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7.2 Hendrick Goltzius’ Prints
... no later than 1600, as they have been identified as the models for furnishing in both large regional centers such as Helsingør, Ribe and Horsens as well as dozens of parish churches. While these many works of art contributed to establishing Netherlandish Mannerism as the ‘official’ style of the day, the almost synchronic appearance of Goltzius‘ compositions in art produced on both Zealand and Jutland strongly suggests that Goltzius’ popularity cannot merely be said to sift down from the Oldenburg court, but must also reflect the influence of international trade routes between the regional centers of Denmark and The Dutch Republic.A closer look at the material makes it clear that Goltzius’ largely supplied Danish artists with single figure compositions. By far the most popular was the series The Virtues engraved by Jacob Matham c. 1585-1589 (New Holl. 477-483) [3-4], which has been identified as the source for both altarpieces, pulpits [5], epitaphs, stools and altar panels [6], whereas the 1593 series The Virtues Standing in Niches are less frequently found.2 The popularity of The Virtues can surely be seen in relation to their flexibility of the subject matter, as personifications of Faith, Charity, Hope or Constancy were appropriate not only as secondary figures on altarpieces, but also on the pulpit where they were used both as the main decoration of the arcades and, more commonly, transformed into herms and placed at the co...
... ogram, where the Virtues elaborated on the main theme of the altarpiece or pulpit. As we shall see, such an orchestration of several images based on inter-confessional prints was a very common way to bestow a furnishing with new and often distinctly Lutheran meaning....
... fs; perhaps the relatively withdrawn representation of Christ made the print less suited for an image that was to be seen from considerable distance? As for The Last Supper it was particularly well suited to express the Lutheran understanding of the Eucharist, as Goltzius’ composition included the large figure of a disciple who reaches for a ewer of wine in the foreground. This prominent theme can be seen as an expression of the Lutheran view that not only the bread (as Catholic customs held), but also the wine had to be administered to the communicant.7 Thus within a Lutheran context Goltzius’ composition could visually emphasize the difference between the old and the new liturgy....
Notes
... ens Olufsen, Varde, and can be found on his pulpits for Aal (1637, Danmarks Kirker...
... irker. Frederiksborg Amt 3, Copenhagen 1970, no. 2094); Almindelig Hospitals Kirke, Helsingør (1669, Danmarks Kirker. Frederiksborg Amt 2, Copenhagen 1964, no. 526); Veng (1700, Danmarks Kirker. Aarhus Amt 6, Copenhagen 1988-89, no. 3234); Borum (1701, Danmarks Kirker. Aarhus Amt 4, Copenhagen 1980, 1995); Rørvig (1708, ...
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2.14 Landscape, Marine, Still Life and Architectural Painting
... f the two the documentary information applies. The younger Koninck [who spelled his name Coning, ed.], was sent to Norway to paint various cities which the king had visited in 1685 [2].3 In Denmark he immortalized Gyldenløve’s palace on canvas (1694; Frederiksborg) [3]. It is not a bad picture but weaker and more colorful than Dutch works of this time. The aspect of the prospect is strongly emphasized, and the perspective not altogether successful. The print cabinet has a preparatory drawing with a wild play of lines that betrays the hand of a lesser master [4]....
... ...
... e Velde (1634-1722/23) had depicted this same battle in a painting of 1658 (Rijksmuseum) [19].9 Philip van Macheren (active 1651-after 1675) is also to have served as war artist with the Danish and Swedish fleets, but the pictures appear to have been lost....
... e attributed to Aelbert Cuyp, and in the Cabinet des Estampes in Paris I saw monogrammed etchings identified as works by Paulus van Hillegaert I.12 Pieter van der Hulst lived in Denmark from 1691 to 1699, before returning to Dordrecht, his native city....
