{"id":6300,"date":"2025-12-17T11:15:35","date_gmt":"2025-12-17T10:15:35","guid":{"rendered":"https:\/\/www.perspectivejournal.dk\/den-tidlige-vaerdsaettelse-af-friluftsstudier-i-danmark-1830-1920\/"},"modified":"2026-01-07T16:00:30","modified_gmt":"2026-01-07T15:00:30","slug":"den-tidlige-vaerdsaettelse-af-friluftsstudier-i-danmark-1830-1920","status":"publish","type":"post","link":"https:\/\/www.perspectivejournal.dk\/en\/den-tidlige-vaerdsaettelse-af-friluftsstudier-i-danmark-1830-1920\/","title":{"rendered":"The Early Reception and Appreciation of Plein-Air Studies in Denmark, 1830\u20131920"},"content":{"rendered":"

Over the past decades, the Romantic period\u2019s plein-air studies have been regarded as a milestone in European art history. But how did this taste, this appreciation for studies emerge? A claim often seen in art-historical literature asserts that painters\u2019 studies and oil sketches were not known to the public in their own day, and that the capacity to appreciate such immediate and seemingly unfinished images only arose with the formative experience of Impressionist painting. In the English-speaking world, a narrative arising in recent years claims that it was a small circle of British and American collectors, art historians, and art dealers who, from the late 1950s onwards, \u2018discovered\u2019 the hitherto overlooked qualities of early landscape studies.In the Light of Italy. Corot and Early Open-air Painting<\/em>, exh. cat. National Gallery of Art, Brooklyn Museum and Saint Louis Art Museum, Washington, 1996, pp. 23\u201327; Charlotte Gere: \u2018\u201dPaintings of a unique kind\u201d. Collecting Landscape Oil Sketches\u2019 in\u00a0A Brush with Nature<\/em>, exh. cat. National Gallery, London, 1999, pp. 7\u201313; Charlotte Gere: \u2018First Impressions: collecting open-air landscape sketches\u2019 in\u00a0First Impressions. Landscape Oil Sketches 1780\u20131860 from the John Lishawa Collection<\/em>, exh. cat. Ben Elwes Fine Art, London, 2012, unpag.; Mary Morton, Jane Munro and Ger Luijten: \u2018Introduction\u2019 in Ger Luijten, Mary Morton and Jane Munro (eds):\u00a0True to Nature. Open-air Painting in Europe 1780\u20131870<\/em>, exh. cat. National Gallery of Art, Fondation Custodia and The Fitzwilliam Museum, London, 2020, pp. 11\u201317.\">1<\/a><\/sup> Until then, it is alleged, only studies by superstars such as Corot and Constable could be admired and collected, while comparable works by their contemporaries are said to have been ignored. Yet although collectors such as John and Charlotte Gere undeniably made a significant contribution to cultivating a taste for Romanticism\u2019s unpretentious plein-air paintings in, for example, Britain, the reception of landscape studies surely has its own history in the other European nations.<\/p>\n

In Denmark, landscape studies were appreciated at an early stage, perhaps even earlier than in most other countries. From the 1830s onwards, even loosely executed landscape sketches were regularly exhibited in Copenhagen and acquired by private art lovers. From there runs an unbroken line through the following generations\u2019 increasingly widespread interest in oil studies, culminating in their eventual recognition by museums. The most obvious example of this movement is the gradual incorporation of such works into Statens Museum for Kunst \u2013 the National Gallery of Denmark \u2013 in the late nineteenth and early twentieth centuries. Accordingly, in what follows the SMK collection will serve as a natural focal point and has supplied most of the illustrations.<\/p>\n

Although there is a long and rich tradition for scholarly study of Danish landscape studies from the first half of the nineteenth century, no effort to clarify their historical status has ever been made.Kunstmuseets Aarskrift<\/em>, vols 20\u201321, 1934, pp. 114\u2013130. Among the foundational texts on early Danish plein-air painting, one should also highlight Henrik Bramsen: Landskabsmaleriet i Danmark 1750\u20131875<\/em>, Copenhagen, 1935, and Torsten Gunnarsson: Friluftsm\u00e5leri f\u00f6re frilutsm\u00e5leriet. Oliestudien i nordiskt landskabsm\u00e5leri<\/em> 1800\u20131850, Uppsala, 1989.\">2<\/a><\/sup> Instead, the historiographical treatment of the phenomenon has focused on the reception of plein-air studies at the end of the nineteenth century among art historians such as Karl Madsen, Emil Hannover, and Julius Lange.Naturstudiets \u00e6stetiske og historiografiske status. Menneske og Natur. Arbejdspapir 88<\/em>, Odense, 1996; J\u00f8rn Guldberg: \u2018Julius Lange og impressionismen\u2019 in Peter N\u00f8rgaard Larsen, Hans Dam Christensen and Hanne Kolind Poulsen (eds): Viljen til det menneskelige. Tekster omkring Julius Lange<\/em>, Copenhagen, 1999, pp. 195\u2013231. The author wishes to thank Peter N\u00f8rgaard Larsen for these references.\">3<\/a><\/sup> Far less scholarly interest has been devoted to the art market and collectors, or, for that matter, to what the period\u2019s exhibition activity, newspaper criticism, and art societies and associations can tell us about the status of this body of studies. The following pages offer a modest contribution to the history of the appreciation of plein-air painting in Europe.<\/p>\n

Landscape studies are a broad category, and not one that is necessarily easy for a modern viewer to identify. For contemporaries, however, they seem to have been easier to recognise as something other than a finished work. Of course, the distinguishing traits might concern their style and execution: studies were often painted swiftly and freely, with visible brushstrokes and without the smoothing, laborious finish of exhibition pictures. But this is far from always the case. Even a painting that appears, on the surface, to be fully finished may still be regarded as a study in the eyes and terminology of the period; a fact that requires only a cursory acquaintance with, for example, exhibition and sales catalogues to confirm. Many artists, such as C.W. Eckersberg, were in the habit of continuing work on their studies back home in the studio, without thereby causing these pieces to forfeit their status as studies on a range of other parameters. In some cases, landscape studies are still distinguished by their informal composition, focus or cropping. In countless other cases, they were marked out by their choice of support, typically being painted on paper or on reused scraps of canvas that could never plausibly be presented as fit for sale. In yet other instances, the studies revealed themselves through a particular \u2018emptiness\u2019, that is, the absence of human staffage. Or (especially in the 1820s and 1830s) by the presence of a dark, typically black, painted border covering the canvas where it was wrapped around the stretcher, as if to signal that the work was neither intended for, nor deserved, an ornamental frame. Finally, oil sketches often bore a striking, almost carelessly applied date, underscoring that the work had been produced in the course of a single, brief session. Plein-air studies are, in short, a highly varied category which, beyond the method that produced them, share the characteristic of falling outside contemporaneous art-theoretical and art-critical definitions of landscape painting.<\/p>\n

\"Fig.
Fig. 1. Martinus R\u00f8rbye: View of the Square in Amalfi<\/em>, 1835. Oil on paper, mounted on canvas, 44 \u00d7 63 cm. Statens Museum for Kunst, inv. no. KMS8884. Painted 18\u201331 August 1835 and exhibited at Kunstforeningen in February 1838. Bought at R\u00f8rbye\u2019s auction in 1849 by the merchant Theodor Kastrup.<\/figcaption><\/figure>\n

The Copenhagen Art Society\u2019s exhibitions of sketches and studies<\/strong><\/h2>\n

