studere, mens ganske få rejste omkring Spanien og Portugal,­ The artistic grand tours to Rome often travelled through the ­eksempelvis Thorald Brendstrup.4 For atter andre blev mødet med ­German duchies with stopovers of long duration in the many de tyske eller franske byer, stedernes kultur, opnåelsen af nye ­attractive nature­ areas along the Rhine, followed by urban residen­ kunstnerkollegaer m.m. så fængslende, at opholdene på vejen til cies at the art academy in Munich. Social gatherings with other Rom trak ud i måneder eller år. Danish or ­Scandinavian artists here were often a great pleasure for Langt hovedparten af de danske kunstnere havde imidlertid Italien­ them (ill. 12), before they journeyed on to Dresden, for example,­ som rejsens primære destination, men hvad enten kunstnerne­ and eventually Berlin, and after that on through the Swiss Alps ­rejste målrettet eller havde planlagt en mindre direkte rute mod (ill. 13-14). Some of the artists, such as C.W. Eckersberg, went to syden, gjorde det at tilbagelægge så lang en distance stort indtryk Paris to study, while a few travelled around Spain and Portugal: for på alle. Valg af transportmidler havde imidlertid også indflydelse på, ­example, Thorald Brendstrup.4 For others, the encounter with the både hvordan kunstnerne oplevede verden, og hvordan de kunst­ German or French cities, the places of culture, the acquiring of new nerisk bagefter udførte billeder af netop rejsens oplevelser. Inden artist colleagues etc. was attractive, and the journey on the way to vi ser på flere rejsebilleder fra Italien og Rom, vil vi for en stund Rome stretched out for months or years.

[ill. 12] Wilhelm Bendz, Kunstnere i Fincks kaffehus i München (The artists in Finck’s ­coffee [ill. 13] J.Th. Lundbye, Jomfruen, seet fra Interlachen (The Jungfrau seen from house in Munich), 1832. Olie på lærred / Oil on canvas, 94,8 x 136,6 cm. Thorvaldsens Interlaken), 1845. Pen og vandfarve på papir / Pen and watercolour on paper, ­­ ­Museum. 27 x 34 cm. Kobberstiksamlingen, Statens Museum for Kunst.

212 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 14] Wilhelm Bendz, Bjerglandskab (Mountain landscape), 1831. Olie på lærred / Oil on canvas, 28,9 x 33,9 cm. Den Hirschsprungske Samling, København.

opholde os ved, hvordan kunstnerne rejste sydpå. Her viser det By far the majority of the Danish artists had Italy as their primary­ sig, at transportmulighederne for at rejse blev udvidet betragte­ destination; but irrespective of whether the artists travelled purpose­ ligt gennem guldalderen. Dampskibsruter og jernbanelinjer kom fully or had planned a less direct route south, travelling such a long til, og det blev pludselig en realitet at lade sig transportere med distance made a great impression on everyone. At the same time, andet end hestevogn­ og sejlskib. Derfor adskiller Eckersbergs tid­ the choice of transportation also had an influence on both how the lige oplevelser og billeder sig radikalt fra eksempelvis Lundbye og ­artists experienced the world and on how, afterwards, they artisti­ ­Marstrands senere oplevelser og billeder, fordi der på de godt 30 år, cally and selectively implemented the pictures of their experiences som udgjorde­ forskellen i tid, også fandt en rivende udvikling sted. on the journey. Before we look at several travel ­images from Italy Eckersberg påbegyndte sin rejse, der kom til at vare seks år and Rome, we shall discuss for a while how the artists travelled i 1810. Fra København til Paris valgte han at vandre med sin south. Here it appears that the transportation options­ for travelling ­oppakning på ryggen stort set hele vejen. Rejsen til fods krævede­ were increased considerably through the Golden Age. The steam­ udholdenhed, et godt helbred og ikke mindst mange nye par sko – ship routes and the railways arrived and it suddenly ­became a ­reality ifølge udgifts­optegnelserne fra Eckersbergs dagbøger.5 Kun ­enkelte to also allow oneself to be transported with other means than horse- ­steder benyttede han sig af en flodbåd. Som alternativ til vandrings­ drawn carriages and sailing ships. Therefore, ­Eckersberg’s earlier formen kunne­ han have valgt en hestevogn som transportmiddel, experiences and pictures are radically different than, for example, hvis formålet blot var at komme hurtigt frem til Paris. Men som det Lundbye and Marstrand’s later experiences and pictures, because

TRAVEL IMAGES – A TOURIST IN ARCADIA? 213 [ill. 15] C.W. Eckersberg, Popler og vilde vækster ved Hannau (Poplar and [ill. 16] C.W. Eckersberg, Bondekone på vej gennem klippefyldt skov (Peasant woman on the wild plants at Hannau), 1810. Blyant, pen og blæk på papir / Pencil, pen road through forest full of rocks), 1810. Pen og blæk på papir / Pen and ink on paper, 23,9 x 19 cm. and ink on paper, 21,8 x 14,6 cm. Kobberstiksamlingen, Statens Museum Kobberstiksamlingen, Statens Museum for Kunst. for Kunst. står skrevet i hans rejsebreve, opnåede han netop via den langsom­ over approximately 30 years, which made up the difference in time, melige vandringsform en unik fortrolighed med de landskaber, han a rapid development was also found to have taken place. rejste ­igennem. Især en subtil fornemmelse for ­landskabernes ”for­ Eckersberg began his six-year-long journey in 1810. From grunde”, dvs. de nært forekommende natur­elementer, der ­næsten ­Copenhagen to Paris he chose to hike most of the way with his omslutter den vandrende, synes at være blevet en oplevelses­ ­belongings on his back. The journey on foot demanded stamina, mæssig såvel som kunstnerisk gevinst for Eckers­berg og lignende good health and not least many new pairs of shoes – according kunstnere som Wilhelm Bendz og J.P. Møller (1783-1854), der også to the lists of expenditure in Eckersberg’s diaries.5 It was only on vandrede lange strækninger sydpå. I mange af Eckersbergs­ rejse­ certain occasions that he made use of a river boat. As an alternative billeder finder vi således en markant detaljerigdom, når det hand­ to hiking he could have chosen a horse-drawn carriage as a means ler om skildringer af den nære natur i tegninger udført på rejsen of transport, if the purpose was merely to get to Paris as quickly (ill. 15-16). Der synes derfor at være forbindelser mellem, hvordan as possible. But as is written in his travel letters, it was precisely man rejser, og hvilke muligheder man har for at iagttage og dermed because of this protracted method of hiking that he experienced a ­skildre landskabet. unique familiarity with the landscapes he travelled through – espe­ Fra Paris til Rom rejste Eckersberg med hestevognsdiligence. cially a subtle sense of the landscapes’ “foregrounds”; the intimate, Dette valg siger noget om, at han i tråd med øvrige kunstnere i ­present natural elements which almost surround those hiking, seem tiden sandsynligvis benyttede forskellige transportmidler til for­ to have been rich in experiences as well as being an artistic asset skellige formål, hvad enten det handlede om at opleve den nære for Eckersberg and similar artists such as Wilhelm Bendz and J.P. natur intensivt via vandringsformen, eller blot komme hurtigt og Møller (1783-1854), who also hiked long stretches­ south. In many mere effektivt frem til en rejsedestination via hestevogn og sejl­ of Eckersberg’s travel pictures we find such a marked richness of skib. Nærheden til det omkringliggende landskab gik nemlig delvist detail when depicting close-up nature in drawings completed on tabt fra hestevognen, idet de rejsende kun havde mindre vinduer the journey (ill. 15-16). Therefore, there seems to be connections at kigge ud igennem. Oftest var udsigten derfra stærkt begrænset, between how one travels, and which possibilities one has in order når ­vognen var godt pakket med passagerer. Som udtrykt af J.Th. to observe, and as a consequence depict, the landscape. Lundbye i 1845 var det som at rejse “i en lukket æske”, og H.C. Eckersberg travelled from Paris to Rome by horse and carriage Andersen (1805-1875) har beskrevet det som “en epidemiseret stagecoach. This choice indicates that he, in keeping with other kasse”6 (ill. 17). Valget af en lukket hestevogn som transportmiddel artists of the time, probably utilised various means of transport var derfor langt fra en behagelig måde at tilbagelægge distancen på. for various purposes, whether to experience the intimate nature

214 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 17] J.Th. Lundbye, Befordringen fra Yverdonne til Lausanne (Transportation from Yverdon to Lausanne), 1845. Pen og vandfarve / Pen and watercolours, 21,2 x 17,8 cm. Den Hirschsprungske Samling, København.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 215 [ill. 18] J.Th. Lundbye, Udsigt fra Tivoli (View from Tivoli), 1845. Olie på træ / Oil on wood, 41 x 59 cm. Horsens Kunstmuseum.

