Loeb Danish Ardt Collection - page 87

ical decline resulting from Denmark’s being obliged to relinquish southern Jutland and the Duchies to
Germany in

.
However, quite unexpectedly, all the conditions for his enormous success broke down, and Bloch
was not to harvest its fruits. The young artists of the

’s rebelled against the authorities and
turned to France to seek new inspiration. The artistic ideals of the time were quickly transformed,
and about

the “Modern Breakthrough” in painting was a fact. Almost at once Bloch fell com-
pletely out of fashion, and it was of no avail that the staunchly conservative Academy appointed him
a professor in

. The pupils left the Academy for
Kunstnernes Frie Studieskoler
. Carl Bloch was
not forgotten, but became the object of hate as an outstanding representative of historicism in paint-
ing. A contributory factor was undoubtedly the use he made of intense artistic e
ff
ects both in motif
and in colour. Nevertheless, Bloch had a large graphic oeuvre that still enjoyed respect.
E.F.
         :
Julius Lange,
Nutidskunst
, Copenhagen

, p.

,


; Emil Hannover in: Karl Madsen (ed.),
Kunstens Historie i Danmark
,
Copenhagen


, pp.


; Rikard Magnussen,
Carl Bloch
, Copenhagen

; Jørgen Sthyr,
Dansk gra
fi
k


, Copenhagen

;
Marianne Marcussen in:
Weilbach
, Vol.
, Copenhagen

.
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