Since the canonisation of the \u2018Golden Age of Danish painting\u2019 in the late nineteenth century, art historians have maintained the view that, originally, only finished pictures could be exhibited publicly, while sketches and studies could not be appreciated as works of art. As early as 1893, Emil Hannover stated in his monograph on K\u00f8bke that:<\/p>\n

The view from the ramparts of the Copenhagen Citadel is the only one of his studies he ever exhibited, for he quickly learnt to distinguish between pictures and studies, exhibiting only the former and, for as long as he lived, carefully withholding from the public the sight of the latter, which he kept on the walls of his bedroom.<\/a>Maleren Christen K\u00f8bke. En Studie i dansk Kunsthistorie<\/em>, Copenhagen 1893, p. 68.\">4<\/a><\/sup><\/p><\/blockquote>\n

This claim \u2013 that studies were kept secret and that there was no public interest in them \u2013 is undoubtedly an overly unnuanced reading of the period\u2019s view of art. Hannover\u2019s statement is contradicted quite directly by the Kunstforeningen (Copenhagen Art Society) board minutes of 12 January 1837, stating that the society\u2019s exhibition that week consisted of \u2018a number of older works and more recent studies and sketches by K\u00f8bke\u2019.Den rene smag. Blandt h\u00e5ndv\u00e6rkere og kunstnere i guldalderens K\u00f8benhavn<\/em>, Copenhagen, 1999, p. 337\">5<\/a><\/sup> The notion that public interest in studies and sketches belonged to a later period is, as will become clear, a truth in need of significant qualification.<\/p>\n

The annual juried academy exhibition at Charlottenborg in Copenhagen was indeed dominated by finished gallery pieces, and as one reviewer observed in 1841, it was \u2018generally not (\u2026) deemed appropriate for mere sketches to be hung, except where they show an interesting composition\u2019.Dagen<\/em>, 14 April 1841.\">6<\/a><\/sup> When the word \u2018study\u2019 occasionally appears in catalogues from the Charlottenborg exhibition, it is usually not used in the sense of a preparatory study<\/em>, but rather as the academic term for a work that was not a free composition but was, in principle, based on observation. This might be a figure or a landscape rendered more or less faithfully, but certainly in a finished state and suitable for sale. Only rarely did genuinely informal study material appear, and not in any real measure until the late 1830s. By contrast, Kunstforeningen, founded in 1825 as a meeting place for Copenhagen citizens with an interest in art, was the venue used to exhibit drawings, oil studies and other actual preparatory works (such as fig. 1<\/strong>). In the initial discussion of the society\u2019s statutes, the following note was made regarding Kunstforeningen\u2019s presentation of preparatory works:<\/p>\n

1) At the weekly gatherings, information should be conveyed about everything pertaining to art, so that these gatherings may be regarded as the central point for all news on artistic matters. 2) One should, in a liberal spirit, express one\u2019s opinions about the young artists\u2019 drawings, plans, sketches, etc. 3) Each person should endeavour to procure materials that can provide topics for conversations on artistic matters, by laying out for inspection engravings, drawings, models, or other such things [\u2026].<\/a>Kunstforeningens arkiv 1825-1925<\/em>, Kilder til dansk kunsthistorie, https:\/\/kunstforeningen.ktdk.dk<\/a>).\">7<\/a><\/sup><\/p><\/blockquote>\n

Many artists even chose to exhibit their studies before they had been translated into finished pictures, meaning that for the society\u2019s members the weekly displays from October to May offered an important way of keeping abreast of the artists\u2019 current activity and forthcoming works.<\/p>\n

\"Fig.
Fig. 2. J\u00f8rgen Roed: Ribe Cathedral<\/em>, 1836. Oil on paper, mounted on canvas, 30 \u00d7 38 cm. Statens Museum for Kunst, inv. no. KMS3798. Exhibited at Kunstforeningen in April 1842.<\/figcaption><\/figure>\n

To see how extensively painted studies and sketches featured in the society\u2019s exhibition programme, we may run through a single season\u2019s displays. For the sake of symmetry, let us take the winter season of 1841; that is, just a few months after the reviewer quoted above had judged sketches unwelcome at Charlottenborg. Just a week after the season opened in October, members of Kunstforeningen could see \u2018four flower studies by Prof. Jensen\u2019, \u2018A study for Adam M\u00fcller\u2019s larger painting: Valdemar the Victorious and his Son in Prison<\/em>\u2019, as well as \u2018a number of landscape studies by F. Rohde and Carmiencke\u2019.Ki\u00f8benhavnsposten<\/em>, 16 October 1841.\">8<\/a><\/sup> In late October there were \u2018studies and sketches from the summer of 1841 by Gurlitt, from the regions of Silkeborg, Sophiendal and Rye\u2019.Ki\u00f8benhavnsposten<\/em>, 29 October 1841.\">9<\/a><\/sup> In February 1842, it was Gurlitt himself who had selected a group of oil studies by fellow artists such as Buntzen, Bendz, K\u00fcchler, Sonne, R\u00f8rbye and Adam M\u00fcller.Kunstforeningens arkiv 1825-1925<\/em>, Kilder til dansk kunsthistorie, https:\/\/kunstforeningen.ktdk.dk<\/a>); \u2018Konstforeningen\u2019 in Dagen<\/em>, 25 February 1842.\">10<\/a><\/sup> The following week, the art collector Michael Raffenberg presented eight \u2018studies in oils by Marstrand, after heads and full figures in Italy\u2019, along with four \u2018landscape studies in oils by Carl, Mohr, Fearnley and an unknown [artist]\u2019.Dagen<\/em>, 4 March 1842.\">11<\/a><\/sup> One of April\u2019s exhibitions comprised \u201823 painted studies by Sonne\u2019 in addition to \u2018two painted studies by Roed, depicting the exterior and interior of Ribe Cathedral\u2019 (including fig. 2<\/strong>), and finally in May members could admire \u2018nine painted studies from Funen and Jutland, by D. Dreyer\u2019.Berlingske Politiske og Avertissementstidende<\/em>, 8 April and 13 May 1842.\">12<\/a><\/sup> When these entries are compared with the works in question, it is clear that the term \u2018study\u2019 is being used here in the narrower sense in which we employ it today; that is, to denote artists\u2019 preparatory and working material.<\/p>\n

\"Fig.
Fig. 3. Fritz Petzholdt: Fountain and Pergola in Italy<\/em>, c. 1830\u201335. Oil on paper, mounted on canvas, 39 \u00d7 50 cm. Art Institute of Chicago, inv. no. 2002.377. Exhibited at Kunstforeningen in April 1837.<\/figcaption><\/figure>\n