Samtidig hermed var det vanskeligt for kunstnerne at udføre deres ­intensively, via hiking, or merely to arrive quickly and more effec­ gerning i hestevognen på grund af dens mange rystelser. Vi kender tively to a travel destination, via horse-drawn carriage and sailing derfor heller ikke til tegninger udført af Eckersbergs hånd under ship. The proximity to the surrounding landscape was, namely, par­ transporten fra Paris til Rom. tially lost from the carriage, in that the travellers only had smaller Den hestetrukne transportform kombineret med sejlads udgjorde windows to look out through. More often, when the coach was på Eckersbergs rejsetidspunkt i begyndelsen af 1800-tallet således packed with passengers, the view from there was sharply limited. de eneste rejseformer foruden vandringsformen. I den tidlige guld­ As J.Th. Lundbye­ noted in 1845, it was like travelling “in a closed alder kendte rejsende ikke til andet. Anderledes forholdt det sig box”, and H.C. Andersen (1805-1875) described it as “an epidemic- med den yngre generation af rejsende i 1830’erne og 1840’erne. like box”6 (ill. 17). The choice of a closed carriage as a means of ­Lundbye, H.C. Andersen, Marstrand m.fl. havde nye transport­ transport was, therefore, a far from pleasant way to cover the dis­ muligheder at vælge imellem, eksempelvis dampskibet og damp­ tance. In addition, it was difficult for the artists to work on their lokomotivet. Nok måtte rejsende med de dampdrevne transport­ artwork from the carriage because of its many vibrations. Therefore midler give køb på at kunne standse og røre ved den nære natur we do not know of any sketches made by Eckersberg’s hand during og betragte den tæt på, som Eckersberg havde gjort. Men til gen­ his transportation from Paris to Rome. gæld fik de via vinduesrammen i toget og fra skibsdækket mulig­ The horse-drawn form of transport combined with sailing, hed for at betragte naturen som et landskabeligt billede, der hele at Eckersberg’s­ time of travelling in the beginning of the 1800s, tiden ­ændrede udseende på grund af det højere tempo. Udsynet­ fra constituted the only forms of travel apart from hiking. Previous dampskibets dæk og togets vinduer var tilmed ofte godt, ­nærmest ­travellers during the Golden Age did not know anything else. There panoramisk. Især vinduet i toget kom til at fungere som en were different conditions for the younger generation of travellers ­“ramme”, hvorigennem den rejsende med sit blik oplevede mange in the 1830s and 1840s. Lundbye, H.C. Andersen, Marstrand and forskellige landskabsbilleder passere forbi som filmiske sekvenser.­ others had new transportation possibilities to choose from, such Her udtrykt i form af Lundbyes første møde med et tog og udsynet as the steamship and the steam locomotive. Passengers on the fra et togvindue fra en efterfølgende jernbanetur i Belgien: steam powered transportation had to relinquish the possibility of stopping and touching the nearby nature and viewing it close up, […] jeg veed heller ikke, hvad jeg seer med størst Respect paa: as ­Eckersberg had done. But, on the other hand, via the window

216 REJSEBILLEDER – TURIST I ARKADIEN? enten ned i Maskineriet ombord, eller: paa dette løierlige Væsen, frame on the train and from the ship’s deck they had the possi­ jeg i Kiel saae blive spændt for Vognene – jeg mener Locomotivet. bility to regard nature as a scenic picture which constantly changed Selve Farten havde [jeg] dog gjort mig større Begreb om, da jeg slet ­appearance because of the higher tempo. The view from the deck ikke troede det muligt at skjælne de nærmeste Genstande, hvad of the steamship and the train windows was, moreover, often good man dog godt kan. Underligt var det rigtignok at see en Mand som – almost panoramic. The window in the train especially came to gik ved Veien, i samme Retning, som vi kjørte, han gik maaske lang­ function as a “frame” through which the passengers gazed out somt, men det uhyre Forhold, hvori Afstanden tiltog, saae det [ud] and experienced many different landscape scenes pass by like som om han slet ikke kunde faae Benene med sig […] Ved Bane­ filmic sequences. This is expressed in the form of Lundbye’s first gaarden saae jeg for første Gang en af disse colossale Fragtvogne, ­encounter with a train and the view from the train window during a som jeg vel skal faa Leilighed at tegne.7 subsequent rail journey in Belgium:

I eftermiddag har jeg gjort en deilig Tuur med Jernbanen gjennem en […] I do not know what I am gazing upon with the greatest respect,­ smuk, frodig Egn med smaae Floder og deilige Smaabjerge, passeret either down in the machinery on board or on this peculiar creature mange Tunneler … Hvad jeg ikke maa glemme at berøre, er de uhyre which I, when in Kiel, saw being coupled to the carriage – I mean the Fabrikanlæg jeg i dag har seet her i Belgien; en Mængde af Damp­ locomotive. The speed itself [I] had given greater thought, as I did maskiner med Skorstene af mange Former, vældige Smedier osv [… ] 8 not believe it possible to distinguish between the closest ­objects, though it is possible. Strange it was indeed to see a man walking H.C. Andersen har i tråd hermed givet udtryk for, at udsigten fra along the road in the same direction as we travelled; perhaps­ he togvognen blev en slags horisonternes panorerende landskab, hvor was walking slowly but due to the incredible relation by which the forgrundens landskab hastigt for forbi, mens baggrundens fjernere distance was increased, it seemed as if he was not able to get a elementer derimod mere roligt kunne fæstne sig for blikket: move on […] At the train station I saw for the first time one of these colossal goods wagons, which I believe I shall have the opportunity See kun ud! Og de nærmeste ti til tyve Alen er Marken en piilsnar to draw.7 Strøm; Græs og Urter løbe i hverandre, […] men Du seer nogle Favne længere bort, da bevæge sig de andre Gjenstande ikke hur­ This afternoon I have had a delightful trip by rail through a beautiful, tigere, end vi see dem bevæge sig når vi kjøre godt, og længere ud fertile meadow with small streams and delightful, small mountains, mod Horizonten synes Alt at staae stille, man har ganske og aldeles and passed many tunnels … What I should not forget to touch upon Skuet og Indtrykket af den hele Egn.9 are the enormous industrial plants I have seen here in Belgium: a mass of steam engines with many kinds of chimneys, immense Togrejserne bød på anderledes visuelle rejseoplevelser, der forges, and so on […] 8 ­påvirkede kunstnerne på forskellig vis. De var på den ene side ­blevet den erfaring rigere, at bevægelse og fart påvirkede deres In keeping with this, H.C. Andersen has described the view from blik på landskabet, hvilket synes at have resulteret i anderledes the train carriage as becoming a kind of panned landscape of the ­udformede landskabsmalerier (ill.18).10 På den anden side gav horizons, where the landscape in the foreground passed quickly by, rejse­mulighederne med de nye og billigere, kollektive transport­ while the more distant elements in the background, however, could midler også anledning til, at det blev flere forundt at rejse. En øget be captured by the eye more easily: rejse­aktivitet blandt flere samfundsgrupper end kun adelen og folk med rejsestipendier blev derfor en realitet. I kølvandet på denne Look only out! And the closest twenty to forty feet the field is a udvikling blomstrede turistkulturer op ved de mest besøgte byer og swift stream; grass and herbs blend into one another […] but as ­seværdigheder, og i togkupeerne blev der skelnet mellem 1., 2. og you gaze some fathoms further out, then the other objects do not 3. klasse (ill. 19). Den kunstneriske dannelsesrejse foregik nu også move as quickly as we see them move when we continue driving med røgosende og larmende lokomotiver, og fra passagervognene further and further towards the horizon. Everything seems to stand var der udsyn til forurenende fabrikker samt udsyn til et landskab, still; one has entirely and totally beheld the entire locality and its impressions.9

The train journeys offered different visual travel experiences, which affected the artists in various ways. They were, on the one hand, richer for the experience of the movement and speed affecting­ their perception of the landscape, which seems to have resulted in ­differently constructed landscape paintings (ill.18).10 On the other­ hand, the travel possibilities with the new and cheaper collective forms of transport also gave rise to the fact that more people were given the opportunity to travel. Thus, an increase in travel activity­ amongst several groups in society, rather than just the ­nobles and people with travelling bursaries, became a reality. In the wake of this development, tourist culture flourished for the most visited [ill. 19] J.Th. Lundbye, De sidste Dage i Italien og Hjemreisen (The last days in Italy and the ­cities and attractions, and the train compartments ­became ­divided journey Home), 1846. Gråt blæk og akvarel / Grey ink and watercolour, 12 x 22,7 cm. Den Hirschsprungske Samling, København. between 1st, 2nd and 3rd class (ill. 19). The artistic grand tour now

