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Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword

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Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword Danish Golden Age Portraits in the Nationalmuseum – New Acquisitions Going Back a Hundred Years Magnus Olausson Director of Collections Art Bulletin of Nationalmuseum Stockholm Volumes 24–25 Foreword Dr. Susanna Pettersson Director General Associate Professor Art Bulletin of Nationalmuseum, Stockholm, (An Unpublished Drawing on Panel by Salvator (In the Breach of Decorum: Painting between is published with generous support from the Rosa Depicting a Landscape with a Philosopher Altar and Gallery, Fig. 9, p. 163). Friends of the Nationalmuseum. and Astrological Symbols, Fig. 6, p. 22). © Wikimedia Commons/ CC BY 2.0 © The Capitoline Museums, Rome. Archivio (In the Breach of Decorum: Painting between Nationalmuseum collaborates with Svenska Fotografico dei Musei Capitolini, Roma, Sovrinten- Altar and Gallery, Fig. 13, p. 167). Dagbladet, Bank of America Merrill Lynch, denza Capitolina ai Beni Culturali. © The John & Mable Ringling Museum of Art, Grand Hôtel Stockholm, The Wineagency and (A Drawing for Pietro da Cortona’s Rape of the Sarasota. Bequest of John Ringling, 1936. Nationalmusei Vänner. Sabine Women, Fig. 2, p. 28). (In the Breach of Decorum: Painting between © Bibliothèque Nationale France, Paris. Altar and Gallery, Fig. 19, p. 173). Cover Illustration (The Entry of Queen Christina into Paris in 1656, © Uppsala auktionskammare, Uppsala Étienne Bouhot (1780–1862), View of the Pavillon by François Chauveau, Fig. 2, p. 32). (Acquisitions 2017: Exposé, Fig 4, p. 178). de Bellechasse on rue Saint-Dominique in Paris, © Finnish National Gallery/ Sinebrychoff Art 1823. Oil on canvas, 55.5 x 47 cm. Purchase: the Museum, Helsinki. Photo: Jaakko Lukumaa Graphic Design Hedda and N. D. Qvist Fund. Nationalmuseum, (Self-Portraits and Artists’ Portraits as Portraits of BIGG NM 7434. Friends – A Selection of Paintings and Drawings, Fig. 2, p. 72). Layout Publisher © IKEA. Agneta Bervokk Susanna Pettersson, Director General. (Spika and Tajt – Alternative Furniture for a Young Generation, Fig. 5, p. 88). Translation and Language Editing Editors © Moderna museet, Stockholm Clare Barnes, Gabriella Berggren, and Martin Ludvig Florén, Magnus Olausson and Martin Olin. (Henry B. Goodwin – A Visual Artist with the Naylor. Camera as His Tool, Fig. 2, p. 90). Editorial Committee © The J. Paul Getty Museum, Los Angeles. Digital Publishing Ludvig Florén, Carina Fryklund, Eva Lena image courtesy of the Getty’s Open Content Ludvig Florén, Magnus Olausson, and Martin Karlsson, Audrey Lebioda, Ingrid Lindell, Program. Olin (Editors) and Ingrid Lindell (Publications Magnus Olausson, Martin Olin, Cilla Robach (Per Krafft the Younger and Belisarius – One of Manager). and Lidia Westerberg Olofsson. the Foremost Swedish Examples of Neoclassical Painting in the French Style, Figs. 3–4, pp. 113–114). Art Bulletin of Nationalmuseum is published Photographers © Albert Bonniers Förlag, Stockholm annually and contains articles on the history and Nationalmuseum Photographic Studio/ (Nils Kreuger’s Drafts for the Covers of Bland theory of art relating to the collections of the Linn Ahlgren, Erik Cornelius, Anna Danielsson, Franska Bönder (1889) by August Strindberg and Nationalmuseum. Cecilia Heisser, Per-Åke Persson and Hans Ord och Bild (1897), Fig. 2, p. 137). Thorwid. © Bukowskis auktioner, Stockholm Nationalmuseum (Nils Kreuger’s Drafts for the Covers of Bland Box 16176 Picture Editors Franska Bönder (1889) by August Strindberg and SE–103 24 Stockholm, Sweden Ludvig Florén and Rikard Nordström. Ord och Bild (1897), Fig. 3, p. 138; Acquisitions www.nationalmuseum.se 2017: Exposé, Fig, 3, p. 178). Photo Credits © Pia Ulin. © Nationalmuseum, the authors and the owners of © Le Gallerie degli Uffizi, Palazzo Pitti, Florence. (The Nationalmuseum’s New Restaurant – An the reproduced works. Gabinetto Fotografico delle Gallerie degli Uffizi. Artistic Collaboration, Figs. 1, 2, 4, and 5, pp. 149, (An Unpublished Drawing on Panel by Salvator 150, 152 and 153). ISSN 2001-9238 Rosa Depicting a Landscape with a Philosopher © Wikimedia Commons/ Public Domain and Astrological Symbols, Fig. 3, p. 19). (Per Krafft the Younger and Belisarius – One of © Teylers Museum, Haarlem. the Foremost Swedish Examples of Neoclassical (An Unpublished Drawing on Panel by Salvator Painting in the French Style, Fig 3, p. 112 and ArtRosa Depicting Bulletin a Landscape with a Philosopher of NationalmuseumIn the Breach of Decorum: Painting between Stockholm and Astrological Symbols, Fig. 5, p. 21). Altar and Gallery, Figs. 1–8, 10–12, and 14–18, © The State Hermitage Museum, St. Petersburg. pp. 155–172). Photo by Pavel Demidov. © Wikimedia Commons/ CC BY 3.0 Volumes 24–25 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 ACQUISITIONS/DANISH GOLDEN AGE PORTRAITS Danish Golden Age Portraits in the Nationalmuseum – New Acquisitions Going Back a Hundred Years Magnus Olausson Director of Collections Returning to Copenhagen after his years of study abroad, Christoffer Wilhelm Eckersberg soon realised