Loeb Danish Ardt Collection - page 202

CONSTANTIN HANSEN
 ‒  
 .
Study of a Male Model
(Mandlig modelstudie)
Oil on canvas,
¼
x
⅔
in. (

,
x

,
cm)
       :
Editor Svend Kragh-Jacobsen; Arne Bruun Rasmussen, Auction

,

, lot
.
         :
Busch-Reisinger Museum, Harvard University Art Museums
, Danish Paintings of the Nineteenth Century from the Col-
lection of Ambassador John L. Loeb, Jr.,

, no.
.
         :
Peter Nisbet,
Danish Paintings of the Nineteenth Century, from the Collection of Ambassador John Loeb, Jr.,
Busch-
Reisinger Museum, Harvard University Art Museums, Cambridge, Massachusetts,

, discussed and ill. p.
.
T
he attribution of this painting to Constantin Hansen has not been documented, but derives from Arne
Bruun Rasmussen, who had a profound knowledge of Danish Golden Age painting.
While Constantin Hansen was a pupil, the teaching in the Royal Danish Academy of Fine Arts in
Copenhagen was divided into junior and senior classes. In the latter, students were allowed
fi
rst to draw and
later to paint live models. In the Life Class, work was mostly carried out in the evening in arti
fi
cial light, and
the professors took turns, a month at a time, during which they arranged the model’s pose.
Constantin Hansen attended the Academy’s Life Class from

to

, when he was taught by such
diverse professors as J.F. Clemens (


), C.A. Lorentzen, (


), J. L. Lund (


) and C.W.
Eckersberg.
Eckersberg’s teaching di
ff
ered markedly from that of the other teachers in that he placed his models in
natural, almost everyday poses, and did so in bright daylight when they were to be painted in oils. Eckers-
berg’s aim was to expand the traditional life studies which had always had history painting as their objec-
tive, i.e. the ability to produce famous historical, mythological or religious scenes.
Professor Eckersberg’s pupils learned especially to see the
fi
gure in relation to light and shade, to the
laws of perspective, and to the immediate physical surroundings.
This work is traditional in arrangement for historical painting. The model is supporting himself on the
obligatory rope, necessary for the model to be able to stay in the pose. He has been placed in arti
fi
cial light
so as to allow training in the dramatic e
ff
ect of strong shadows deriving from historical painting’s demands
for such things as a heroic and masculine appearance. (The public of the time interpreted strong shadows
as heroic and masculine.)
This life study shows the in
fl
uence of Eckersberg’s radical teaching in its realism and its harmonious
and artless arrangement. Eckersberg exerted a great in
fl
uence on Constantin Hansen, who became one of
the pupils by whom he set the greatest store.
S.L.

]
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