TRAVEL IMAGES – A TOURIST IN ARCADIA? 217 [ill. 20] C.F. Steltzner, Jernbaneanlæg ved Altona (Railway near Altona), 1844. [ill. 21] Michel Amodio, Havnen i Napoli med Vesuv i baggrunden (The Harbour in Naples Daguerreotypi / Daguerreotype, 12,1x14,8 cm. ­Altonaer Museum in Hamburg. with Vesuvius in the background), 1850-60. Kollodium / Collodion. Fratelli Alinari Museum Norddeutsches Landesmuseum. Collections, Firenze. hvor bjerge blev sprængt i stykker for at anlægge tunneler til jern­ took place in smoky and noisy locomotives, and from the passenger­ banens linjer. Kort sagt tog omgivelserne sig ikke helt så uspoleret carriages there was the view to polluting factories, together with ud alle steder, som overleveringen hjemmefra havde givet indtryk af. the view to a landscape where mountains were blown to pieces Meget var således sket på transportfronten, siden det i starten in order to construct tunnels for the railway lines. In short, the sur­ af 1800-tallet kun var muligt at vandre, tage hestevognen eller sejle roundings did not quite appear as unspoilt everywhere as the trans­ med sejlskib for at komme til Rom. Og meget var sket med land­ mission of information back home had given the impression of. skabet, hvor jernbanelinjerne blev ført igennem, og med de byer, Much had happened on the transport front since the start of hvor togene stoppede (ill. 20), og ikke mindst med de havnebyer the 1800s were it was only possible to hike, take a horse-drawn hvor dampskibene udlagde deres ruter (ill. 21).11 Dampskibsruterne ­carriage or sail with a sailing ship in order to get to Rome. And much og jernbanelinjerne samlede så at sige turisterne i en slipstrøm had happened with the landscape that the railway lines had been på hovedvejen til Rom, hvor der ikke kunne afviges fra ruten på built through, and with the cities where the trains stopped (ill. 20), samme måde, som hestevognen og den vandrende mere spontant and not least with the harbour towns where the steamships set up kunne forandre rute og vej. Forestillingen om Sydeuropa som et their routes (ill. 21).11 The steamship routes and the railway lines Arkadien blevet således kraftig udfordret af generationen af kunst­ gathered the tourists, so to speak, in a slipstream on the main road nere, der rejste ud fra 1830’erne, idet de kom ind i denne nye strøm to Rome, where one could not deviate from the route in the same af turister og de forbedrede rejsebetingelser. way as the horse-drawn carriages and hikers, who could be more Lundbye repræsenterer sammen med H.C. Andersen og de øvrige­ spontaneous and change both the route and the road. Thus, the kunstnere i 1830’erne og 1840’erne en ny generation af rejsende, notion of Southern Europe as an Arcadia was greatly challenged der bemærkede, erkendte og så, at vejen til Rom allerede var foran­ by the generation of artists who travelled out from the 1830s, in dret. Reaktionerne på forandringerne kom prompte fra dem i form that they entered into this new stream of tourists and the improved af iagttagelser af udviklingen herunder beklagelser over de mange conditions of carriage. andre turisters tilstedeværelse, som vi nu vil se nærmere på. Lundbye, together with H.C. Andersen and the other artists of the 1830s and 1840s, represented a new generation of traveller­ who TURISTKULTURER BLOMSTRER OP noticed, recognised and saw that the road to Rome had ­already Lundbye og Rørbye rejste begge gennem Rhinområdet og over changed. The reactions to the changes came promptly from them Schweiz på vejen til Rom. Lundbye i 1845 og Rørbye i 1834. Fælles for in the form of observations on the developments, including com­ dem begge var, at de gav udtryk for, at noget ikke var som forventet: plaints about the presence of the many other tourists, which we will now look closer at. … Her strømmer Mennesker sammen fra alle Verdenskanter, ­endog brasilianske Prindsesser forre her igjennem den stille ­Flodseng TOURIST CULTURES THRIVE med klingende Spil og vaiende Flag. Det er jo næsten værre end Lundbye and Rørbye both travelled through the Rhine area and Tivoli hjemme.12 across Switzerland on the way to Rome: Lundbye in 1845 and (J.Th. Lundbye, 1845, ved Rhinen) ­Rørbye in 1834. Common to both of them was that they intimated that something was not as expected: Dalen er overmaade skjøn, det gør blot et ubehageligt Indtryk her at se de rige Reisende at komme med deres store Equipager og … People from all corners of the world flock together, even Brazilian ­mange Tjænere i denne fredelige Egn, hvis Indvaanere de ved princesses travelled here through the quiet river bed with tinkling ­deres Penge fordærve.13 play and wafting flags. It is almost worse than Tivoli back home.12 (Martinus Rørbye, 1834, Schweiz) (J.Th. Lundbye, 1845, by the Rhine)

218 REJSEBILLEDER – TURIST I ARKADIEN? Schweitzerne, som jeg har fundet dem, er… ødelagt ved de mange The valley is overwhelmingly beautiful, though it makes an Reisende. Det første Ord de siger, er: Penge! det næste: Navnet ­unpleasant impression here to see the rich travellers arriving with paa et af deres himmelhøie Bjerge. Derpaa atter: Penge!14 their large equipage and many servants, in this peaceful locality (J.Th. Lundbye, 1845, Schweiz) whose inhabitants their money taints.13 (Martinus Rørbye, 1834, Switzerland) Som citaterne viser, gav både Lundbye og Rørbye udtryk for, at der var et rend af andre rejsende og ikke nok med det: den mas­ The Swiss, as I have experienced them, are… ruined due to the sive tilstedeværelse af andre rejsende havde gennem tid påvirket many travellers. The first word they say is: money! The next: the de ­lokale kulturer og fordærvet befolkningerne i en negativ retning name of one of their sky-high mountains. Then once more: money!14 ifølge deres dagbogsoplysninger. Også Wilhelm Marstrand havde (J.Th. Lundbye, 1845, Switzerland) samme oplevelse af især Schweiz, da han påbegyndte sin første kunstneriske dannelsesrejse i 1836, hvilket bekræfter, at noget var As the quotations show, both Lundbye and Rørbye intimated that forandret på kontinentet.15 Når vi derimod ser nærmere på kunst­ they were overrun with other travellers, and not only that, the mas­ nernes skildringer af Schweiz og Rhinegnen er det påfaldende, at sive presence of other travellers had over time affected the local ingen af kunstnerne skildrede turismens opblomstring. De skrev cultures and corrupted the populations in a negative way, ­according blot om den. Dvs. at deres oplevelser i ord adskilte sig væsentligt to the information in their diaries. Wilhelm Marstrand also had the fra deres “oplevelser” i billeder (ill. 13). same experience of Switzerland in particular when he began his first Marstrand blev derimod en ener, når det kom til at skildre turis­ artistic grand tour in 1836, confirming that something had changed men, idet han så småt begyndte at skildre andre turister i billederne on the continent.15 When we, however, look closer at the artists’ samt andre rejsendes dårlige opførsel. Denne gradvise kunstneriske­ ­depictions of Switzerland and the Rhine region it is conspicuous­ that udvikling af et særpræget billedsprog kan ses i billederne allerede none of the artists depicted the rise in tourism. They merely­ wrote fra de første besøg i Rom i 1836 til han i 1854 var på sin tredje rejse about it. That is to say, their experiences in words were appreciably­ sydpå. separate from their “experiences” in pictures (ill. 13). Da Marstrand første gang opholdt sig i Rom, blev han fascineret When it came to depicting tourism, however, Marstrand became­ af det pulserende folkeliv og dets kultur i en sådan grad, at han unique in that he slowly began to depict other tourists in the besluttede sig for at skildre det nutidige folk fra deres skønneste og ­pictures together with the bad behaviour of other travellers. This festligste side frem for at forblive ved sin læst som historisk figur­ gradual artistic development of a distinctive imagery can be seen maler. Forinden afrejsen til Italien havde han i henholdsvis 1833 og in the pictures as early as his first visit to Rome in 1836 until he, in 1835 konkurreret om kunstakademiets guldmedaljer med motiver 1854, was on his third trip south. som Flugten til Ægypten og Odysseus og Nausikaa, dvs. bibelske When Marstrand stayed in Rome for the first time he became og mytologiske skildringer af fortidige personer og sagnfigurer i fasci­nated by the pulsating street life and its culture to such a tidssvarende klæder og omgivelser. I Rom søgte Marstrand mindre ­degree that he decided to depict the present people from their most ophøjede motivkredse. Han fandt her et helt nyt univers bestående beautiful and convivial sides instead of sticking to being a historical af nulevende personer i hverdagshandlinger, som virkede mere ­figure painter. Before his departure to Italy he had, in 1833 and 1835 ­relevante at skildre end det antikke Roms fortidige historier, som respectively, competed for the art academy’s gold medals­ with det ellers var forventeligt, at han ville gøre kompositioner over. Sær­ ­motifs such as Flugten til Ægypten (Flight to Egypt) and Odysseus­ ligt de situationer hvor den romerske befolkning klædte sig pænt på og Nausikaa (Odysseus and Nausicaa); that is to say, biblical and til fest, greb Marstrand som motiv. mythological depictions of persons from early history and mythical Marstrand endte med at opholde sig næsten fire år i Rom. For at characters in the clothing and surroundings of the time. In Rome, finansiere dette ophold udførte han også arbejder på bestilling fra Marstrand sought less lofty motifs. He found in these a whole new rige danske rejsende, der var på gennemrejse i Italien. Et af disse universe consisting of living people in everyday acts that appeared værker bestilt af hofvinhandleren Christian Waagepetersen (1787- more relevant to depict than the ancient stories of Roman antiquity, 1840) skildrer den romerske befolkning i fest og farver. Maleriet Ro­ which he was otherwise expected to make compositions of. In par­ merske borgere forsamlede til lystighed i et osteri (ill. 22) fra 1839 ticular, Marstrand was taken by using those situations where the viser samtidig også, hvordan de danske rejsende skilte sig ud i deres Roman population dressed up for a party as a motif. klæder, og hvordan de grupperede sig i kolonier uden større interak­ Marstrand eventually stayed almost four years in Rome. In ­order tion med romerne. Danskerne var tilskuere til romernes optræden, to finance this stay he also carried out some commissioned work placeret af Marstrand i skyggen, klædt i kjole og hvidt og udstyret for rich Danes travelling through Italy. One of these works, commis­ med stive, høje hatte. Romerne derimod var klædt i farvestrålende sioned by the wine merchant to the court, Christian Waagepetersen­ dragter skildret i sollyset, i bevægelse og i færd med at leve livet. (1787-1840), depicts the Roman inhabitants in colour and festivity.­ Mon ikke der heri ligger en implicit kommentar fra ­Marstrand om, The painting, Romerske borgere forsamlede til lystighed i et ­osteri at de danske rejsende medvirkede til en negativ påvirkning af den (Roman citizens gathered for gaiety in an Osteria) (ill. 22), from 1839, autentiske, uspolerede romerske kultur? Den ­danske mand, der also shows how the Danish travellers differed with their clothes yderst til højre i gruppen lokker den yngre kvinde fra optoget med and how they grouped together in communities without much et glas vin trods den ældre kvindes ­advarsler, ­kunne i så fald være ­interaction with the Romans. The Danes were spectators to the symbolet på den fordærvende turist, der ødelagde den sidste rest Roman conduct, placed in the shade by Marstrand, clad in ­evening af Roms uskyld. Fra nu af dansede romerne kun “fordi nogle rej­ dress and equipped with stiff top hats. The Romans, on the other sende ønskede at se dem saaledes”, som udtrykt­ af Emil Hannover hand, were dressed in colourful outfits, depicted in the sunlight,­ in