that his stipend from the teaching post he secured at the Danish Academy of Arts would not be enough to live on. He therefore turned to portrait painting, taking on a significant number of commissions. They were not always great art, but they did provide him with a living. A good many relatively repetitive head-and-shoulders or half- length portraits ensued, of individuals ranging from royalty to the wealthy burg- hers of the capital. His image of Governor Lund (Fig. 1), acquired by the National- museum in 1954, can be described as a standard portrait by Eckersberg. It is hardly ingratiating; rather, the artist has faithfully represented the external appearance of his sitter. The insignia of the Order of the Dannebrog, not least, are as important a focus here as the stubbornly fixed pale-blue gaze of the subject. As Eckersberg himself would have put it, it was a matter of “Truth” – what in modern- day parlance would be called objectivity or realism.1 There is a matter-of-factness about the portrait, with little scope for empathy. Presumably that was not some- thing the client had asked for, either. Governor Lund would no doubt have been satisfied with an external likeness; psychological depth was not a requirement for the creation of a social status symbol. Eckersberg is sometimes compared Fig. 1 Christoffer Wilhelm Eckersberg (1783–1853), Danish Governor Lund. Oil on canvas, 61 x 49 cm. to his teacher Jacques Louis David. And Nationalmuseum, NM 5191. 63 Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 ACQUISITIONS/DANISH GOLDEN AGE PORTRAITS Fig. 2 Christian Albrecht Jensen (1792–1870), Charles Robert Cockerell (1788– Fig. 3 Christen Købke (1810–1848), Portrait of Susanne Dorothea Købke, Born 1863), Architect, 1838. Oil on canvas, 29.4 x 23.8 cm. Purchase: Ryder (1814–1889), 1832. Pencil on paper, 185 x 150 mm. Nationalmuseum, the Wiros Fund. Nationalmuseum, NM 7321. NMH 117/1972. certainly we recognise the neutral back- several replicas exist. One of them, doubt because he was far more successful ground, with a relief-like space dominated executed in 1832, was acquired early on in capturing the sitter’s personality, as well by a few large tectonic forms. The same by the Nationalmuseum (NM 2491). as having a lighter touch as an artist. His goes for the depth of field, but apart from Eckersberg’s rendering of Margarethe painterly manner was the very opposite of that any attempt to compare the two Borch (NM 7330), painted in 1837, is Eckersberg’s, which left few tactile traces. artists always seems to bring out the also among his best and more original Jensen’s portrait of Elisabeth Horrebow many differences all the more clearly. The portraits,2 not least with its skilfully and (NM 5732) was painted when the artist Danish painter, after his relatively short playfully crafted illusionism, presumably was at his peak and was acquired for the spell as David’s student, remained faithful in accordance with the wishes of the Museum in 1963, the year before its major to the kind of figure drawing he had learnt sitter’s father, Rasmus Borch, who com- exhibition of Danish Golden Age art. before going to Paris. Eckersberg feels far missioned the painting.3 Despite his successes with the royal family more statuesque, with little use of gesture. Long before this, Eckersberg had and other clients, Jensen never achieved Nonetheless, in some of his best portraits found a competitor for portrait work in a the recognition he hoped for from the he soars to great artistic heights. A striking younger artist, Christian Albrecht Jensen. official art establishment. Eventually his example is his image of the sculptor Following his return from Rome, Jensen commissions also declined, causing him to Bertel Thorvaldsen from 1814, of which had become the patrons’ favourite, no turn abroad in search of work. His portrait Art Bulletin of Nationalmuseum Volumes 24–25, 2017–2018 64 ACQUISITIONS/DANISH GOLDEN AGE PORTRAITS Fig. 4 Christen Købke (1810–1848), Portrait of the Sculptor Stephan Peter Fig. 5 Niels Simonsen (1807–1885), Girl with Pearl Necklace, 1835. Pencil on Johannes Hjort Ussing, 1840s. Pencil on paper, 670 x 470 mm. Purchase: the paper, 100 x 75 mm. Nationalmuseum, NMH 191/1961. Sara and Emil Graumann Fund. Nationalmuseum, NMH 2/2006 recto. of the architect Charles Robert Cockerell Martinus Rørbye and Christen Købke. ence of Jensen.4 A portrait drawing of his (Fig. 2) was admittedly commissioned by a This is especially evident in Hansen’s sister-in-law, Susanne Dorothea Købke, Dane, but was painted in England in 1838. image of his sister Alvide, painted in 1827 née Ryder (Fig. 3), originates from that It is one of Jensen’s best, showing him at (NM 3308), and Roed’s portrait of Colonel early year. Using the simple means of short the height of his artistic powers. Not only von Darcheus, from 1834 (NM 6231). Not cross-hatched pencil lines, he creates a is it technically brilliant, it also captures only the format, but also the intimate style fine sense of volume, with the play of light the sitter in his professional capacity, with recall Jensen’s portraits from the same and shadow carving out the sitter’s face.
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