The summary descriptions above suggest a lively interest in artistic preparatory work in general, and in landscape studies in particular. Much the same picture emerges if we consider individual artists\u2019 participation in Kunstforeningen\u2019s exhibitions over the years. Louis Gurlitt, one of the exhibitors in the season just discussed, had already begun showing his oil studies at the society in February 1835, and subsequently did so again in, for example, 1839, 1840 and 1849.C.W. Eckersbergs dagb\u00f8ger<\/em>, Copenhagen, 2009, vol. 1, p. 631); notices in\u00a0Ki\u00f8benhavnsposten<\/em>, 8 November 1839 and 14 February 1840, and in\u00a0F\u00e6drelandet<\/em>, 2 March 1849.\">13<\/a><\/sup> Christen K\u00f8bke held his first solo exhibition in January 1837, which, as mentioned, included a number of painted studies, and a few months later Fritz Petzholdt arranged an exhibition of Italian studies and sketches.Dansk Kunstblad<\/em>, vol. 1, no. 24, 11 February 1837, cols 177\u2013178; [F.C. Hillerup?]: \u2018Kunstforeningen (Udstillinger)\u2019, ibid., vol. 2, no. 1, 12 April 1837, cols 5\u20136.\">14<\/a><\/sup> Petzholdt\u2019s display was reviewed in the society\u2019s short-lived organ Dansk Kunstblad<\/em>, and the reviewer singled out a \u2018particularly enchanting [\u2026] view of the district around Olevano, where one looks down into the beautiful valley \u2013 lit by Italy\u2019s glowing rays of sun \u2013 through a pergola (espalier or arcade-walk)\u2019. This painting must be identical with one now in the collection of the Art Institute of Chicago [Fig. 3]<\/strong>, a fresh evocation of southern light, but without the carefully worked-over finish and added staffage of the completed, saleable pictures.<\/p>\n

\"Fig.
Fig. 4. Martinus R\u00f8rbye: Two Oxen Yoked Together<\/em>, 1837. Oil on paper, mounted on canvas, 28 \u00d7 38 cm. Private collection. Painted 16 June 1837 and exhibited at Kunstforeningen in February 1838. Bought at R\u00f8rbye\u2019s auction in 1849 by Baron Adam Christopher Holsten-Charisius.<\/figcaption><\/figure>\n

The qualities of study material<\/h2>\n

Perhaps the best example of Kunstforeningen\u2019s exhibitions of preparatory work is provided by Kunstbladet<\/em>\u2019s thorough review of Martinus R\u00f8rbye\u2019s exhibition in February 1838. The show comprised a large number of studies and finished works from the artist\u2019s recently completed journey abroad, including loosely executed oil studies.Dansk Kunstblad<\/em>, vol. 3, no. 1, 17 February 1838, cols 1\u20137. Also in Kunstforeningen\u2019s board minutes, 1 and 8 February 1838, Kunstforeningen archive (see note 10).\">15<\/a><\/sup> The exhibits considered suitable for display even included the \u2018swiftly sketched\u2019 study of two yoked oxen [Fig. 4]<\/strong>, painted in great haste on a sweltering June day in the Roman Campagna and, despite its rather rough and unsophisticated execution, suitable for being singled out as a characteristic animal study.Dansk Kunstblad<\/em>, vol. 3, no. 1, 17 February 1838, col. 4. R\u00f8rbye\u2019s diary 16 June 1837, Royal Danish Library, NKS 2923, 4\u00ba; see Jesper Svenningsen (ed.): Martinus R\u00f8rbyes rejsedagb\u00f8ger og -breve<\/em>, Kilder til dansk kunsthistorie (https:\/\/roerbye.ktdk.dk<\/a>).\">16<\/a><\/sup><\/p>\n

Likewise deemed fit for exhibition was a freely sketched nocturne from Procida, in which R\u00f8rbye, with his customary observational zeal, set down the memory of a sight familiar to all Danes, here set under foreign skies: a Midsummer bonfire (the work is now in the collection of Ribe Kunstmuseum). Most of the landscapes and townscapes shown, however, were more fully worked \u2013 though often executed on paper, which in itself was enough to signal their status as mere study material. This was the case, for instance, with the light-filled study of the square in Amalfi [Fig. 1]<\/strong>, which was a great success at the exhibition and earned R\u00f8rbye a commission for a larger version.<\/p>\n

Through exhibitions of this kind, Kunstforeningen contributed, throughout the 1830s, to foster an awareness of the qualities of studies among the art-interested public. One of the purposes of exhibiting works such as those mentioned above was evidently to open members\u2019 eyes to the studies\u2019 greater sense immediacy, and to how much of this trait was sacrificed in the subsequent artistic reworking to produce the saleable piece. Unfortunately, the society\u2019s board, or those responsible for the exhibitions, never expressed their motives or ambitions in writing. Yet the theme was occasionally taken up in press notices about the exhibitions, which can reasonably be read as reflections of members\u2019 discussions at their meetings. When, in February 1843, the society showed some figure studies for an altarpiece by Adam M\u00fcller, the reviewer in Journal for Literatur og Kunst<\/em> (it appears to have been the art critic K.F. Wiborg) wrote:<\/p>\n

As is sadly so often the case with artists, so it has happened to M. here too: the study, made directly after nature and animated by all the divine freshness of the first flush of enthusiasm, expresses something far more beautiful and noble, and is painted with far greater virtuosity in the pale, downward-cast half-profile, compared to the Apostle Luke in the finished picture.<\/a>Journal for Literatur og Kunst<\/em>, 1843, vol. 1, p. 119. The study for the figure of Luke mentioned here is presumably identical with the one sold at Bruun Rasmussen online auction 1321, 20 May 2013, lot 91.\">17<\/a><\/sup><\/p><\/blockquote>\n

Only a month later, the same reviewer had occasion to repeat his view of the qualities of studies when Kunstforeningen, in March 1843, exhibited a number of \u2018landscape studies by Dreyer\u2019:<\/p>\n

Among these we found, in the study of a sunlit bridge [Fig. 5]<\/strong>, welcome proof that this artist is indeed capable of what one had previously, to some extent, doubted \u2013 namely, of wresting from nature its immediate beauty.Journal for Literatur og Kunst,<\/em> 1843, vol. 1, pp. 254f.\">18<\/a><\/sup><\/p><\/blockquote>\n

The comparison between immediate studies and worked-up works of art did not, however, always fall in the former\u2019s favour, as was the case with a landscape sketch and a study of a head by Ernst Meyer, \u2018which further convince us that this artist has greater virtuosity in carrying through [a work] than in casting it swiftly upon the canvas\u2019.<\/a>Journal for Literatur og Kunst<\/em>, 1843, vol. 1, p. 255. According to \u2018Kunstforeningen\u2019 in Berlingske Politiske og Avertissementstidende<\/em>, 10 March 1843, this concerned \u2018a head and a landscape\u2019 belonging to Thorvaldsen, which \u2013provided the ownership was correctly reported \u2013 may possibly correspond to Thorvaldsens Museum, inv. nos B270 and B273.\">19<\/a><\/sup><\/p>\n

\"Fig.
Fig. 5. Dankvart Dreyer: Bridge over a Stream in Assens, Funen<\/em>, 1842. Oil on panel, 24.5 \u00d7 37.5 cm. Statens Museum for Kunst, inv. no. KMS1690. Exhibited at Kunstforeningen in March 1843. Acquired by Statens Museum for Kunst in 1901.<\/figcaption><\/figure>\n

Supporters and collectors in the 1830s and 1840s<\/h2>\n

An intriguing, and obvious, question presents itself: how did this interest in sketches and studies become established within Kunstforeningen? Fortunately, the society\u2019s board minutes often record the actual organiser of an exhibition by name, and on that basis we can observe that it was mainly artists who incorporated sketches and studies into the shows they themselves arranged. The reason was probably, in part, that artists were already accustomed to handling study material and discussing it among themselves \u2013 but presumably also that they had a vested interest in disseminating knowledge of their own and others\u2019 working methods and ambitions. Of Kunstforeningen\u2019s major solo exhibitions, the K\u00f8bke exhibition mentioned above, in 1837, and R\u00f8rbye\u2019s exhibition in 1838 were both arranged by the sculptor H.E. Freund.20<\/a><\/sup> Gurlitt\u2019s exhibitions in 1835 and 1839 were organised by Eckersberg and Hetsch respectively, while it was the flower painter J.L. Jensen who, in 1845, mounted a retrospective exhibition comprising twenty-eight paintings by J.C. Dahl from the period 1812 to 1844.21<\/a><\/sup> Many other sketch exhibitions were, unsurprisingly, put together by the artist in question: Eckersberg, J.L. Jensen, J\u00f8rgen Sonne and H.W. Bissen were among those who would readily bring their own preparatory works when it was their \u2018turn\u2019 to arrange an exhibition organiser.<\/p>\n