TRAVEL IMAGES – A TOURIST IN ARCADIA? 219

[ill. 22] Wilhelm Marstrand, Romerske borgere forsamlede til lystighed i et osteri (Roman citizens gathered for gaiety at an Osteria), 1839. Olie på lærred / Oil on canvas, 74 x 97 cm. Nivaagaards Malerisamling. [ill. 23] Ditlev Blunck, Kunstnere i et romersk osteri (Artists at a roman Osteria), 1836-37. Olie [ill. 24] Ditlev Blunck, Danske Kunstnere i Osteriet La Gensola i Rom (Danish artists in Osteria La­­ på lærred ­/ Oil on canvas, 71 x 94 cm. Det Nationalhistoriske Museum, Frederiksborg. ­Gensola in Rome), 1837. Olie på lærred / Oil on canvas, 74,5 x 99,4 cm, Thorvaldsens Museum. i 1893 om tendenser han mente gjorde sig gældende fra 1860’erne motion and busy living life. Perhaps there is an implicit comment og frem. Dans til ære for turisterne havde nok allerede indfundet sig from Marstrand in here about the Danish travellers contributing to som en udbredt praksis fra 1830’erne ifølge Marstrands værker. a negative effect on the authentic, unspoiled Roman ­culture? The Andre af de danske kunstnere, der opholdt sig samtidig med Danish man furthest to the right of the group, tempting the younger Marstrand i Rom, modtog også bestillinger for at få økonomien woman from the parade with a glass of wine despite the warning­ of til at hænge sammen. Ditlev Blunck (1798-1854) fik således en the older woman, might then be a symbol of the corrupting tourist,­ ­bestilling fra den københavnske borgmester, der gerne ville have ruining the final remains of Roman innocence. From now on, the et minde om sin tid i Rom. Blunck løste opgaven ved at skildre Romans danced only “because some travellers wished to see en hverdagsscene fra kunstnernes liv, nærmere bestemt fra ­deres them this way”, as Emil Hannover noted in 1893, on the tendencies sociale liv, hvor de samledes på en af Roms mange beværtninger he believed were noticeable from the 1860s onwards. According to og her ­spiste og drak med andre kunstnere fra primært ­Norge, the works of Marstrand, dancing for the sake of tourists had already Sverige og Tyskland (ill. 23). Bænket omkring bordet i osteriet La become established as a widespread practice from the 1830s. Gensola i Trastevere ses Bertel Thorvaldsen siddende for bord­ Other Danish artists who resided in Rome at the same time as enden, mens billedets bestiller er manden med den mørke jakke, Marstrand were also commissioned in order to bolster their eco­ der er ved at betale for gildet.16 Rundt om bordet ses desuden nomic situation. Ditlev Blunck (1798-1854) received such a com­ kunstnerne Albert Küchler (1803-1886), Jørgen Sonne, Ernst mission from the mayor of Copenhagen, who wanted to have a Meyer (1797-1861) og Blunck selv. Marstrands billedopbygning,­ reminder of his time in Rome. Blunck carried out the assign­ hvor den danske koloni er adskilt fra romerne (ill. 22), kan ­meget ment by depicting an everyday scene from the artists’ life; or, to vel være inspireret af Blunck, der netop placerede danskerne be more precise, from their social life, where they gathered at ved det ene bord og romerne ved det andet uden interaktion. one of Rome’s many public houses and here ate and drank with I en lidt senere udført version (ill. 24) af samme komposition er ­other ­artists from primarily Norway, Sweden and Germany (ill. 23). stolen i forgrunden, der tidligere adskilte de to grupperinger, nu ­Seated around the table in the osteria La Gensola in Trastevere is erstattet af et par velklædte børn i midten. ­Derudover er der i Bertel Thorvaldsen, sitting at the end of the table, while the man denne version langt flere blikretninger, der krydser­ de to borde,­ who commissioned the picture is shown in the dark jacket, about som for at signalere større grad af integration de to kulturer to foot the bill.16 In addition,­ the artists Albert Küchler (1803-1886), imellem. I denne version ses også Marstrand med til bords.17 Jørgen Sonne, Ernst Meyer (1797-1861) and Blunck himself can be Tilbøjeligheden til, at kunstnerne grupperede sig ja nærmest seen around the table. Marstrand’s picture composition in which ­isolerede sig fra den lokale romerske befolkning, tog kun til i ­løbet the Danish community is separated from the Romans (ill. 22) might af 1800-tallets årtier. Læser man de danske kunstneres dagbøger well be inspired by Blunck, who has placed the Danes on the one og breve, er tendensen klar: de besøgte mest hinanden, gik op i table and the Romans on the other, without interaction. In a version hinandens problemer, hørte om nyt hjemmefra og mødtes på byens­ of the same composition completed slightly later (ill. 24), the chair beværtninger La Gensola eller Caffè Greco.18 På mange måder var in the foreground, which earlier separated the two groupings, has dette adfærdsmønster netop turistens: opholdet i det fremmede now been replaced by a pair of well-dressed children in the middle. gjordes velkendt ved at socialisere med landsmænd og ved at Furthermore, in this version there are many more gazes crossing ­færdes de samme veltagne steder. Disse kolonidannende cirkler var the two tables, as if to signal a greater level of integration between der mange af i Rom. Englænderne holdt sig for sig selv; det samme the two cultures. In this version Marstrand can also be seen at the gjorde franskmændene. Sammenlagt var antallet af ­rejsende end­ table.17 videre i hastig vækst i 1830’erne, og på bare få årtier var Rom og The artists’ inclination to group themselves as almost ­isolated

222 REJSEBILLEDER – TURIST I ARKADIEN? lignende velbesøgte byer forandret. Rejsende kunstnere fra andre from the local Roman inhabitants only increased during the course lande opførte sig meget lig danskerne; også med hensyn til deres of the 1800s. If one reads the diaries and letters of the Danish billedsprog, idet de på den ene side viste den konstruerede idyl ­artists, the tendency is clear: they mostly visited one another, frem for offentligheden og på den anden side udførte mere private concerned themselves with one another’s problems, heard news studier, hvor turisterne undtagelsesvist kunne træde frem. from home and met in the city’s public houses La Gensola or Caffè Da Marstrand i perioden 1845-1848 var på sin anden rejse mod Greco.18 In many ways this was the same behavioural ­pattern as syden, blev han især i Rom overrasket over den retning, udviklingen that of the tourists: residency in foreign surroundings is made af byen havde taget: ­familiar by socialising­ with countrymen and by making use of the same ­adopted places. There were many of these community­- Alle disse fremadskridende Bevægelser i Rom ere sørgelige – det formed cliques in Rome. The Englishmen kept themselves to them­ simple Liv taber dets maleriske Former. Alle Husene bliver lidt efter selves, as did the Frenchmen. Moreover, the number of travellers­ lidt lig vore Muurmesterpaladser, Costumerne fortrænges af was in rapid growth in the 1830s, and in just a few decades Rome ­Englands Bomuldsfabricata, kort: med den Cultur, som snart kommer­ and similar popular cities changed. The visiting artists from other hertil paa Jernbaner, skeer den Forvandling, at Rom kommer til at countries ­behaved very much like Danes, also with regard to their ligne Berlin. Og det har man dog vel Lov til at sukke et lille Suk over.19 imagery, in that they on the one hand showed the constructed idyll (Wilhelm Marstrand, 1847, Rom) to the ­public, and on the other hand carried out more private studies­ where the tourists in exceptional cases were prominent.

