Loeb Danish Ardt Collection - page 280

In

, Goethe wrote a short text on flower painting. According to him, a classical Dutch flower paint-
ing only had interest for the sensual, the rousing. The new flower painting, that is, the one of the

s, dis-
tinguishes itself by also taking an interest in the true, the lifelike. The flower painter should be capable of
unifying the color-wise well-arranged flowers, rounded in shadow and partial shade out toward the sides,
showing them in their full dimension from the back as well, so that they fade indistinctly into the back-
ground without losing their shape. He must account accurately for the architecture of foliage and petals.
The stamen and anthers (the reproductive system parts) must be portrayed botanically correct, so that the
art lover and the botanist are both content. In other words, the flower painting should transcend from the
baroque “See, how rare and magnificent, but transient I am!” to a modern enlightenment “See, how I am
created.”
J. L. Jensen is a keen observer of both the nature of the flower and its individual characteristics. The
heavy, nodding head of the dahlia is portrayed, varied, utilized and blends in with the composition of the
picture. The energy and novelty he developed in his Italian paintings between

and

has turned into
assertiveness and harmony in

.
M.T.

]
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