Loeb Danish Ardt Collection - page 139

With this, Find had discovered his true form of expression, one of the
fi
rst examples of which was the
Loeb collection’s
Den ny hat (The New Hat
). While continuing in this direction, he gradually dis-
covered his own circle of motifs, which he continued to cultivate for the rest of his life. With his fam-
ily and home as his preferred models, he painted landscapes, gardens and children, “usually with
great painterly zest and a sweet gracefulness which he retained in his art until late in life,” com-
mented Jens Peter Munk. In addition, he painted a considerable number of portraits, many of them
children. Ludvig Find visited Paris again in

and he was also in London that same year. In the
spring of

he made a short visit to Berlin.
Find made his
fi
rst appearance at Charlottenborg in

and exhibited there for the next four
years and in

. From

to

, Den Frie Udstilling was his forum. He became a member in

and some years later was appointed to the exhibition committee. The list of the exhibitions in which
Ludvig Find participated and the many grants and distinctions he received is long and distinguished.
All that will be mentioned here is the award of the Eckersberg Medal, given to him in

.
Find was responsible for various works of illustrations. In addition he turned for a time to ceram-
ics with Herman A. Kähler (


) in Næstved and he produced designs for works in pewter for
Mogens Ballin.
S.L.
         :
Simon Koch in:
Taarnet,
Vol.
,


, pp.


; Merete Bodelsen,
Ludvig Find,
Copenhagen

; Elof Risebye in:
Sam-
leren,

, pp.


;
Kunstnere omkring Taarnet,
Skovgaard Museum, Viborg

; Hanne Honnens de Lichtenberg, S
ymbolismen i dansk kunst,
Nivaagaard

, pp.


,

; Jens Peter Munk in:
Weilbach,
Vol.
, Copenhagen

;
Sjælebilleder, symbolisme i dansk og europæisk malerkunst,
Statens Museum for Kunst

.
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