\"Fig.
Fig. 6. Martinus R\u00f8rbye: Loggia on Procida<\/em>, 1835. Oil on canvas, 32 \u00d7 47.5 cm. Nationalmuseum, Stockholm, inv. no. NM 7402. Painted 27\u201329 June 1835 and exhibited at Kunstforeningen in February 1838. Taken along on the artist\u2019s second journey to Italy and subsequently given to C. F. Holm.<\/figcaption><\/figure>\n

Even if artists were evidently more than willing to exhibit preparatory works, whether their own or others\u2019, the society\u2019s members in general must also have possessed alert artistic sensibilities in order for such works to be deemed relevant for display at all. The spread of this taste can be illustrated by considering the lawyer and civil servant Christian Frederik Holm (1796\u20131879), who joined Kunstforeningen\u2019s board in 1830. He subsequently sat on the society\u2019s art committee from its establishment in 1831 until 1834 and returned to the board in the years 1838 to 1842. Alongside this post and numerous other positions, Holm also served as archivist to the foundation known as Fonden ad usus publicos, a role that brought him into contact with countless artists, poets, musicians and scientists of the period. Today, Holm is perhaps best known for commissioning a portrait of his three children from Eckersberg (now in the Hirschsprung Collection). He also collected prints, but more interesting in the present context is the fact that as far back as in the 1830s, Holm also acquired painted studies and sketches.Dansk Kunstblad<\/em>, vol. 1, no. 6, 14 May 1836, col. 44) and was sold after Holm\u2019s death at auction on 23 October 1879.\">22<\/a><\/sup> A list from 1860 unfortunately includes only fifteen of the collection\u2019s oil paintings, among them sketches by Fearnley and J.C. Dahl.23<\/a><\/sup> The collection must, however, have been far larger, and oil sketches appear to have been something of a speciality for Holm. His reputation as a collector is apparent from a remark by Martinus R\u00f8rbye. The occasion was a study of a loggia which R\u00f8rbye had painted on his first journey to Italy, and which he brought with him on his second trip in 1839\u201341 [Fig. 6]<\/strong>. In November 1840 he wrote in his diary: \u2018Today I began drawing in preparation for a small painting for which I am using the study of the loggia on Procida, before I intend to send it to Holm; he has my promise in this regard; I would certainly not give my studies to anyone else.\u2019<\/a>Martinus R\u00f8rbyes rejsedagb\u00f8ger og -breve<\/em>, Kilder til dansk kunsthistorie (https:\/\/roerbye.ktdk.dk<\/a>). Holm was R\u00f8rbye\u2019s contact person at the Fonden ad usus publicos and, in 1837, assisted him in applying for additional travel funds; see Henny Glarbo (ed.): Fonden ad usus publicos. Aktm\u00e6ssige Bidrag til Belysning af dens Virksomhed<\/em>, vol. 3, Copenhagen, 1947, pp. 451f.\">24<\/a><\/sup><\/p>\n

\"Fig.
Fig. 7. J. C. Dahl: View from the Veranda at Maxen, Stormy Weather<\/em>, 1841. Oil on canvas, 21 \u00d7 27 cm. Private collection. Painted for Baroness Stampe as a demonstration of the artist\u2019s technique and, after her return home, exhibited at Kunstforeningen in March 1843. The painting remained at Nys\u00f8 until a dispersal sale in 1876.<\/figcaption><\/figure>\n

Holm represents the group among the leading members of Kunstforeningen who knew very well how to appreciate artists\u2019 studies and sketches, not only as interesting objects of study but also as desirable works of art. Nor was Holm alone in collecting painted studies and preparatory works, and other artists were more willing than R\u00f8rbye to part with their sketches. Similar pictures could be found in other private collections, such as the \u2018sketches and studies by Bendz, Sonne, K\u00fcchler, S\u00f8dring, Buntzen, Wulff, Petzholdt, Morgenstern and Crola\u2019 which Gottlieb Collin (1806\u201386) lent to the society\u2019s exhibition in March 1836.Dansk Kunstblad<\/em>, vol. 1, no. 3, 6 April 1836, col. 24.\">25<\/a><\/sup> And in 1843 Baroness Stampe was able to lend a couple of sketches by J.C. Dahl, one of which had apparently been painted in the space of a mere fifteen minutes as a demonstration of the landscape painter\u2019s technical prowess [Fig. 7]<\/strong>.Journal for Literatur og Kunst<\/em>, 1843, vol. 1, p. 255, where the two studies are dated 1838 and 1840. One of them was, however, undoubtedly identical with the \u2018Parti af Maxen\u2019 (View from Maxen) of 14 June 1841, reproduced in the article and mentioned in Christine Stampe:\u00a0Erindringer om Thorvaldsen<\/em>, Rigmor Stampe (ed.), Copenhagen, 1912, p. 124. The study was sold at Baron Stampe\u2019s auction, 14 November 1876, lot 35, and later at Bruun Rasmussen auction 510, 17 August 1988, lot 13. See Marie L\u00f8drup Bang:\u00a0Johan Christian Dahl 1788\u20131857. Life and Works<\/em>, Oslo, 1987, no. 941.\">26<\/a><\/sup><\/p>\n

All these collectors of study material had exceptionally close ties to the artistic milieu, and these connections were the one thing enabling them to acquire small works that had not yet found their way onto the market. In this early phase of the appreciation of study material, it therefore seems to have served, to some extent, as affectionate gifts between friends, yet the activities of these collectors and the society\u2019s exhibitions meant that the taste for immediate preparatory work gradually won wider currency. By the end of the 1840s, this taste had become firmly established within a broader circle of Denmark\u2019s art collectors and connoisseurs.<\/p>\n

\"Fig.
Fig. 8. C. W. Eckersberg: View towards Koster from the Jetty at Kallehave<\/em>, 1831. Oil on canvas, 23.2 \u00d7 33 cm. The Hirschsprung Collection, inv. no. 116. Bought in January 1834 by the merchant Nicolai Gerson, and later acquired by Heinrich Hirschsprung at the auction of Gerson\u2019s collection in 1880.<\/figcaption><\/figure>\n

