Loeb Danish Ardt Collection - page 233

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
tle, then being organized as a museum of portraits and national history. For a number of years
Jensen was thus occupied with painting replicas of historical portraits and duplicates of his own por-
traits of important and famous persons.
N.L. Høyen, who at this time was engaged in what was a highly necessary reorganisation of the
art collections in Frederiksborg Castle, was very much against this arrangement. Naturally enough,
he preferred original, contemporary works of art as the basis for the collection. C.A. Jensen’s time as
a replica artist was thus not a happy one, and his
fi
nancial situation did not improve su
ffi
ciently even
though, thanks to the support of the Crown Prince, he continued to produce portraits for Frederiks-
borg Castle for a period lasting until

, and despite the fact that in

he was made a titular pro-
fessor and given an o
ffi
cial residence at Charlottenborg.
Then he had the idea of going abroad to seek commissions. From

he travelled abroad regu-
larly, especially to Britain, but also working in France, Germany, Holland and even Russia, where,
between

and

, he painted eleven portraits of famous astronomers for the observatory at
Pulkovo near St. Petersburg. Meanwhile, at the death of Christian VIII in

, C.A. Jensen’s
fi
nan-
cial situation deteriorated to such an extent that he was no longer able to support his wife and their
eight children. He was also meeting political opposition because during the war between Denmark
and Prussia he was unable to refrain from expressing his sympathy for the cause of the Schleswig-
Holsteiners.
At the suggestion of a friend from his youth, H.N. Clausen, the artist was given an appointment
with a
fi
xed annual salary as an assistant in the Royal Collection of Prints and Drawings. C.A.
Jensen remained in this inferior position for the rest of his life. In the middle of the

’s he was also
given permission to restore paintings for Frederiksborg Castle Chapel. But apart from a few replicas
of Raphael and Perugino and a few portraits, he ceased painting entirely. His last e
ff
ort was to
accommodate a request to paint
Dr. theol. Andreas Gottlob Rudelbach,

,
now in Statens
Museum for Kunst. With this undertaking, Jensen surpassed himself and created a portrait which, in
its characterisation of a personality and in its painting technique, at the same time harked back to the
great Dutch portraitist Frans Hals. It proclaimed a new and di
ff
erent artistic vision.
C.A. Jensen exhibited at Charlottenborg between

and

and in other venues such as the
Royal Academy in London and the world fairs in Paris and London. His oeuvre consists of more than

portraits of which the best stand comparison with the work of international artists. Nevertheless,
he was totally forgotten by art critics until more than thirty years after his death, people learned to
appreciate the scintillating style of Impressionism.
S.L.
         :
Sigurd Schultz,
C.A. Jensen,
I–II, with a list of the portraits, Copenhagen

; Thomas la Brie Sloane,
Neoclassical and Roman-
tic Painting in Denmark


,
Evanston, Illinois,

; Claus M. Smidt,
Portrætmaleren C.A. Jensen,
Copenhagen

; Hannemarie Ragn Jensen
in:
Weilbach,
Vol.
, Copenhagen

.
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