Loeb Danish Ardt Collection - page 118

ble, but he also painted scenes and portraits and was among the
rst in the province to start painting ships’
portraits, which were a new genre at that time.
The demand for an accurate reproduction of the individ-
ual vessel’s manifold characteristic details, which was the actual objective in painting a ship’s portrait, was
something that Eckersberg had noted at an early age. In
, he moved to another port, Flensborg, where
he was employed in Johann Jacob Jessen’s (c.
) workshop and given the chance to undertake artistic
work by painting views and portraits. So we cannot discount the possibility that Eckersberg already also had
a certain experience of painting maritime motifs when he went to the capital in
in order to train in the
Royal Danish Academy of Fine Arts. Here, too, he could enjoy the movement of ships in the harbour, but
he could also observe the work in the Naval Dockyard, which was close to the Academy at Charlottenborg.
There is little concrete knowledge regarding Eckersberg’s early experience as a marine painter and
draughtsman, and the subject has been discussed by several generations of scholars. He collaborated to a
certain extent with the copperplate engraver Niels Truslew (
), who is known for a number of
prints with motifs from the attack on Copenhagen by the British
eet in
and not least the terrible bom-
Naval Frigate Under Sail (before
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