As an example of collectors who (very likely encouraged by Kunstforeningen\u2019s exhibition activity) began to take an interest in landscape studies, we might mention the merchant Nicolai Gerson (1802\u20131865). From at least the early 1830s, Gerson collected paintings, and one of his first important purchases came about in January 1834, when he acquired the small study from the ferry landing at Kallehave which Eckersberg had begun on site in late July 1831 and completed back in his studio a few days later [Fig. 8]<\/strong>.C.W. Eckersbergs dagb\u00f8ger<\/em>, Copenhagen, 2009, vol. 1, p. 577).\">27<\/a><\/sup> A month later, Gerson returned to Eckersberg and this time bought a small seascape study on tinplate, executed on a voyage with the corvette Najaden<\/em> the previous summer.28<\/a><\/sup> During the 1830s and 1840s, Gerson\u2019s collection grew to include landscape studies by, among others, Albert K\u00fcchler, Constantin Hansen, Vilhelm Kyhn, Emmanuel Larsen, Fritz Petzholdt, and P.C. Skovgaard.F\u00e6drelandet<\/em>, 6 December 1850. The greater part of Gerson\u2019s collection was inherited by his sister and brother-in-law, C.L. Bull, who apparently added only little to it, and it was sold after the latter\u2019s death at auction in Kunstforeningen\u2019s premises, 15 March 1880.\">29<\/a><\/sup> He owned, for example, a loosely executed study by J.C. Dahl from the cliffs of M\u00f8n (presumably identical with fig. 9<\/strong>).30<\/a><\/sup> In December 1850, Gerson lent a number of his studies to an exhibition at Kunstforening, to which Eckersberg also contributed some Roman scenes.F\u00e6drelandet<\/em>, 6 December 1850.\">31<\/a><\/sup> This, in turn, led to Gerson\u2019s being given, a few months later, the opportunity to buy one of these coveted studies; works which the professor was otherwise reluctant to part with.32<\/a><\/sup><\/p>\n

\"Fig.
Fig. 9. J. C. Dahl: The Cliffs of M\u00f8n<\/em>, c. 1826. Oil on paper, mounted on canvas, 10 \u00d7 15.8 cm. Private collection. Purchased by Nicolai Gerson in the 1830s or 1840s and lent for an exhibition at Kunstforeningen in December 1850.<\/figcaption><\/figure>\n

Sketches and studies in the wider public around 1848<\/h2>\n

The year 1848, when revolutions were fermenting across Europe, proved decisive for Danish art history and, not least, for the dissemination and appreciation of painters\u2019 oil studies. During the first eight months of the year, three of plein-air painting\u2019s most important practitioners \u2013 Christen K\u00f8bke, J.Th. Lundbye and Martinus R\u00f8rbye \u2013 had all died. The subsequent auctions of K\u00f8bke\u2019s and R\u00f8rbye\u2019s remaining paintings set their sketches and studies in circulation, thereby laying the groundwork for the later process of canonisation. Not all painted sketches found buyers, and the artist\u2019s standing was crucial in determining how valuable the material was considered to be. At the auction of K\u00f8bke\u2019s estate in December 1848, those who turned up to acquire his studies and sketches were almost exclusively artists \u2013 though Raffenberg did secure a Danish landscape study and an Italian beach scene. When the estate of the seven-years-older and far more established Academy professor, Martinus R\u00f8rbye, went under the hammer three months later, we find, by contrast, numerous wealthy men and large landowners among the buyers. On this occasion the auction record was adorned with venerable names such as Scavenius, Moltke, Sehestedt-Juul, Raben-Levetzau, Danneskiold-Sams\u00f8e, Bruhn, Juel-Rysensteen, Zeuthen, and Holsten-Charisius [Fig. 4]<\/strong>. R\u00f8rbye\u2019s studies and sketches had, in other words, immediately become coveted collectors\u2019 pieces for the wealthy elite and, shortly after his death, hung in stately homes such as Gjorslev, Bregentved, Ravnholt, Beldringe, Gisselfelt, Krogerup, Lundb\u00e6k, T\u00f8ll\u00f8se Castle, and Holstenshuus.<\/p>\n

\"Fig.
Fig. 10. Thomas Fearnley: Capri Seen from Sorrento<\/em>, 1833. Oil on canvas, 15.1 \u00d7 22.2 cm. Thorvaldsens Museum, inv. no. B192. Acquired by Bertel Thorvaldsen between 1833 and 1838 and publicly displayed in his museum from 1848, alongside landscape studies by Carl Gustav Carus, Franz Ludwig Catel, and C. W. Eckersberg.<\/figcaption><\/figure>\n

Between R\u00f8rbye\u2019s death and his auction, another significant event in the history of the appreciation of oil studies took place. On 18 September 1848 Thorvaldsens Museum opened to the public, and among the sculptor\u2019s collection of paintings visitors could now admire landscape studies by artists such as Carl Gustav Carus (1789\u20131859), Franz Ludwig Catel (1778\u20131856), C.W. Eckersberg, and Thomas Fearnley [Fig. 10]<\/strong>. These were the first studies of this kind to be presented in a public collection. A different situation applied in the Royal Collection of Paintings, much of which was displayed in the Royal Picture Gallery at Christiansborg Palace and, in the new democratic reality, would form the cornerstone of the nation\u2019s art collection. The recently deceased king, Christian VIII, had been a prominent arbiter of taste in his dual capacity as an art-collecting crown prince and as the formal head of the Royal Danish Academy of Fine Arts. Yet acquisitions for the Royal Collection of Paintings had not changed greatly during his reign, even though privately he had taken an interest in artists\u2019 sketches. His own collection of paintings \u2013 which, like the Royal Picture Gallery, was carefully conceived to provide an overview of the history of painting \u2013 thus also accommodated a number of more informal oil studies. Among them were Wilhelm Bendz\u2019s study of a carriage gateway in Partenkirchen [Fig. 11]<\/strong>, a Neapolitan coastal study by J.C. Dahl, a couple of Eckersberg\u2019s Roman prospects, and Georg Hilker\u2019s study created on the occasion of the Academy\u2019s landscape-painting competition in 1833. On His Majesty\u2019s birthday in 1832, his wife, Princess Caroline Amalie, even delighted him with a study by Eckersberg, which the prince noted with satisfaction was \u2018painted in the forest\u2019.<\/a>Fortegnelse over Hans Kongelige H\u00f8ihed Prinds Christian Frederiks Malerie Samling.<\/em> F\u00f8rste Deel: Arbeider af danske Kunstnere og Kunst-Academis Elever, samt af Fremmede som have l\u00e6rt eller \u00f8vet Kunsten i Danmark<\/em>, [1837-47], Royal Danish Library, NKS 1811I<\/sup> folio, p. 25, no. 61.\">33<\/a><\/sup><\/p>\n

\"Fig.
Fig. 11. Wilhelm Bendz: A Coach House. Partenkirchen<\/em>, 1831. Oil on paper, mounted on canvas, 33 \u00d7 26.5 cm. Statens Museum for Kunst, inv. no. KMS4081. Given in 1834 by the artist\u2019s family to Prince Christian Frederik (later King Christian VIII). Subsequently hung at Sorgenfri Palace until the death of Queen Dowager Caroline Amalie in 1881.<\/figcaption><\/figure>\n

