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Rejsebilleder – Turist I Arkadien?

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Rejsebilleder – Turist I Arkadien? 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. Her igennem 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 Kunst nerne 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 gennem ført 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 akademi professorernes 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
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