[ill. 25] Wilhelm Marstrand, En englænder forfulgt af tiggere i Rom (An Englishman pursued by beggars in Rome), 1848. Olie på lærred / Oil on canvas, 28 x 32 cm. The Ambassador John L. Loeb Jr. Danish Art Collection.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 223

[ill. 26] Wilhelm Marstrand, Rejsende i Venedig (Traveller in Venice), 1854. Olie på papir, klæbet på lærred / Oil on paper glued on canvas, 35,3 x 26,4 cm. Den Hirschsprungske Samling, København.

224 REJSEBILLEDER – TURIST I ARKADIEN? Jernbanen, der bragte alle turisterne til Rom, gøres her ansvarlig­ When Marstrand was on his second trip south, in the period 1845- for forvandlingen af byens kultur og for det enhedspræg mange stor­ 1848, he became especially surprised in Rome over the direction byer i dag har. I Marstrands perspektiv var udviklingen beklagelig,­ and the development the city had taken: men selvom han undsagde jernbanens indvirkning på byerne, ­anvendte han selv flittigt dette transportmiddel på sine ­rejser, hvor All this progress in Rome is lamentable – the simple life is losing its det lod sig gøre. Synet på udviklingen rummede derfor ofte en dob­ painterly forms. All the houses are little by little becoming the same belthed, idet flere rejsende nok bifaldt komforten og hurtigheden, as our brick palaces, the costumes replaced by cotton fabricated men også udtrykte beklagelse over, at noget andet gik tabt. Og in England; in short: with this culture, which will soon arrive here for Marstrand var dette “andet” væsentligere at værne om. Især via the railways, comes this change, and Rome starts to resemble folke­livet, som Marstrand yndede at skildre, fandt han nu spoleret, Berlin. And one must be allowed to let out a little sigh over that.19 og i en række billeder vendte han sig mod turisterne – dem der (Wilhelm Marstrand, 1847, Rome) havde ødelagt folkelivet. I maleriet En englænder forfulgt af tiggere i Rom (ill. 25) fra 1848 blev turisten fremstillet som en komisk rang­ The rail track, which brought all the tourists to Rome, is here made let mandsperson, der skødesløst flanerede gennem Roms gader responsible for the change in the city’s culture and for the uniform med høj cigarføring uden at skænke de fattige folk en tanke. Denne character that many large cities today have. In Marstrand’s perspec­ ­englænder blev således skildret som emblem på den tankeløse tive the development was regrettable, but even though he ­declared ­turist. Den fattige mand helt til venstre i billedet markerer med en open enmity on the railway’s impact on the cities, he himself opgivende gestus, at turisten ikke er værd at bruge tid på. Maleriet ­frequently used this form of transport on his travels, where it was kan således ses som Marstrands kritiske og sarkastiske svar på, at available. The view of the development, therefore, often ­implied han ikke var begejstret for turismens påvirkning af Italien. a duplicity in that several travellers approved of the comfort and Marstrand gør senere brug af en lignende billedstrategi i maleriet speed, but also expressed regret that something else was lost. And Rejsende i Venedig (ill. 26) hvor en rig overernæret engelsk turist er for Marstrand it was more essential to defend this “other”. It was faldet i søvn i gondolen, der sejles af en underernæret ­venezianer. especially the street life that Marstrand was fond of depicting which I englænderens hånd holdes antagelig, bogformatet taget i betragt­ he now found spoiled, and in a number of pictures he focussed on ning, en rejsebog af typen Baedeker, der angiver hvilke fantasti­ the tourists – those who had ruined the street life. In the painting ske steder, man som rejsende bør besøge i Venedig og hvilke ud­ En englænder forfulgt af tiggere i Rom (An Englishman pursued by sigtssteder, man bør gøre hold ved. Når rigtig mange efterhånden beggars in Rome) (ill. 25), from 1848, the tourist is represented as følger disse trykte bøgers anvisninger er det, at man kan tale om a comically stumbling male, carelessly strolling through the streets en egentlig turistbevægelse, der påvirker stederne. Alt for mange of Rome and keeping a high profile without giving the poor folk havde allerede dengang taget disse ture i gondolerne udelukkende a second thought. This Englishman was depicted in this way as med sightseeing for øje til, at det kunne betragtes som en auten­ ­emblematic of the thoughtless tourist. The poor man to the far right tisk tur med særegne oplevelser. Turistparret, der her er på magelig in the picture signals with a resigned gesture that the tourist is not rundtur i Venedigs kanaler uden egentlig at opleve Venedig, skildres worth spending time on. The painting can, in this way, be seen as derfor med en vis portion ironi. Marstrand’s critical and sarcastic response to the fact that he was Oplevelsen i Marstrands billeder hænger således bedre sammen not enthusiastic about the impact of tourism on Italy. med hans oplevelser i det skrevne ord set i forhold til de øvrige Later on, Marstrand makes use of a similar strategy in the kunstnere, der havde udtalte vanskeligheder ved at skildre ­andre ­painting Rejsende i Venedig (Traveller in Venice) (ill. 26) where a rich, overfed English tourist has fallen asleep in a gondola that is sailing by an underfed Venetian. In the Englishman’s hand is, con­ sidering the format of the book, a Baedeker travel guide, informing of which fantastic sights a traveller should visit in Venice and which places one should acquaint oneself with to find the best views. When lots of people eventually follow the instructions in these ­published books it is what one can call a real tourist movement, which affects the places. All too many had already then taken a trip in a gondola, purely­ for the sake of sightseeing, for it to be viewed as an authentic­ trip with specific experiences. The tourist couple, who here are on a comfortable roundtrip on the canals of Venice without really experiencing Venice, are therefore depicted with a certain amount of irony. The experience in Marstrand’s pictures thus fits together ­better with his experiences in the written word, seen in relation to the other­ artists who had expressed difficulties in depicting other ­tourists in pictures. The question is, therefore, why did other ­artists find it so difficult to depict the tourists? One of the explanations could be that if the tourists were depicted as they had been experienced­ then the elements of the picture space would point back too much [ill. 27] Carl Spitzweg, Englændere i romersk landskab (Englishman in Roman countryside), ca. 1845. Vandfarve / Watercolours, 40 x 50 cm. Alte Nationalgalerie. at the artist himself. That if the artist had experienced “tourism”,­

