Loeb Danish Ardt Collection - page 141

LUDVIG F IND
  ‒   
.
The New Hat,

(Den ny hat)
Oil on canvas,
½
x
¾
in. (

x

cm)
Signed and dated lower left: Find

       :
Niels Lindeskov Hansens Kunstsamlinger; Bruun Rasmussen, Vejle, Auction

,

, lot

, ill. p.

(described
as:
Interiør med syende kvinde
).
         :
Den Frie Udstilling

, Tillæg, no.

; Bruce Museum of Art and Science, Greenwich, Connecticut and The
Frances Lehman Loeb Art Center, Vassar College, New York,
Danish Paintings of the Nineteenth Century from the Collection of
Ambassador John L. Loeb, Jr.
,

, no.

, ill.; Scandinavia House, New York,
Danish Paintings from the Golden Age to the Modern Break-
through, Selections from the Collection of Ambassador John L. Loeb Jr.
,

, no.

.
         :
Ernst Goldschmidt, Finds nye Portræt på Den frie Udstilling
, Politiken

.

.

; Merete Bodelsen,
Maleren Lud-
vig Find,
Copenhagen

, p.

; Elof Riesebye, Ludvig Find in:
Samleren,
Copenhagen

, p.

.
T
he woman sewing is presumably Ludvig Find’s wife, Maren Kirstine (Kirsten), née Clausen, who often
sat for him. However, it was not the artist’s intention merely to create a portrait. Whereas he had pre-
viously worked in a symbolist metaphor in which an involved and decorative play of lines formed part of
an integral part of the picture and gave it an extra dimension, here he has been deeply concerned to liber-
ate the colour from the other devices and make it shine like a jewel. The motif does not have a serious
underlying meaning. There is no action, let alone an anecdote; it is purely and simply a picture. To produce
such works, Find almost always used his own relatives as his models and focused on everyday life in the
home. In doing so, he had found his true means of expression.
The inspiration came from Paris,
fi
rst from the French Impressionists and then the Neo-Impressionists
like Pierre Bonnard (


) and Édouard Vuillard (


) and from the Japanese woodcuts whose
expressive lines appealed to the young Danish artist more than Impressionism’s dissolution of contours. In
December

, Find held a one-man exhibition at Winkel & Magnussen’s in which his colourful, French-
inspired paintings occasioned surprise but brought success because their e
ff
ect was one of “festive intensity”
as one critic put it.
When the Loeb collection’s woman sewing was exhibited in the Free Exhibition (Den Frie Udstilling)
the following spring under the title of
Den ny Hat (The New Hat
), it was this very painting that was the sub-
ject of an independent and very laudatory article in the newspaper
Politiken
by the young artist Ernst Gold-
schmidt, who had shortly before returned home from a time studying in Paris.
Under the title of “Find’s New Portrait” the article began, “For its second hanging, Den Frie Udstilling
(The Free Exhibition) has received a new painting by Find, portraying a lady decorating her hat. It is a pic-
ture which not only is the best Find has yet painted, but it is in general one of the best things the exhibition
has produced this year. . . . A picture such as Find’s latest portrait would attract attention anywhere in a
major spring exhibition, in any city, even in Paris. . . . Find’s picture is radiant with the colours of spring.
There is a freshness and grace in the colouring, and the drawing is vibrant and poised. There is an air of
pure youth about it. It unites graceful French suppleness and Danish sincérité. . . . ” (
Politiken
,

.

.

).
S.L.
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