... ll the flowers, he signed his art work with his full name: ‘C.C.G. Conradt Invenit et Pinxit a 1672’ (exhibition Copenhagen 1891).16 Even if he is not a Dutch master, he is still someone who worked after Dutch models.17When we report that even Emanuel de Witte (1617-1692) had a work for the ‘Croon van Denemarcken’ in progress in 1658, we can certainly say that Frederick III was an art-loving ruler who did not take satisfaction with portraits and curiosities only.18 De Witte’s picture was never delivered, however, although the Danish consul repeatedly admonished the painter.19...
Notes
... 34-62, nos. 1-24, ill. in colour. One or two of the 26 works have been lost (Berlowicz et al. 2002, p. 35...
... e White Elephant, usually worn low on a blue sash, is to be seen on virtually all of the portraits don...
... rated here), that was reported to be dated 1661 in Hillerød 1936 (no. 1021, fig.); this date is not mentioned by Robinson 1990 (vol. I, pp. 28-29, no. 327), who dates the painting c. 166...
... lde look like mass-produced work and would have one suspect that he also produced hackwork intended for export for dealer Guilam Forchondt (text M. de Kinkelder in RKDartists). ...
... ce, he made a portrait ofTycho Brahe’s housekeeper, who said is to have become 123 years old. ...
... 695 / Den 16. Januari. Is dese / Vogel gefangen opt ijs / tusschen / Southolm. en Amack / P. Vander Hult. Feci’). We owe the identification of the two islands to Peter Kristansen (Rosenborg Castle, May 2014). ...
... nia 2005, pp. 9-10. The exhibition in the Mauritshuis in 2005 was entirely devoted to Gijsbrechts’ act...
... 264. In Gerson’s time, the artist was only known from archival records (Schmidt 1917A). ...
... f Christian V in this painting is based on portraits by Jacque...
... Dimages 246184). Precisely such a signature is found on a still life in the Städtische Kunstsammlungen Augsburg (RKDimages 246178). ...
... . He may have been the ‘Conrad Contrafejer’ or Conrad Frandsen, who worked for the Danish King as painter and dancer between 1651 and 1682 and who left for Norway in the la...
... rspectival boxes were acquired for the Danish Royal Kunstkammer, two of which Liedtk...
... erdam (De Vries 1885, p. 229) [Van Leeuwen 2015: Schoonen means Skåne, then Danish territory but Swedish since 1658]; Laurens Floor from Frederikstad married in Amsterdam in 1664 (Bredius 1915-1921, vol. 4, pp. 1112-1117); Kroese, a Dane, 22 years old in 1670, painter in The Hague, and ‘Arent Hendrickse Harpenist, in historien, pictor Regis Daniae, 1670, 36 jaer out’ (Bredius 1890, pp. 3 and 226). ...
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5.3 Second Phase: 1648-1659. A Time of Transition
... spieces for the professors at Copenhagen University and for a group of high noble families such as Thott, Lange, Skeel and Rosenkrantz. From the same group of people he was also given commissions for painted portraits [3]. Van Mander had -- apart from Rosenkrantz -- other noble families as his patrons, such as the Bielke and Reedtz families [4].A few portraits for the royal family, such as the portrait of the young Prince Christian from 1655 [5], indicates that Wuchters was in the circle of royal attention, but by far the larger part of the commissions went to Karel van Mander, and Wuchters remained peripheral to the court.2 Perhaps he had the special attention or was more or less assigned to work for the Queen, Sophie Amalie, and would in this way continue his position as the painter of the members of the royal house on the second level of power and importance – the position that he had held in the 1640s when he painted the King’s younger sons and natural offspring. It appears, certainly, that the Queen had quite a number of his paintings in her possession when she died. These were primarily portraits of herself, but also a portrait of Wuchters’ wife, which could point to a certain favourable disposition towards him.3 However, many of these portraits may stem from a later date as a number of Wuchters’ portraits of her show her as Queen Dowager [6], that is, from a time, when he had become royal counterfeiter after Van Mander’s death in 1670....
... 4 Effectively, what he was striving to accomplish was in this way a portrait of government and thus, it can be argued, an affirmation of the new domestic power balance and the importance of the State Council in it. As all the existing images from the series are alike in format and layout, the members of Council are considered as a body, not depicted as individual important high noblemen but as an effective body of governmental power [7-23]. Whether intended or not, this series, which never came to be finished, could therefore be read as Wuchters’ statement of political allegiance....