TRAVEL IMAGES – A TOURIST IN ARCADIA? 225 turister i billederne. Spørgsmålet er derfor, hvorfor det var så svært he must also have been a tourist himself, since he had been the for de andre kunstnere at skildre turisterne. En af forklaringerne same places as the crowds and had been brought there with the kan være, at hvis man skildrede turisterne, som man havde oplevet­ collective means of transport used by the tourists: the railway and dem, ville billedrummets elementer pege for meget tilbage på the steamship. The difference between acting like a real traveller kunstneren selv. Det vil sige, at hvis kunstneren havde oplevet and an ordinary tourist was, therefore, a fine balance which only a ­“turisme”, måtte han også selv være en turist, eftersom han havde few artists dared to start depicting. været de samme steder som mængden og var blevet bragt der­ If we turn our gaze abroad, the German artist Carl Spitzweg til med tidens kollektive transportmidler benyttet af turister: jern­ (1808-1885), for example, also mastered this balance (ill. 27). In banen og dampskibet. Forskellen mellem at agere rigtig rejsende the painting of the Roman landscape he represents tourists – just og ordinær turist var derfor en hårfin balance, som kun få kunstnere as Marstrand did – finding their way around with the aid of travel turde give sig i kast med at skildre. guides, and who, in addition, have hired a guide to make the trip Vender vi blikket mod udlandet mestrede eksempelvis den ­tyske comfortable and easy. kunstner Carl Spitzweg (1808-1885) også denne balance (ill. 27). The pictures of Marstrand and Spitzweg were for private use as I maleriet af det romerske landskab gengiver han – ligesom the time was not ready to allow such pictures to be let loose on ­Marstrand – turister, der finder vej ved hjælp af rejsebøgerne, og the public art market. Firstly, there would be no buyers for these som ydermere har hyret en guide til at gøre rejsen behagelig og ­pictures and, secondly, Marstrand would be looked upon as the tryg. tourist who revealed that the world had changed in Italy; that the Marstrands og Spitzwegs billeder var til privat brug, da tiden ikke grand tour no longer only offered authentic experiences from var rede til at lade sådanne billeder blive sluppet løs på det offent­ ­Arcadia, but that the artists rather were tourists on the crowded lige kunstmarked. Der ville for det første ikke være nogle købere til main road to Rome. disse billeder, og for det andet ville Marstrand blive betragtet som In Marstrand’s view, the street life in Rome had been definitively turisten, der afslørede, at verden havde forandret sig i Italien; dvs. at spoiled. Rome was now only for tourists. In a letter as early as dannelsesrejsen ikke længere kun bød på autentiske oplevelser­ fra 1847, Marstrand actually wrote that the real travellers had to go Arkadien, men at kunstnerne snarere var turister på den befærdede­ further away in order to avoid experiencing the spoiled cultures: hovedvej til Rom. I Marstrands optik var folkelivet definitivt blevet spoleret i Rom. ...one must then seek the Orient and then Africa right down the Rom var nu kun for turister. I et brev allerede i 1847 skrev Marstrand­ ­middle in order to finally find people the way the Lord created faktisk, at den rigtige rejsende måtte tage længere væk for at undgå them.20 at opleve spolerede kulturer: Marstrand himself, though, never managed to travel further than ...saa maa man til Orienten og saa til Africa lige ned i Midten til Rome. Rørbye, on the other hand, did. He faced the consequences sidst, for at finde Mennesker saaledes som Vor Herre har skabt that there were too many tourists in Rome and travelled to the dem.20 ­Orient. Here he gained experiences of a lifetime and endless ­inspiration for his art. Marstrand selv kom dog aldrig længere væk end Rom. Det gjorde Rørbye til gengæld. Han tog konsekvensen af, at der var for mange IN SEARCH OF THE UNSPOILED turister i Rom og tog til Orienten. Her fik han oplevelser for livet og Rørbye’s travel to the Near East went through Greece to Turkey evig inspiration til sin kunst. by steamship. He met unspoiled ethnic groups, untouched by the growth in tourism, and this local population was the subject of JAGTEN PÅ DET USPOLEREDE Rørbye’s pen (ill. 28-29). Rørbye’s stay took place in winter from Rørbyes rejse til Den Nære Orient gik over Grækenland til Tyrkiet med 1836 to 1837 and made a big impression on him, even though the dampskib. Især i Tyrkiet mødte han uspolerede befolkningsgrupper trip only lasted a few months. In Constantinople (Istanbul) and in uberørte af turismens opblomstring, og denne lokalbefolkning blev the smaller towns and the Greek islands with Turkish populations, genstand for Rørbyes pen (ill. 28-29). Opholdet­ foregik i vinteren Rørbye experienced a totally different interaction with the locals fra 1836 til 1837 og gjorde stort indtryk på Rørbye, ­omend der blot than what had become common practice in Rome. Here out in the var tale om en rejse på få måneder. I ­Konstantinopel (­Istanbul), i de Orient he did not have the possibility of grouping himself in the ­mindre byer og på de græske øer med tyrkisk befolkning­ oplevede familiar community of countrymen and in the convenient circles.21 Rørbye en helt anden interaktion med de ­lokale end den, der var This meant that he came closer to the everyday life and lifestyle of ­blevet praksis i Rom. Her ude i Orienten havde han ikke mulighed for the local population and this obtained intimacy was mirrored clearly at gruppere sig i den vante koloni af landsmænd og i de ­bekvemme in the coloured sketches of men smoking opium, chess players, cirkler.21 Det betød, at han kom tættere på lokalbefolkningens­ hver­ and situations such as the cafés and barber salons. He had been dag og livsstil, og denne opnåede nærhed afspejlede sig tydeligt accepted as a fly on the wall in their everyday business, fascinated i de kolorerede skitser af opiumsrygende­ mænd, skakspillere og by their way of life. situationer fra eksempelvis ­caféerne og barbersalonerne. Han var Through generations it had been a widespread perception blevet accepteret som fluen på væggen til deres hverdagsgøremål amongst Danes that the Turks typically were barbaric and ­slightly fascineret af deres levevis. blunted because of their conduct with the Greeks. But Rørbye ­almost Det havde gennem generationer været en udbredt opfattelse gained the opposite impression; one could say he almost admired blandt danskerne, at tyrkerne typemæssigt var barbariske og ­lettere the Turkish people.22 In many ways this unsettled a number of the

226 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 28] Martinus Rørbye, En Tyrkisk Opiumsryger (Jaia Dervicha) i Chalkis (A Turkish Opium Smoker (Jaia Dervicha) in Chalkis), 1836. Blyant og akvarel på papir / Pencil and watercolour on paper, 22,2 x 34,5 cm. Kobberstiksamlingen, Statens Museum for Kunst.

[ill. 29] Martinus Rørbye, Tyrkere ved brætspil i café i Chalkis (Turks with board game in café in Chalkis), 1836. Blyant og akvarel på papir / Pencil and watercolour on paper, 25,6 x 41,6 cm. Kobberstiksamlingen, Statens Museum for Kunst.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 227 [ill. 30] Martinus Rørbye, Brønden på Pladsen St. Sophie ved ­Serailets Port i Konstantinopel. Til venstre i billedet ser man murene om Serailets haver, i baggrunden Bosporus og kysten af ­Lilleasien. På pladsen folk af forskellige østerlandske nationer. Eftermiddags­belysning (Well on St. Sophie’s Square near Serailet’s Gate in ­Constantinople. On the left of the picture the walls around the Serailet’s gardens, in the background the Bosphorus and coast of Asia Minor. In the square, people of various Eastern nations. Afternoon light), 1846. Olie på lærred / Oil on canvas,­ 112,5 x 159,1 cm. ARoS Aarhus Kunstmuseum.­

[ill. 31] P.C. Skovgaard, Parti fra Venedig (Scene from Venice), 1854. Olie på lærred / Oil on canvas, 22 x 43 cm. ARoS Aarhus Kunstmuseum.

afstumpede på grund af deres opførsel over for grækerne. Men embedded assumptions which Rørbye had with him in his baggage ­Rørbye fik nærmest det modsatte indtryk; ja han nærmest beundrede­ from home, and from this a more independently formed impression det tyrkiske folk.22 På mange måder forrykkede en ­række af de ind­ of the world arose, based on facts and not expectations.­ Rørbye’s lejrede antagelser sig, som Rørbye havde fået med i bagagen hjem­ own travel experiences, for example, changed his views on how mefra, og herudaf opstod et mere ­selvstændigt dannet­ indtryk af the Italians, the Greeks and the Turks were. For the remainder­ of verden baseret på fakta og ikke forestillinger. ­Rørbyes egne rejse­ his life, Rørbye in fact returned over and over again to the sketches erfaringer ændrede eksempelvis hans syn på, hvordan italienerne, he made in 1836-1837 on his trip to the Orient, in an attempt to grækerne og tyrkerne var. Resten af livet vendte­ Rørbye­ faktisk igen recreate the oriental atmosphere in larger painting compo­sitions. og igen tilbage til disse skitser gjort i 1836-1837 på rejsen til Orien­ One of the monumental works is the painting Brønden på Pladsen ten i forsøget på at genskabe den østerlandske stemning i større St. Sophie ved Serailets Port i ­Konstantinopel (Well on St. Sophie’s­ malerikompositioner. Et af de monu­mentale værker er maleriet Square near the Serailets Gate in Constantinople)­ from 1846, Brønden på Pladsen St. Sophie ved Serailets­ Port i Konstantinopel­ composed in his studio back in ­Copenhagen (ill. 30). The painting fra 1846, komponeret hjemme i atelieret i København­ (ill. 30). Male­ is based on Rørbye’s recollections and studies made ten years riet baserer sig således på Rørbyes erindringer og studier gjort ti år ­previously, but in spite of the distance in time the painting does not tidligere, men uagtet afstanden i tid virker­ maleriet ikke mere kon­ appear any more constructed or idealised than the travel pictures of strueret og mere idylliserende end andre kunstneres rejsebilleder. other artists. Det var helt almindelig praksis dengang, at maleriets ærinde var It was perfectly ordinary practice back then for the painting to at sammenfatte og kondensere rejsens gode oplevelser, mens de summarise and condense the good experiences from the journey, tegnede skitser og de malede studier i højere grad blev anvendt til while the sketches and painted studies to a higher degree were at indfange et “her og nu” billede af noget aktuelt oplevet, et sær­ used to capture a “here and now” picture of something ­actually ligt udsnit af verden. Disse ”udsnit” blev senere anvendt som for­ ­experienced – a particular extract of the world. These “extracts” læg for det kompositte, konstruerede maleris mange delelementer.­ were later used as sources for the composite, constructed

230 REJSEBILLEDER – TURIST I ARKADIEN? Derfor er de større ateliermalerier sjældent udtryk for én samlet ­painting’s many individual elements. Therefore the larger studio oplevelse af ét sted, men snarere sammenstykkede oplevelser fra paintings are seldom an expression of one collected experience flere forskellige områder og udsigter. Jagten på den uspolerede of one place, but rather pieced together experiences from several oplevelse blev således indfanget i skitsen som medie og senere ­different areas and views. The search for the unspoiled experience foreviget som en brik i de større maleriers mange brikker oftest i en thus became captured in the sketch medium and later portrayed lettere forskønnet version. Denne praksis blev anvendt af Rørbye as a piece in the larger painting’s many pieces, often in a slightly ligesom Marstrand, der på hjemrejsen fra første tur til Rom opholdt embellished version. This practice was used by Rørbye, as well as sig et halvt år i München i 1841, hvor han udelukkende påbegyndte Marstrand, who on the journey home from his first tour to Rome, malerier forestillende det romerske folks festligheder baseret på stayed for half a year in Munich in 1841, where he exclusively began­ studier fra Italien. Ikke ét billede af hverdagen eller befolkningen­ i ­paintings depicting­ the festiveness of the Roman people, which München blev gjort under dette ophold. Kufferten var fuld af teg­ were based on studies from Italy. No pictures of everyday Munich nede og malede oplevelser fra sydens mere eller mindre autentiske or its inhabitants­ were made during this stay. The suitcase was full befolkning i fest og farver, og fligen af denne uspolerede stemning, of sketched and painted experiences from the more or less authen­ der var ved at smuldre (eller allerede var smuldret?) skulle fasthol­ tic southern population in colour and festive mood, and a tiny bit of des og gøres til billeder til salg for det danske borgerskab, der fortsat this unspoiled atmosphere, which was about to crumble (or was ufortrødent dyrkede den arkaiske forestilling om syden. Marstrands already crumbled?), was to be maintained and turned into pictures billeder med turister på var derfor billeder udført af egen interesse for sale to the Danish middle classes, who continued to untiringly­ uden henblik på salg. Det var imidlertid langt fra alle kunstnere for­ cultivate the archaic idea of the south. Marstrand’s pictures con­ undt at bruge tid på værker, som ikke gav mulighed for indtjening. taining tourists were, therefore, pictures made out of the artist’s De måtte derfor nøjes med at skildre Italien som det forventelige own interest without a view to selling them. It was, however, far Arkadien. Derfor er det denne type rejsebilleder, vi ser flest af fra from every artist who could choose to spend time on works that guldalderen.­ Men i det skjulte og uden for offentlighedens­ søgelys­ did not give the possibility of earnings. They had to be content with