With interest in landscape studies having reached as far as the monarch, one might expect such pieces to appear among the acquisitions made for the Royal Collection of Paintings as well. However, the two collections were aimed at different audiences, and the official line was set by the gallery inspector N.L. H\u00f8yen, who focused on public education and opposed anything sketch-like in art. In his criticism and teaching, H\u00f8yen railed against visible brushstrokes, which in his eyes were evidence of inadequate technical skill or even an outright, deliberate insult to the public. To present the people with the imperfect was a serious matter, particularly at a time when cultivating a general appreciation of art was regarded as crucial to the perfection of Danish craftsmanship and industry. In the Royal Collection of Paintings, the appreciation of artists\u2019 informal oil studies thus developed rather more slowly than among collectors and among Kunstforeningen\u2019s well-to-do members. But in 1848 a thaw set in when the royal painting collection, somewhat by chance, received its first true landscape study. The archaeologist P.O. Br\u00f8ndsted (1780\u20131842) had, in his will, bequeathed to the king his small painting collection, which included a beautiful study by Catel depicting the Temple of Concordia at Agrigento.34<\/a><\/sup> In this way the door was, if not thrown wide open, then at least prised ajar, enabling more landscape studies to follow. Six years later, three of Eckersberg\u2019s Roman views were purchased at the auction of his estate, and in 1862 the collection acquired its first oil study by Lundbye [Fig. 12]<\/strong>. In the latter case, H\u00f8yen could at least reassure himself that this was a finished \u2013 he uses the term \u2018udf\u00f8rt\u2019, meaning \u2018executed\u2019 \u2013 study which, like Eckersberg\u2019s prospects, did not suffer from what he regarded as a common failing of studies: an inadequate degree of finish.35<\/a><\/sup> Yet studies they certainly were.<\/p>\n

\"Fig.
Fig. 12. J. Th. Lundbye: The Beach at Refsn\u00e6s, Zealand<\/em>,1847. Oil on cardboard, 30 \u00d7 41 cm. Statens Museum for Kunst, inv. no. KMS827. Bought by the Royal Collection of Paintings in 1862 as one of its first acquisitions of oil studies.<\/figcaption><\/figure>\n

Collectors\u2019 interest in the 1850s and 1860s<\/h2>\n

Private collectors continued to acquire landscape studies with great eagerness in the third quarter of the century. In 1874, for example, the organist Rasmus Claudius Rasmussen (1820\u20131904) owned studies by Eckersberg, J.P. M\u00f8ller [Fig. 13]<\/strong>, J.C. Dahl, R\u00f8rbye, K\u00fcchler, Frederik S\u00f8dring, K\u00f8bke, Marstrand, Adam M\u00fcller, Lundbye, and Vilhelm Kyhn.Fortegnelse over en Samling Malerier, udf\u00f8rte i Olie og Gouache, tilh\u00f8rende R.C. Rasmussen<\/em>, Copenhagen, 1874. The identification of the studies in the 1874 catalogue is assisted by comparison with the catalogue from the dispersal of the collection at Den frie Udstilling\u2019s building on 17 October and 7\u20138 November 1904.\">36<\/a><\/sup> While connoisseurs such as Rasmussen would assemble a broad selection of landscape studies around this time, it was still by no means a given that works of this kind were valued by collectors and the public at large.<\/p>\n

\"Fig.
Fig. 13. J. P. M\u00f8ller: Fire in the Courtyard of the Instrument Maker Marschall in Bredgade<\/em>, 1828. Oil on paper, mounted on canvas, 17 \u00d7 19.5 cm. Private collection. Painted from a window in the rear wing of Thott\u2019s Mansion, which then housed Moltke\u2019s Gallery. M\u00f8ller was apparently on fire watch on the night of 25\u201326 February 1828, during a major fire at Norgesgade 179 (now Bredgade 9), and took the opportunity to paint this scene. The study was bought by the organist R. C. Rasmussen at some point between 1855 and 1874.<\/figcaption><\/figure>\n
\"Fig.
Fig. 14. Wilhelm Bendz: The Church at Ramsau<\/em>, 1832. Oil on paper, mounted on canvas, 30 \u00d7 22 cm. Fuglsang Kunstmuseum, inv. no. 394. Originally belonged to a member of the Collin family, who sold it in the 1840s or 1850s to the merchant Theodor Kastrup.<\/figcaption><\/figure>\n

For example, K\u00f8bke\u2019s small studies found no eager buyers beyond a narrow circle of fellow artists. Even Rasmussen\u2019s contemporary and well-informed fellow collector, the merchant Theodor Kastrup (1820\u201380) \u2013 who, throughout the 1850s and 1860s, built an extensive collection of landscape studies \u2013 owned none by K\u00f8bke. This despite the fact that Kastrup was actually present at K\u00f8bke\u2019s auction in 1848 and made his first art purchases there. The plein-air animal study by the painter Holm that he bought from K\u00f8bke\u2019s estate was soon joined by four small landscapes by Eckersberg, two by R\u00f8rbye (including fig. 1<\/strong>), one by Bendz [Fig. 14]<\/strong>, eight by Lundbye, and a number by P.C. Skovgaard and C.A. K\u00f8lle.<\/p>\n

K\u00f8bke\u2019s landscape studies were not the only ones conspicuous by their absence from Danish collections. The same held true of studies by Schleswig-Holstein painters, who were to a large extent regarded as too strongly influenced by Germany and therefore un-Danish. In the wake of Denmark\u2019s war trauma of 1864, the still-young discipline of art history contributed to the nation\u2019s moral reconstruction by establishing the narrative of a Danish school of art, in which Eckersberg was placed on a pedestal alongside his Danish pupils. The German-influenced vein in Danish art (or whatever might be perceived as such) was, by contrast, considered an insignificant offshoot from the main trunk. This perspective also asserted itself when, in 1876, Denmark\u2019s two national art collections were presented with a larger group of landscape studies.<\/p>\n

Bravo!<\/h2>\n

In early May 1876 news arrived that the Danish consul in Rome, Johan Bravo (b. 1797), had died. In his youth he had trained as a painter at the Royal Danish Academy of Fine Arts in Copenhagen, where he became close friends with figures such as Ernst Meyer, H.W. Bissen, and Ditlev Blunck. From 1827 he had lived in Rome, where he soon laid down his brushes and instead became a fixture within the shifting colony of Scandinavians. Bravo became a particularly familiar figure in the Danish-German artistic circles around Bertel Thorvaldsen, whose collections and personal effects Bravo was responsible for dispatching back to Denmark. Presumably inspired by Thorvaldsen\u2019s example, Bravo, before his death, set down the wish that his own art collection, too, should pass to the Danish nation.<\/p>\n

\"Fig.
Fig. 15. Franz Ludwig Catel: View of a Wooded River<\/em>, c. 1820s. Oil on paper, mounted on canvas, 28.3 \u00d7 42.7 cm. Statens Museum for Kunst, inv. no. KMS1087. Entered the collection in 1876 as a bequest from Johan Bravo.<\/figcaption><\/figure>\n

The task of inventorying and packing Bravo\u2019s estate was entrusted to a number of painters who were already in Rome at the time. The heaviest burden fell to the future museum director Pietro Krohn (1840\u20131905), who by then had been living in the city for six years and must surely have known Bravo well. Being K\u00f8bke\u2019s nephew, Krohn was hardly unfamiliar with the aesthetics and appeal of studies \u2013 and a few years after his return to Denmark he found himself a wife who, being the niece of Nicolai Gerson, had even grown up with oil sketches on the walls. The precise contents of Bravo\u2019s collection are difficult to establish today, for in his will he permitted a nephew, the merchant Edouard Brauer of Rotterdam, to select works for himself before passing on the rest to the Danish nation.37<\/a><\/sup> Hence, in Bravo\u2019s estate Krohn found only very few of the drawings that the deceased had purposefully collected from Rome\u2019s most celebrated artists.38<\/a><\/sup><\/p>\n