... ined close to the king and in his service at different levels.Wuchters, on the other hand, did not get the same kind of access to the royal inner circle but chose rather to put his bets on what was increasingly emerging as the king’s counterpart and opposition. This move was perhaps precarious, although not dangerous, but was followed by another in the next phase that seems to have proven more damaging to his positioning efforts....
Notes
... 1683, Danish service from c.1655), Toussaint Gelton (c.1630-1680, Danish service from 1674-78), and Cornelis Norbertus Gijsbrechts (active 1659-1675, in Danish service 1668-1672 . On Gelton, see § 8. ...
... decade in power. These can be compared with hardly any commissions for Wuchters (Eller 1971, pp. 269-271). ...
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2.13 Fine painters
... rik Gyldenløve in Leiden (Copenhagen no. 457) [2]. He had a general predilection for Dutch fijnschilders (painters of minute refinement), such as Adriaen van der Werff (1659-1722) and Toussaint Gelton (c. 1630-1680), who are represented in his collections [3-4]. The Danish David Estevanes (active 1691-1703) painted in the style of the late Maes and of Jan de Baen [5]....
... er Werff or Jan van Huijsum to his portraits, is rightly classed with the gifted masters. He was briefly in Copenhagen in 1719 [13]. Since he enjoyed a major reputation as a portraitist, several noble Danes did not shun the road to Hamburg to have themselves portrayed by this skilled master....
... acquired the paintings in the artist’s estate.7Gelton had a successor in the Danish Wilken Riboldt (1661-1711) and a predecessor, as far as Poelenburch emulation is concerned, in Daniel Vertangen († 1681), who was probably in Denmark for a short while around 1658 [17].8 In 1695 Riboldt painted a pendant to a Frans van Mieris (Copenhagen) [18-19],9 but a depiction of Human Vice does not show him to be a worthy rival [20]....
... de, which explains the family interest. Examples of their portraits, like those of their relatives painted by these artists, are still found in Danish collections.10...
... fully signed and dated 1706 [25]. It is remarkable that Johan Friedrich Gerhard (c. 1695-1748), a German artist who died in Copenhagen, composed a few genre pictures in the manner of the Dutch fijnschilders (museum in...
Notes
... ish that Jacob Koninck I also painted portraits (T. van der Molen in Saur 1992-, vol. 81 [2014], p. 262). ...
... ot by De Baen (RKDimages 255820). Actually Anton I von Aldenburg was not Danish state minister, but governor in the counties of Oldenborg-Delmenhorst (communication Birgitte Bøgg...
... ignatures on his landscape paintings. The portrait of a woman illustrated here is the only signed portrait by Jacob Coning known to me. The portraits of Jacob...
... er and that the latter’s work is possibly being confused with his. A pair of Norwegian landscapes signed ‘JH Coning’ are (were...
... ssumed that Duarte probably worked in the then Danish part of Germany. ...
... ish by G. Rasmussen (Rasmussen 1916). This article is included in English translation in the present publication (§ 8). ...
... Castle (cat. V. 1888), is no longer on display. [Van Leeuwen 2015]. The work was ...
... nger accepted as a Frans van Mieris (Naumann 1981, vol. 2, p. 130,...
... 26. ...
... halcken profited from a stay in Düsseldorf to travel to the court of the Danish king (Beherman 1988, p. 27). ...
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2.9 Portraitists
... rations. We also have all sorts of stiff mannerist allegories and epitaphs by them, or at least attributed to them. Gerrit Cornelisz. was a pupil of Pieter Pietersz, and pictures of the nineties (for instance in Gaunø) [1-4] still cling to the latter’s style, though they are otherwise stiffer and less accomplished than those of the Amsterdam teacher....
... s Serpent [6] in Nyborg church in Copenhagen,4 which is an epitaph for Peder Jensøn, is nothing but an enlarged composition by Cornelisz. van Haarlem, with donor figures in un-Dutch stiffness placed before it.5...
