Loeb Danish Ardt Collection - page 138

LUDVIG FREDERIK FIND
    ‒    
Ludvig Find hailed from Østerbygård near Vamdrup in the northern part of Southern Jutland. His
father was a theologian and later became parish priest. In the summer of

, Ludvig Find was
apprenticed to an artisan painter, and started at the Technical School that same year. Soon after this,
he became a pupil at the Overgaard and Jensen Egeberg School of Drawing with the aim of being
admitted to the Royal Danish Academy of Fine Arts in Copenhagen. He achieved this objective in
April

.
Meanwhile, the teaching in the Academy was a disappointment to the young Ludvig Find, as it
was for so many of his contemporaries. After less than two years he applied to De frie Studieskoler
under P.S. Krøyer, who for a time in
fl
uenced him. However, Find quite soon started to react against
Krøyer’s naturalistic plein air painting. Nor was a period spent in Zahrtmanns Skole in November-
December

any help in ful
fi
lling Ludvig Find’s artistic ambitions.
About

he turned his back on naturalistic genre painting once and for all and adopted a dec-
orative Symbolist idiom inspired by the Danish pioneers of this style, Mogens Ballin (


) and
Gad Frederik Clement (


). Find became enthralled with Paul Gauguin (


) and the
group surrounding him, known as “Les Nabis.” He had become acquainted with their work through
Ballin, who had learned French from Gauguin’s Danish wife, Mette Gad, and was a visitor to her
home. At the same time he established a close link with the poets associated with the literary period-
ical
Taarnet
, (


) whose editor, Johannes Jørgensen (


) would later become a famous
author; he was also an inspired and sensitive art critic with a lyrical, colourful
fl
ow of language well
suited to the Symbolist idiom. During the periodical’s brief life at the beginning of the

’s, Find,
along with Mogens Ballin and the Dutch painter Jan Verkade (


) were the main suppliers of
vignettes and illustrations for it.
A journey to Italy, including visits to Florence and Venice in


undertaken together with
the painters Carl Frydensberg (


) and G.F. Clement was of great importance to Find. There
his interest in Symbolist painting was reinforced, particularly as a result of his encounter with

th-
century Italian art. He was especially fascinated by the works of Piero della Francesca (c.


),
making copies of some of them. These e
ff
orts left their mark on Find’s art, especially in the strangely
inscrutable monumental portrait,

En ung mand, Den norske maler Thorvald Erichsen (A
Young Man, The Norwegian Painter Thorvald Erichsen),
in Den Hirschsprungske Samling.
It was the journeys abroad that were of crucial signi
fi
cance to Ludvig Find’s artistic development,
especially the visits to Paris in

and

. There his art took a quite di
ff
erent turn as he followed
the example of the former Nabis painters Pierre Bonnard (


) and Édouard Vuillard (


) and moved towards a colourful, light-
fi
lled neo-impressionist style of painting which he com-
bined with his knowledge of the decorative play of lines and surprising cuts in Japanese woodcuts.

]
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