Instead, Bravo\u2019s collection of drawings consisted chiefly of sheets left behind by his Schleswig-Holstein or North German artist friends upon their departure or death. This applied in particular to August Krafft, Ditlev Blunck, and Ernst Meyer, all of whom were richly represented and whose works Krohn and his assistant, the painter Albert K\u00fcchler, could of course recognise without difficulty. In addition there were a few framed paintings, along with a large quantity of unmounted oil sketches and studies \u2013 material of particular interest to the present investigation, but which at the time only complicated matters further. Works on paper officially fell under the auspices of the Royal Collection of Prints and Drawings (now The Royal Collection of Graphic Art) at the Prince\u2019s Palace, but the oil studies were an awkward fit for the museum\u2019s usual distinction between oil paintings and drawings. What, then, was one to do with such an unwieldy collection?<\/p>\n

\"Fig.
Fig. 16. Ditlev Blunck (attributed here to): Landscape Study with Mountain Town<\/em>, c. 1829. Oil on paper, 247 \u00d7 347 mm. The Royal Collection of Graphic Art, Bravo Archive. Entered the collection in 1876 as a bequest from Johan Bravo.<\/figcaption><\/figure>\n

The director of the Royal Collection of Paintings, Otto Rosen\u00f8rn-Lehn, declared himself willing to take over Bravo\u2019s six framed paintings, which were deemed worthy of inclusion in the Picture Gallery. Thus, three splendid studies by Franz Ludwig Catel came to the gallery from Bravo\u2019s walls, including a study of a lush Italian river landscape [Fig. 15]<\/strong>.39<\/a><\/sup> Catel\u2019s pictures might have provided the seed for a collection of landscape sketches in Copenhagen, but this evidently held little interest. In any case, Rosen\u00f8rn-Lehn did not consider it necessary to have Bravo\u2019s other mounted sketches handed over, since they lacked frames, and the collection therefore preferred to forgo, among other things, an Italian landscape sketch by Petzholdt. As for the unmounted study material, Rosen\u00f8rn-Lehn even suggested that it might be deposited at Thorvaldsens Museum. In the end, however, this part of Bravo\u2019s collection nonetheless ended up in the Royal Collection of Prints and Drawings, where 138 drawings found a place in the neatly ordered portfolios while the enormous remainder was set aside on account of its \u2018poor quality\u2019.40<\/a><\/sup> This so-called \u2018Bravo archive\u2019 still contains a large quantity of unknown and in part unregistered oil studies, clearly testifying to avid interest in studies among private collectors and to an equally strong institutional indifference.<\/p>\n

\"Fig.
Fig. 17. Unknown artist: Ruins of the Great Bath Complex at Hadrian\u2019s Villa. Oil on paper, 23.8 \u00d7 33.5 cm. The Royal Collection of Graphic Art, inv. no. KKSgb13517. Entered the collection in 1876 as a bequest from Johan Bravo.<\/figcaption><\/figure>\n
\"Fig.
Fig. 18. Unknown artist: Italian Landscape. Oil on paper, 250 \u00d7 335 mm. The Royal Collection of Graphic Art, Bravo Archive. Entered the collection in 1876 as a bequest from Johan Bravo.<\/figcaption><\/figure>\n

 <\/p>\n

As is evident from the above, Bravo\u2019s collection was a mixture of randomly accrued left-behind material and more purposeful acquisitions. Among it all, Krohn naturally found a fair number of Bravo\u2019s own studies, including preparatory works for his somewhat amateurish exhibition pictures The Emissary at Lake Albano<\/em> and A Street Scene in Rome<\/em>.41<\/a><\/sup> The unmounted oil studies are, on the whole, of greatly varying quality, authorship, and interest. For convenience, more than a hundred of the oil studies were attributed to Ditlev Blunck in the 1970s, although closer inspection suggests that he can scarcely have executed more than perhaps fourteen or fifteen of them [Fig. 16]<\/strong>.Den Kongelige Kobberstiksamling. Danske Tegninger<\/em>, (2nd ed.), Copenhagen, 1979, p. 79, where Blunck is credited with 71 oil studies on paper and 30 on canvas. Of the former group, seven studies can today be attributed to Blunck, since two sheets are studies for known works, and all seven bear the same pattern of spots, which presumably stems from the drying process after the paper\u2019s preparation. See The Royal Collection of Graphic Art, Bravo archive: oil on paper, nos. 5, 11, 12, 17, 18, 20 and 47. Of the oil studies on canvas, six are preparatory works for known paintings by Blunck. The piece illustrated here may be among the landscape studies Blunck collected in the Sabine Hills in late summer 1829 according to his report to the Academy, 7 October 1829, the Royal Danish Academy of Fine Arts archive.\">42<\/a><\/sup> Overall, a substantial task still remains in untangling the attributions of the oil studies in Bravo\u2019s collection. A study of ruins, for instance, has hitherto been tentatively attributed to Ditlev Blunck, and the site has been proposed to be the Baths of Caracalla or the Palatine Hill [Fig. 17]<\/strong>.Blunck. En biografisk og kulturhistorisk fort\u00e6lling om en anderledes guldaldermaler og hans samtidige<\/em>, Niv\u00e5 2017, pp. 141 and 332.\">43<\/a><\/sup> In fact, however, the study depicts the ruins of the largest of the bath complexes at Hadrian\u2019s Villa at Tivoli, which incidentally appears from precisely the same viewpoint in Fritz Petzholdt\u2019s 1832 painting in the collection of Statens Museum for Kunst.44<\/a><\/sup> The artist behind Bravo\u2019s study has not yet been identified. Another study of an Italian woodland scene shows affinities with studies by Fritz Petzholdt and Albert K\u00fcchler [Fig. 18]<\/strong>. Three studies of the sky above the mountains were undoubtedly executed by the same unidentified artist [Fig. 19]<\/strong>, perhaps from the circle of the Swiss painter Johannes Jakob Frey. Among German artists, Friedrich Preller the Elder (1804\u201378) contributed a highly finished landscape study from Olevano dated 1829 which \u2013 though identified by Krohn \u2013 has until now been tucked away without the artist\u2019s name attached.45<\/a><\/sup> One might continue to draw intriguing oil studies from Bravo\u2019s rich trove for a long time yet.<\/p>\n

\"Fig.
Fig. 19. Unknown artist: Evening Sky in a Mountainous Region<\/em>. Oil on paper, 146 \u00d7 207 mm. The Royal Collection of Graphic Art, Bravo Archive. Entered the collection in 1876 as a bequest from Johan Bravo.<\/figcaption><\/figure>\n

The neglectful treatment of Bravo\u2019s collection is unlikely to have been due solely to its German and Schleswig-Holstein bias. An equally significant reason must have been that, in the 1870s, appreciation of oil studies still flourished best within closed circles and private collections. The Royal Picture Gallery at Christiansborg had, as noted, been created to serve an educational purpose, presenting the public with the finest art and, hence, the finest craftsmanship too. Within this narrative \u2013 and with its German taste \u2013 Bravo\u2019s collection could scarcely find a place, and his interesting, well-ordered assemblage of landscape and figure studies in oil was disparaged, jumbled together, and all but forgotten.<\/p>\n

\"Fig.
Fig. 20. Christen K\u00f8bke: Frederiksborg Castle seen from the Northwest. Study<\/em>, 1835. Oil on canvas, 24 \u00d7 27 cm. Statens Museum for Kunst, inv. no. KMS1493. Acquired for the Royal Collection of Paintings in 1894.<\/figcaption><\/figure>\n