... Utrecht), who painted the then so beloved family trees for Mecklenburg dukes and Christian IV.7...
... m the Netherlands.9 Even his life-size portraits [16-18] do not shed the careful, almost fearful manner that we know from his miniatures. He is never truly free from the ‘embroidered’ style that is so characteristic for the Elizabethan miniature.10...
... as Prince Christian, the King’s short-lived son [23], had themselves portrayed by the Dutchman.12 One can best compare his position as court painter with that of Daniel Mytens’ in England, with Isaacsz having the good fortune not to encounter rivals. Beyond that, Isaacsz is old-fashioned compared to Mytens, if only because he belongs to an earlier generation....
... s probably assumed with good reason that the pictures were originally separate and that Pietersz added the portrait of the queen to that of King Christian IV, which is by a better hand (though it remains undecided whether this half of the pair is an original by Isaacsz or a workshop copy). A great variety of pictures are attributed to Pietersz. Three portraits of the Skeel family, which are signed, belong to his best work [27-29].14...
... o have carried Rooswijk’s signature at one time.18 It is possible that David Bailly (1584-1657) passed through Copenhagen in 1627, as we have a child portrait of Duke Ulrik of that year [33] and a portrait of Christian IV of about the same time [34].19 Bailly later frequently portrayed Danish nobles staying in Leiden. A portrait of 1641 of one Rosenkrantz (new acquisition, Frederiksborg) [35] belongs to the best small pictures in Denmark.20...
Notes
... t queen-regent for the little Christian IV; she was excluded from ...
... the Vor Frue Kirke in Nyborg, which is located about 120 km from Copenhag...
... of a boy of 1605 which was shown at an exhibition in London as ‘Danish school’ (London 1913-1914, no. 60). ...
... Malmö, and back (Weilbach 1994-2000; Eller 1971, p. 161). While in Denmark he painted portraits of Prince Christian and possibly also of Christian’s spouse (Eller 1971, p. 417). ...
... Tycho Brahe, whom he had probably met in Augsburg in 1575. A portrait of Brahe by Gemperle was lost to the 1859 fire in Frederiksborg. However, the subject is still known from copies of the 19th century (RKDimages 243782 and 254424). ...
... lasses Van Doort with the Dutch artists (Heiberg 1983, pp. 12-13). ...
... on for the portraits of the children of Christian IV in Frederiksborg (nos. 551 and 55...
... ing is not by Pieter Isaacsz (Domela Nieuwenhuis 2007, p. 129, note 32). ...
... istian, see Heiberg 2002. ...
... en 2015] The portrait has since been given to Pieter Isaacsz (Heiberg 2002, p. 40, no. 98). ...
... tographed there in May 2014). The work is not signed. The name is probably based on tradition. ...
... tended RKDimages 244380 and 244381 (Pieter Isaacsz), which Andrup wrongly attributed t...
... Bang 1996, vol. 2, no. 19). The sitter was identified as Laurids Ulfeldt until Eller argued that his brother Corfitz must have been intended (Eller 1971, pp. 128-131) ...
... e wall behind Christian Rosenkrantz. It is presumably a self-portrait by David B...
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6.6 Other Private Collections
... artists, such as the court painter and Kunstkammer director Wahl and the painter Johan Mandelberg (1730-1786), but also large numbers of lawyers and officials who engaged in historical studies in Denmark. These included the former secretary of justice and member of the High Council (Højesteret) Terkel Klevenfeldt (1710-1777), who carried on genealo...
... ts, and naturally also Danish ones , increasingly played a role [3].In his collection, Salomon Wahl combined 58 works of his own (especially portraits) with works by Danish (Knut Niels Benstrup, Carl Marcus Tuscher) and North-German (Franz Werner Tamm and Balthasar Denner) contemporaries. The remaining paintings of Flemish and Dutch provenance presented the canon already familiar from the collections of Moltke, Morell and Thott. The same painters and their characteristic subjects were also priced by Nicolai Steemann as well as by an unknown collector whose collection was auctioned in 1784. Dutch artists were less widely represented in the collections of Terkel Klevenfeldt and Colsmann, with Klevenfeldt possessing seven portraits by Jacob Binck, eight by Karel van Mander III and 17 by Abraham Wuchters.4...
