Loeb Danish Ardt Collection - page 149

PAUL F I SCHER
   ‒    
 .
Harriet Skiing
(early

th century)
(Harriet på ski)
Oil on panel,
¾
x
¾
in. (

x

cm)
Signed lower right: Paul Fischer
       :
Presumably identical with
Harriet paa Ski,
Auction,
Paul Fischer
Charlottenborg
.
.

, lot

(

x
inches or

.
x

.

cm, purchased by a tailor by the name of Ibsen); Arne Bruun Rasmussen, Auction

,

, lot

(described as:
Lille
skiløbende pige
).
         :
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.
W
hen outdoor activities came into fashion at the end of the

th century, the bourgeoisie went in for
sports in both winter and summer. This painting can be viewed as a document of cultural history,
illustrating skiing before real sports clothing was developed. The girl is Harriet, the artist’s eldest daughter,
born of his
fi
rst marriage to Norwegian-born Dagny, daughter of Oslo art dealer, Julius Frederik Grøn-
neberg, and Hulda Tegner. Hulda Tegner was the cousin of two idiosyncratic and distinguished Danish
artists, the illustrator and porcelain artist Hans Tegner (


) and the controversial Symbolist sculptor
Rudolf Tegner (


).
Harriet’s posture and cheerful expression suggest that she was already a skilled skier, but it is not pos-
sible to determine whether the picture was painted in Norway, where the opportunity for skiing exists
throughout the winter, or in Denmark, where it is impossible to predict when there will be snow. Deer Park
at Jægersborg to the north of Copenhagen was at that time the skiing area most frequently used by the peo-
ple of Copenhagen.
Harriet was born in

, which dates this painting to the beginning of the

th century. Fischer often
used her as his model, as he also did with the rest of his children. The artistic gifts she inherited from both
her parents later led her to a professional career as a painter,
fi
rst exhibiting in

. During the following
years, she exhibited together with her father at Båstad in Sweden. From

to

she studied at the Royal
Danish Academy of Fine Arts in Copenhagen and also received instruction in Paris and Madrid; this led her
away from artistic life in Denmark, where she never really made a name for herself.
E.F.
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