Loeb Danish Ardt Collection - page 81

JOEL BALLIN
   ‒  
 .
Study of a Model, Young Girl Undressing,

(Modelstudie, en ung pige klæder sig af)
Oil on canvas,

x
¼
in. (

x

cm)
       :
Bruun Rasmussen, Auction

,

, lot

, ill. p.

(described in the auction catalogue as: painted by Julius
Exner,


[
malet af Julius Exner
]. The following research proved the painting to be that of an Eckersberg student, now
believed to be Joel Ballin).
         :
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.; Scan-
dinavia House, New York,
Danish Paintings from the Golden Age to the Modern Breakthrough, Selections from the Collection of Ambas-
sador John L. Loeb Jr.
,

, no.
.
         :
Marianne Saabye (ed.),
Den nøgne Guldalder, Modelbilleder af C.W. Eckersberg og hans elever
, Den Hirschsprungske
Samling

(English translation and summary), pp.


;
¹
Patricia G. Berman, “Lines of Solitude, Circles of Alliance, Dan-
ish Painting in the Nineteenth Century” in:
Danish Paintings of the Nineteenth Century from the Collection of Ambassador John L. Loeb,
Jr.
, Bruce Museum
2005
, p.
16
; Patricia G. Berman,
In Another Light, Danish Painting in the Nineteenth Century
, New York
2007
,
p.
56
, ill. p.
55
.
T
he excellence of this Loeb painting, which is similar to those painted of the same model by three other
students in the same summer class in

, taught by Royal Danish Academy professor, C.W. Eckers-
berg, prompted the Bruun Rasmussen Gallery to assume that it was from the brush of the renowned Julius
Exner. Following the Bruun Rasmussen auction, the owner of the Exner version wrote to gallery o
ffi
cials,
enclosing a photograph of it and explaining that the painting they had sold was not the one by Exner,
because it was in his possession.
But who would be the artist of the painting in the Loeb collection if not Julius Exner? C.W. Eckersberg
was a professor at the Royal Danish Academy of Fine Arts from

until his death

. Among the many
innovations he introduced into the teaching was the study of a naked female model, something that previ-
ously had not been permitted. It was Eckersberg, too, who was in charge of the special summer course in
painting from the life. This was introduced because in an adjudication for a competition among the students
for the annual money prize, it had been noted that they were not good enough at painting from life. The
summer courses, mainly after naked female model painting started at the Academy in July

and under
Eckersberg’s instruction, continued every year for the next eleven years. The professor’s diaries contain brief
but informative comments on the duration of the course, the names of the students, the type of models, etc.
So we know that in June

Eckersberg chose a new female model who, with a few interruptions occa-
sioned by illness, posed for the teacher and four students until September—

hours in all. The students
were Joel Ballin, Julius Exner, Geskel Salomon (


) and, exceptionally, a private female pupil by the
name of Caroline Behrens. (Women were normally not allowed to attend Academy classes at that time.)
The very extensive catalogue for the

exhibition
The Naked Golden Age
(
Den nøgne guldalder)
in Den
Hirschsprungske Samling, contains the entire entry from Eckersberg’s diary concerning this summer class
and also contains a colour reproduction of Eckersberg’s own study of the newmodel (Fig. A). Furthermore,
the catalogue contains black and white photographs of one of the pupil’s paintings (Fig. C) and a drawn
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