TRAVEL IMAGES – A TOURIST IN ARCADIA? 231 gemte der sig anderledes billeder fra kunstnernes rejser, som vi depicting Italy as the expected Arcadia. That is why it is this type of i dag kan betragte som mere realistiske gengivelser af rejsens travel image we see most from the Golden Age. But in private and ­oplevelser, og som mere svarede til de oplevelser, de nedfældede out of the public spotlight many different pictures from the artists’ og videregav i rejsedagbøger og breve. travels were hidden away; pictures we today can view as more realistic representations of the experiences from the journey, and NYE SYNSVINKLER PÅ SEVÆRDIGHEDERNE which better matched the experiences they settled on and passed Som et kreativt modtræk til oplevelsen af turismens tilstede­ on in travel diaries and letters. værelse tog kunstnerne en ny billedstrategi i brug som et værn mod at blive­ betragtet som turister. De søgte nu at skildre de vel­ NEW PERSPECTIVES ON THE LANDMARKS kendte og velbesøgte seværdigheder fra anderledes og særegne As a creative countermove to the experience of the presence of synsvinkler antageligt med det formål at skabe uklarhed omkring tourism, the artists started to use a new strategy as a defence motivet. Det skulle ikke længere være overtydeligt, hvad motivet against being regarded as tourists. They now attempted to depict fore­stillede. Herigennem blev billederne udtryk for kunstnernes the well-known and popular landmarks from different and peculiar egne personlige, individuelle rejseoplevelser: Den unikke syns­ perspectives, presumably with the intent of creating ambi­guity vinkel fundet midt i vrimlen af de ordinære synsvinkler. Eksempelvis around the motif. What the motif represented should no longer Skovgaard og Bluncks værker (ill. 31-32) kan ses som udtryk for at be convincing. In this way the pictures became an expression of ville skildre Venedigs evige gondoler og gondolieres på anden vis, the artists’ own personal, individual travel experiences: a unique idet de fragmenterede gondoler og den rygvendte gondoliere ikke perspective found in the midst of the swarm of ordinary points of skildres med maksimal synlighed for øje.23 Eckersbergs billede fra view. For example, Skovgaard and Blunck’s works (ill. 31-32) can be Colosseum (ill. 33) set fra en indre synsvinkel frem for fra en ydre seen as an attempt to depict the endless gondolas and gondoliers helhedsskabende vinkel, som traditionen foreskrev, bidrager også of Venice in a different way, as the fragmented gondolas and the med et nyt blik på antikkens mest kendte monument. gondoliers with their backs turned were not depicted with maxi­ Fælles for billederne er, at de udviser en ny billedstrategi opfundet­ mum clarity to the eye.23 Eckersberg’s picture from the Colosseum af kunstnerne som modsvar på udviklingen og forandringerne, der (ill. 33), seen from an inner angle rather than from a comprehensive netop overraskede dem under rejsen. Ikke alt blev sådan som tradi­ outer angle, as tradition dictated, also contributes with a new view tionen og overleveringerne hjemmefra havde givet indtryk af. Den of the most well-known monument of antiquity. forventelige oplevelse af et arkadisk Italien var nu ikke længere en What the pictures have in common is the way they show a new rejse i et uberørt land, men en rejse i et velbesøgt turistpræget land. picture strategy, invented by the artists as a counter reaction to Tilmed kunne rejsen derned gøres med større komfort og højere the development and the changes which were the exact ones that ­hastighed ved guldalderens afslutning end ved periodens begyn­ ­surprised them during their travels. Not everything turned out the delse. Frem for at betragte udviklingen og konstateringen af turis­ way the handing over of tradition back home had given the impres­ mens ­opblomstring som en udelukkende negativ spiral synes det sion of. The expected experiences of an Arcadian Italy were now oplagt at revurdere de rejsebilleder, som kunstnerne i stedet for no longer a journey in an untouched land, but a journey in a well- skabte. Især de nye typer billeder udført fra særprægede synsvinkler­ visited, popular country. Furthermore, the journey could be made har i den grad ændret rejsebilledgenren i eftertiden. Kunstnerne for­ with greater comfort and higher speed by the end of the Golden nyede i deres billedsprog således en konservativ billedtradition, der Age than at the beginning of the period. Instead of ­regarding the havde overlevet sig selv, og som blindt var blevet overleveret til development and recording of the growth of tourism as a nega­ og reproduceret af mange generationer af kunstnere. Derfor synes tive spiral only, it seems obvious to instead reconsider those travel disse rejsebilleder så forfriskende nye. Nogle af kunstnerne turde ­pictures which the artists created. This is especially relevant with tilmed skildre turismen og de forandringer, som de oplevede, mens the new type of picture produced from distinctive perspectives, andre skildrede det velkendte fra den ukendte synsvinkel. Samlet which certainly changed the travel picture genre from then on. In set bevirkede­ disse indsatser, at blikket på rejsen blev revitaliseret,­ this way the artists renewed a conservative picture tradition in their og at det for generationen efter guldalderkunstnerne blev mere imagery, which had somehow survived itself and had been passed ­legitimt at skildre forandringer, der ikke altid havde et æstetisk down to and reproduced by numerous generations of artists with­ smukt ydre. Men det var hos guldalderens kunstnere, at kimen blev out question. Because of this, these travel pictures appear so lagt. ­refreshingly new. Some of the artists even dared to depict tourism­ and the changes which they experienced, whilst others depicted the well-known from the unknown perspective. All in all these ­attempts caused a revitalisation of the way travel was regarded, and for the generation following the artists of the Golden Age it became more legitimate to depict changes which did not always have an ­aesthetic, beautiful exterior. But it was in the artists of the Golden Age that the seed was sown.

232 REJSEBILLEDER – TURIST I ARKADIEN? [ill. 32] Ditlev Blunck, En gondoliere (A Gondolier), 1832. Olie på lærred / Oil on canvas, 22,7 x 18,2 cm. ARoS Aarhus Kunstmuseum.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 233 [ill. 33] C.W. Eckersberg, Udsigt gennem tre buer i Colosseums tredje stokværk (View through three arches on the third floor of the Colosseum), 1815. Olie på lærred / Oil on canvas, 32 x 49,5 cm. Statens Museum for Kunst.

LITTERATUR / REFERENCES

Andersen, H.C.: En Digters Bazar, bind / vol. 1, København (1842) 1943. Bramsen, Henrik (red. / ed.): C.W. Eckersberg, I Paris Dagbog og Breve, 1810-13. København 1947. Fischer, Erik (red. / ed.): Lundbye, J.Th.: Rejsedagbøger 1845-1846, transskription med indledning af / transcription with introduction by Erik Fischer, Statens Museum for Kunst, Kobberstiksamlingen, København 1976. Gad, Tue (red. / ed.): H.C. Andersens Dagbøger, bind / vol. IV, 1851-1860, København 1974. Grand, Karina Lykke: “Turist i guldalderen – på rejse med Martinus Rørbye”, IN Karina Lykke Grand (red. m.fl. / ed., et al.): Passepartout. Temanummer: Dansk guldalder i nyt lys, nr. /no. 29, 15. årgang / vol., 2009. Grand, Karina Lykke: “Udsigt til Italien. På rejse med P.C. Skovgaard”, IN Karina Lykke Grand og Gertrud Oelsner: P.C. Skovgaard. Dansk guldalder revurderet, Aarhus: Aarhus Universitetsforlag 2010. Grand, Karina Lykke: “På rejse med Thorald Brendstrup. Landskabsbilleder fra det kendte og ukendte Europa”, IN Gertrud Oelsner og Ingeborg Bugge: Thorald Brendstrup. I guldalderens skygge, Aarhus: Aarhus Universitetsforlag 2012. Grand, Karina Lykke: Dansk guldalder. Rejsebilleder, Aarhus: Aarhus Universitetsforlag 2012. Hannover, Emil: Maleren Christen Købke – en Studie i dansk kunsthistorie, København: Kunstforeningen 1893. Jensen, Hannemarie Ragn (red. m.fl. / ed., et al.): Inspirationens skatkammer – Rom og skandinaviske kunstnere i 1800-tallet, ­København: Museum Tusculanums Forlag 2003. Marstrand, Otto: Maleren Wilhelm Marstrand, Kolding 2003. Nygaard, Georg: Maleren Martinus Rørbyes Rejsedagbøger 1834-1837, bind / vols. 1-3, afskrift efter manuskript i / transcript from the manuscript in Det Kongelige Bibliotek, København 1932. Raffenberg, M.K. (red. / ed.): Wilhelm Marstrand, Breve og Uddrag af breve fra denne Kunstner, samlede og ledsagede med nogle indledende Ord af Etatsraad Raffenberg, København 1880. Rørbye, Martinus: Maleren Martinus Rørbyes Rejsedagbøger 1834-1837, 3. bind / vol., Ny kgl. Samling 4° 2923, Det Kongelige ­Bibliotek, København.