Notes
... Johan Salomon Wahl; Auction Copenhagen 24 November 1777 : Dn. Torkillus de Klevenfeldt Daniae Norvegiaeque Regi à Conferendis. For the Klevenfeldt collection, see also: Eller 1971, pp. 12-13. ...
... besten Niederländischen Meistern, ausser einer Danae in menschlicher Größe von Titian; so auch ein Theil Kupferstiche unter Glas und Rahmen, nebst Portraits und historischen Stücken in Gibs etc. Ersamlet und nachgelassen von den Seel. Herrn Doctor Colsmann, Prediger an der Reformierten Kirche in Copenhagen, welche den 30. Septembr. 1790 öffentlich in des Seel. Behausung in Aabenraa No. 266. verkauft werden sollen. Die Bezahlung wird auf Anforderung erlegt an Rathmann Wosemoese, wohnhaft in der Gotterstrasse No. 21, woselbst wie auch auf der Auctions=Stelle diese Verzeichnisse zu haben sind. Die 2 letzten Tage vor der Auction können die Liebhaber die Samlung beliebig besehen. Gedruckt bey C. F. Holm. (Lugt no. 4629); Lugt no. 5437, auction Copenhagen 20 April 1796: Nico...
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2.7 The Kronborg Paintings
... ney. No fewer than 37,500 guilders were promised to him for 25 history paintings, a truly princely sum!2 Honthorst’s art was no longer unknown in Denmark. A few years before, in 1635, he had rendered four ceiling paintings with scenes from Heliodorus’ Aethiopica [1-4] and four medallions with guardian spirits, containing the monogram of Christian IV (later changed to that of Christian V) [5-8].3...
... und in Skokloster Castle, which belongs to the heirs of general Carl Gustav Wrangel (1613-1676) [9], and in other Swedish collections.5 No fewer than nine works can be attributed to Honthorst [10-19],100...
... Isaacsz [20] and a few each to Claes Moeyaert [21-22], Salomon Koninck [23] and Adriaen van Nieulandt [24]. ...
... ...
... eve that Steenwinckel’s horses on the Kronborg ceiling ever heard live specimen neighing at them.9 Steenwinckel, the court painter of Prince Christian, was not a Dutchman, as one often reads. He was born in the Province of Halland [now in Sweden] as son of an Antwerp architect.10...
Notes
... figs. 4 and 6, see also below). For works by Adriaen van Nieulandt, Salomon Koninck, Claes Moeyaert and Isaac Isaacsz, see below and Sluijter 2015, 'A network of moderately successful Amsterdam natives. Claes Moyaert, Adriean van Nieulandt, Isaac Isaacsz and Salomon Koninck', pp. 149-213. ...
... 3. his parents, Frederick II and Sophia of Mecklenburg-Güstrow and 4. His son, the Prince Elect Christian and his wife Magdalene Sybille of Saxony (Lassen et al. 1973, p. 201; Heiberg et al. 1988, nos. 225-232). ...
... 3 and Granberg 1929-1931, p. 54; Bredius 1915-1921, vol. I, pp. 264-265. – Cf. our comment on p. 465 [§ 2.11, ad note 13]. Gudlaugsson i...
... s. 456-464, under Honthorst. However, one of them, no. 462, is now given to Peter van Lint (fig. 11, RKDimages 236452), ...
... ckett 1937 (pp. 129-131, ills. 108-109). Of the two other works, one is now attributed to Claes Moeyaert (fig. 22, RKDimages 236459) and a...
... is assumed that only 20 to 30 paintings were executed (Schepelern/Houkjær 1988); obviously, if the king failed to pay f...
... Van Steenwinckel and threatened the artist with imprisonment in the Blue Tower of the Copenhagen castle i...
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