Institutional acclaim<\/h2>\n

Private collectors continued to amass landscape sketches with unabated fervour in the last quarter of the nineteenth century. The most conspicuous collector was the tobacco manufacturer Heinrich Hirschsprung (1836\u20131908), who followed in his predecessors\u2019 footsteps in many respects; indeed, many of his most important landscapes came directly from the collections of Nicolai Gerson and R.C. Rasmussen. While private collectors thus competed to acquire informal landscape studies, the management at the Royal Collection of Paintings was slow to grasp and acknowledge the studies\u2019 value. Things only began to shift, little by little, when, in the 1880s and 1890s, Kunstforeningen arranged a series of retrospective exhibitions and published monographic studies that firmly established the canon of the \u2018Golden Age of Danish painting\u2019, with Eckersberg, K\u00f8bke, Marstrand, Constantin Hansen, and Lundbye as its leading figures. From the late 1880s the Royal Collection of Painting Collection began, tentatively, to purchase Eckersberg\u2019s small Italian and Danish landscape studies, while a few landscape studies by Constantin Hansen, P.C. Skovgaard, and J\u00f8rgen Roed also found their way into the collection from time to time. But these acquisitions were few, irregular, and reluctant. Although K\u00f8bke had been properly rediscovered in connection with Kunstforeningen\u2019s exhibition in 1884, the museum would wait a further ten years before buying its first study by the painter [Fig. 20]<\/strong>.<\/p>\n

\"Fig.
Fig. 21. The selection of K\u00f8bke\u2019s paintings at the City Hall Exhibition in Copenhagen, 1901. Photograph in the archive of the Royal Collection of Paintings, Statens Museum for Kunst.<\/figcaption><\/figure>\n

Thus, the institutions only came to recognise studies in earnest with some delay. They were eventually prompted to do so by the vast survey exhibition staged in Copenhagen in 1901 to mark the completion of the capital\u2019s new City Hall. The exhibition was an almost endless procession of paintings, many of them small studies by well-known and unknown artists [Fig. 21]<\/strong>. For the public, the press, and specialists alike the show was an eye-opener and the first good opportunity to identify the focal points of the past century\u2019s art. At the same time, it was strikingly apparent that a vast number of the period\u2019s small gems were in private hands. When the newly appointed museum curator Karl Madsen (1855\u20131938) wrote a short article in August about the rediscovered Dankvart Dreyer, he made precisely this observation a point of criticism:<\/p>\n

The City Hall exhibition sheds glaring light on the fact that, in the Gallery\u2019s representation of older Danish painting, there exists, besides other shortcomings, one very significant one. The Gallery has quite rightly felt obliged to acquire those pictures that appeared as the painters\u2019 true principal works; it has, very wrongly, for many years regarded all studies and sketches as trivialities not worthy of consideration. Yet among them one finds much of the best and most significant that Danish art has produced.<\/a>Tilskueren<\/em>, 1901, pp. 631\u2013632.\">46<\/a><\/sup><\/p><\/blockquote>\n

Better late than never became the watchword, and in the wake of the exhibition the museum purchased a large quantity of landscape studies, most of them by Dreyer (including fig. 5<\/strong>), but also others by artists such as Eckersberg, K\u00f8bke, Lundbye, Skovgaard, Kieldrup, Kyhn, and K\u00f8lle. In the decades that followed, Danish landscape studies gradually became one of the museum\u2019s most important fields of collecting, and the small formats gradually displaced the large, finished exhibition pictures in the galleries.<\/p>\n

The collecting of foreign plein-air paintings proved less successful: after purchasing, in 1903, an Italian landscape bearing a forged Corot signature, and seven years later two studies with questionable attributions to John Constable, the museum evidently abandoned that path.47<\/a><\/sup> A South German study by the Hamburg painter Christian Morgenstern, which entered the museum in 1914 alongside a Norwegian mountain scene by the Holstein artist Johann Mohr [Fig. 22]<\/strong>, would be the last non-Scandinavian landscape study to be added for many years.48<\/a><\/sup> Instead, in 1916 and 1919, the museum incorporated its first studies by J.C. Dahl and Thomas Fearnley into the collection, choices more in keeping with the now clearly intended Danish\u2013Norwegian line in the museum\u2019s holdings of plein-air painting.<\/a>49<\/a><\/sup><\/p>\n

\"Fig.
Fig. 22. Johann Mohr: Mountain Landscape near the Lustrafjord<\/em>, 1835. Oil on paper, mounted on canvas, 31 \u00d7 40 cm. Statens Museum for Kunst, inv. no. KMS3257. Ever since the study entered public ownership in 1914, it has been relegated to the museum stores as an unidentifiable mountain scene and misdated to 1833. The study is, however, dated June 1835, when Mohr visited Norway together with Wilhelm Marstrand, Louis Gurlitt, and Johann Hinrich Martens, and it depicts the peaks Bergheimsnosi, Rivenosi, and Feigenosi seen from Fladhammer on the opposite side of the Lustrafjord.<\/figcaption><\/figure>\n

A history of continuity<\/h2>\n

The history of the appreciation of landscape studies in Denmark is an instructive example of how the past did in fact accommodate more generous and wide-ranging tastes than the period\u2019s art criticism and subsequent historiography would suggest. From being cultivated within a coterie of men with a particular interest in art, the taste for studies spread in widening circles to reach collectors more generally. Admittedly, dogmatic art policy continued to keep landscape studies out of museum collections until the 1901 City Hall Exhibition in Copenhagen finally made it clear that the taste for such pictures had long since become mainstream. One cannot, then, speak of a single, specific moment of sudden, eye-opening rediscovery \u2013 and certainly not of such a thing happening in more recent times.Baltic Light. Early Open-Air Painting in Denmark and North Germany<\/em>, pp. 28\u201339.\">50<\/a><\/sup> Unlike in, for example, France, it was rare in Denmark for a painter\u2019s studies to remain hidden in family ownership and reach the art market only after a generational delay. In truth, on Danish soil this scenario applies only to Lorenz Fr\u00f8lich\u2019s figure and landscape studies, which came up for sale only from the late 1970s until the early 2000s, and only then began to do work for his posthumous reputation.51<\/a><\/sup> But that is the exception to the rule; even Petzholdt\u2019s and Dreyer\u2019s studies were dispersed into collectors\u2019 hands before 1920. Hence, Danish landscape studies were never at any real risk of being lost in large numbers, with the possible exception of the unmounted, and thus fragile, studies on paper frequently mentioned in artists\u2019 estates. On the contrary, landscape studies in general were bought and sold, collected, exhibited and valued on a par with \u2013 and at periods even ahead of \u2013 the finished works. The twentieth century\u2019s shifts in taste and waves of scholarship have not unsettled this time-honoured appetite for the immediacy of the study. Art collectors and museum professionals still enthuse (indeed, as far as the wider world is concerned, with increasing intensity) about the same qualities in the period\u2019s Danish plein-air studies that have been continuously appreciated since the 1830s.<\/p>\n","protected":false},"excerpt":{"rendered":"

Landscape sketches wielded far greater influence in the nineteenth century than the myth relates \u2013 they were both exhibited and collected, ultimately achieving recognition in museums.<\/p>\n","protected":false},"author":2,"featured_media":6181,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[4],"tags":[],"class_list":["post-6300","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-articles"],"acf":[],"yoast_head":"\nThe Early Reception and Appreciation of Plein-Air Studies in Denmark, 1830\u20131920 - Perspective<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.perspectivejournal.dk\/en\/den-tidlige-vaerdsaettelse-af-friluftsstudier-i-danmark-1830-1920\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The Early Reception and Appreciation of Plein-Air Studies in Denmark, 1830\u20131920 - 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