NOTER / NOTES

1. Hannemarie Ragn Jensen (red. m.fl. / ed., et al.): Inspirationens skatkammer – Rom og skandinaviske kunstnere i 1800-tallet, ­København: Museum Tusculanums Forlag 2003. 2. Arkadien var oprindeligt et landskab i Grækenland, som i antikken og i eftertiden symboliserede en paradisisk tilstand i uskyld og idyl. Her boede Pan, nymfer, satyrer og hyrder, og alle levede i harmoni med hinanden. Arkadien bruges symbolsk også som udtryk for ideale, paradisiske tilstande i andre lande; eksempelvis som her om Italien / Arcadia was originally a region of Greece which in antiquity and afterwards symbolised a Utopian condition of innocence and idyll. Here resided Pan, nymphs, satyrs and herdsmen, and all lived in harmony with one another. Arcadia is also used symbolically as an expression for ideal, Utopian conditions in other lands; for example, here concerning Italy. 3. Hannover, Emil: Maleren Christen Købke – en Studie i dansk kunsthistorie, København: Kunstforeningen 1893, pp. 100-101. 4. Se / See Karina Lykke Grand: “På rejse med Thorald Brendstrup. Landskabsbilleder fra det kendte og ukendte Europa”, IN Gertrud Oelsner og Ingeborg Bugge: Thorald Brendstrup. I guldalderens skygge, Aarhus: Aarhus Universitetsforlag 2012. 5. Turen fra København til Paris tog tre måneder, fra den 3. juli 1810 til den 9. oktober 1810 / The journey from Copenhagen to Paris took 3 months, from the 3rd of July 1810 to the 9th of October 1810. Se / See Henrik Bramsen (red. / ed.): C.W. Eckersberg, Dagbog og Breve, Paris 1810-1813. København 1947. 6. Lundbye, J.Th.: Rejsedagbøger 1845-1846, transskription med indledning af / transcription with introduction by Erik Fischer, Statens­ Museum for Kunst, Kobberstiksamlingen, København 1976. p. 60. Tue Gad (red. / ed.), H.C. Andersens Dagbøger, bind / vol. IV, ­1851-1860, København 1974, p. 366: “Jeg gik med en uhyggelig Følelse ind i den epidemiserede Kasse.” / “I felt a cheerless sensation upon entering the pervasive box.” 7. Lundbye 1976, pp. 25-26. Lundbye nævner, at han vil tegne lokomotivet med dets fragtvogne, men der er ikke kendskab til et sådant motiv i offentlige samlinger / Lundbye mentions that he will sketch the locomotive with its goods wagon, but there is no knowledge of such a motif in public collections. 8. Lundbye 1976, pp. 237-238. 9. H.C. Andersen, En Digters Bazar, København (1842) 1943, bind / vol. 1, p. 42. 10. Se artiklen “Det nye blik” her i publikationen for mere om Lundbyes maleri / See the article ”The new view” here in the publication for more on Lundbye’s painting. 11. Se / See Karina Lykke Grand, Dansk guldalder. Rejsebilleder, Aarhus: Aarhus Universitetsforlag 2012 for mere om kunstnernes syn på rejsetransport, der ofte var teknologioptimistisk og positivt / for more on the artist’s view of transport, which was often positive and optimistic toward technology. 12. Lundbye 1976. 13. Martinus Rørbye, Maleren Martinus Rørbyes Rejsedagbøger 1834-1837, 3. bind / vol., Ny kgl. Samling 4° 2923, Det Kongelige Bibliotek, København. 14. Lundbye 1976, p. 93. 15. Marstrands første rejse begyndte med dampskibet fra Toldboden i København til Stettín i det nuværende Polen. Herfra gik turen videre med ophold i Berlin, Dresden og München, gennem alperne i Schweiz, med dampskib fra Genova til Livorno og derfra med hestevogn til Rom, hvor han ankom fem måneder efter, at han havde forladt København. I sit lange liv nåede Marstrand at tage på hele fire rejser til Italien, mens det var Rørbye forundt at fortage rejser til syden to gange, og Lundbye kun én gang. Rørbye rejste til Italien i årene 1834-1837 og igen i 1839-1841 og J.Th. Lundbye i 1845-1846. Marstrand i 1836-1840, 1845-1848, 1853-1854 (kun til Venedig) og sidste gang i 1869 / Marstrand’s first journey began with the steamship from the Customs House in Copenhagen to Stettín in present day Poland. From here he travelled on with stays in Berlin, Dresden and Munich, through the Alps in Switzerland, with a steamship from Genoa to Livorno and from there with horse-drawn carriage to Rome, where he arrived five months after having left Copenhagen. In his long life Marstrand managed to travel four times to Italy, while it was Rørbye’s good fortune to make the journey south twice, while Lundby made it only once. Rørbye travelled to Italy in the years 1834-1837 and again in 1839-1841 and J.Th. Lundbye in 1845- 1846. Marstrand in 1836-1840, 1845-1848, 1853-1854 (only to Venice) and for the final time in 1869. 16. Bertel Thorvaldsen, der havde bosat sig i Rom siden 1797, og fra sit studio udførte opgaver for internationale kunder herunder royale, samlede på daværende tidspunkt ofte kunstnerne omkring sig på byens beværtninger. I 1837, da Blunck malede sine versioner

236 REJSEBILLEDER – TURIST I ARKADIEN? af kunstnerkoloniens glade dage, havde Thorvaldsen imidlertid planlagt sin hjemrejse til Danmark. Året efter vendte han hjem efter 40 år i Rom kun afbrudt af kortere ophold i Danmark / Bertel Thorvaldsen, who had lived in Rome since 1797 and had undertaken commissions from his studio for international customers, amongst them royalty, often collected artists around him at that time in the city’s public houses. In 1837, when Blunck painted his versions of the happy days of the artist communities, Thorvaldsen had, in the meantime, planned his journey home to Denmark. A year later he returned home after 40 years in Rome, only interrupted by shorter stays in Denmark. 17. Det skulle være Marstrand, der kigger frem bag manden i den mørke jakke / It is supposedly Marstrand peeping out from behind the man in the dark jacket. Se / See Otto Marstrand, Maleren Wilhelm Marstrand, Kolding 2003. 18. På Caffè Greco ved den spanske trappe havde de fleste også poste restante adresse, og her blev breve hjemmefra oftest læst op in plenum eller cirkulerede rundt / In Caffé Greco near the Spanish Steps, the majority also had poste restante addresses and here letters from home were, more often than not, read aloud at a plenum or circulated. 19. Brev fra Wilhelm Marstrand til Constantin Hansen. Her citeret fra Marstrand 2003 / Letter from Wilhelm Marstrand to Constantin Hansen. Here quoted from Marstrand 2003, p. 84. 20. Raffenberg (red. / ed.): Wilhelm Marstrand, Breve og Uddrag af breve fra denne Kunstner, samlede og ledsagede med nogle ­indledende Ord af Etatsraad Raffenberg, Københanvn 1880, p. 55 21. I Rørbyes rejsedagbog beskriver han fyldigt, hvordan han i Rom sad på cafeerne og osteriaerne samt besøgte andre danskere på visit i Rom. I lange passager fristes man næsten til at tro, at scenen, der beskrives, udfolder sig i København / In Rørbye’s travel diary he describes expansively how he, while in Rome, sat in the cafés and osterias as well as visiting other Danes in Rome. In long passages one is almost tempted to believe that the scene which is described takes place in Copenhagen. Se / See Georg Nygaard, Maleren Martinus Rørbyes Rejsedagbøger 1834-1837, bind / vols. 1-3, afskrift efter manuskript i /transcript from the manuscript in Det Kongelige Bibliotek, København 1932. 22. Se / See Nygaard 1932. 23. For mere om Skovgaards rejsebilleder se / For more on Skovgaard travel images see: Karina Lykke Grand: “Udsigt til Italien. På rejse med P.C. Skovgaard”, IN Karina Lykke Grand og Gertrud Oelsner: P.C. Skovgaard. Dansk guldalder revurderet, Aarhus: Aarhus universitetsforlag 2010.

TRAVEL IMAGES – A TOURIST IN ARCADIA? 237 Martinus Rørbye, Scene af det offentlige liv i Orienten. Motiv ved karavane­broen i nærheden af Smyrna (Scene of Public Life in The Orient. Motif with the Caravan Bridge in the Vicinity of Smyrna), 1838. Olie på ­lærred / Oil on canvas, 92 x 129 cm. Det Kongelige Danske Kunstakademi, Akademiraadet.