Loeb Danish Ardt Collection - page 106

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]
larger compositions, many of which were executed far later. In time, Dalsgaard bought various of the
colourful costumes from the local population of the Limfjord regions, costumes which had gradually
gone out of use.
In

Dalsgaard was o
ff
ered a post as teacher of drawing at Sorø Academy, one of the two most
highly regarded boarding schools in Denmark, with a rich tradition behind it. For the next thirty
years, the artist made a huge and greatly appreciated contribution there, at the same time continuing
to paint his national romantic portrayals of everyday life.
Dalsgaard was not the only artist portraying everyday life in the second half of

th-century Den-
mark, but he is perhaps the most important of them. His many detailed depictions of the interiors of
ordinary people’s homes, executed with the traditional precision and verisimilitude of the Eckersberg
School, are of great historical value today. But in addition to this, his portrayals of the lives of farm-
ers and
fi
shers very often have a mournful or tragic undertone not found in the more directly appeal-
ing and more anecdotal depictions of rural life painted by the town-dweller Julius Exner. Although
Dalsgaard was also eminently capable of painting radiant and artfully light-hearted scenes, as the
writing girl in the Loeb collection clearly demonstrates, there is often a sombre mood to his pictures,
possibly stemming from the experiences of his childhood up in the beautiful but bleak areas of north-
ern Jutland with its di
ffi
cult conditions of life.
Snedkeren bringer ligkisten til det døde barn,

(The Carpenter Brings the Co
ffi
n for the Dead Child),
now in the Statens Museum for Kunst,
gives a clear impression of this aspect of Dalgaard’s art.
Christen Dalsgaard made his
fi
rst appearance at Charlottenborg in

, exhibiting there regu-
larly until

, the year of his death. The last occasion, however, was post mortem.
Throughout his long life the artist also participated in many other exhibitions. Mention must
especially be made of the

World Fair in Paris in which he showed a version of the Loeb collec-
tion’s
Young Girl Writing,

, unless it was this very work that was sent to Paris and to the Raad-
husudstilling exhibition held in Copenhagen City Hall in

.
Dalsgaard’s art is characterised by a gentle sensitivity both in the use of narrative technique and
the application of colour and light. He was twice awarded the Neuhausen Prize, in

and

.
Eleven years later he became a member of the Academy. In

, the year he resigned his post as
teacher of drawing at Sorø Academy, he was appointed titular professor at the Royal Danish Acad-
emy of Fine Arts. But the old painter remained in Sorø until his death, and it is there he is buried.
S.L.
         :
Julius Lange,
Nutids-Kunst,
Copenhagen

, pp.


; Knud Søeborg,
Christen Dalsgaard og hans Kunst,
Copenhagen

;
Karl Madsen (ed.),
Kunstens Historie i Danmark,
Copenhagen


; A.D. Dalsgaard, Christen Dalsgaard, spredte Træk og Minder in:
Skivebo-
gen,
Skive

, pp.


; Arne Bruun Rasmussen in:
Kunst i privat Eje,
Vol. II, Copenhagen

, p.

; S. Nygård, Krabbesholm in:
Danske slotte
og herregårde,
Vol.

, Copenhagen

, pp.


; Erik Mortensen, in:
Weilbach,
Vol.
, Copenhagen

; Charlotte Sabroe, Christine Buhl
Andersen, Inge Bucka (eds.);
Christen Dalsgaard


,
Vestsjællands Kunstmuseum, Skive Kunstmuseum, Den Hirschsprungske Samling,

.
¹
Torben Holck Colding in:
Dansk Kunsthistorie,
Vol.
, Copenhagen

, pp.


.
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