Nicolai Abildgaard
| Nicolai Abraham Abildgaard | |
|---|---|
.jpg) Portrait of Nicolai Abildgaard by Jens Juel (1772) | |
| Born |
September 11, 1743[1] Copenhagen, Denmark |
| Died |
June 9, 1809 (aged 65)[1] Frederiksdal |
| Nationality | Danish |
| Field | Painting |
| Training | New Royal Danish Academy of Art |
Nicolai Abraham Abildgaard (born in Copenhagen on September 11, 1743)[1] was the son of Søren Abildgaard, an antiquarian draughtsman of repute, and Anne Margrethe Bastholm. He died in June 4, 1809.[1]
Life
Training as an artist
He was trained by a painting master before he joined the New Royal Danish Academy of Art (Det Kongelige Danske Kunstakademi) in Copenhagen, where he studied under the guidance of Johan Edvard Mandelberg and Johannes Wiedewelt. He won a series of medallions at the Academy for his brilliance from 1764 to 1767. The large gold medallion from the Academy won in 1767 included a travel stipend, which he waited five years to receive. He assisted Professor Mandelberg of the Academy as an apprentice around 1769 and for painting decorations for the royal palace at Fredensborg. These paintings are classical, influenced by French classical artists such as Claude Lorrain and Nicolas Poussin. Mandelberg had studied in Paris under François Boucher.
Student travels
Although artists of that time used to travel to Paris for further studies, but he chose to travel to Rome where he stayed from 1772 to 1777.[1] He took a side trip to Naples in 1776 with Jens Juel. His ambitions laid in the genre of history painting. While in Rome, he studied Annibale Carracci's frescoes at the Palazzo Farnese and the paintings of Rafael, Titian, and Michelangelo. In addition he studied various other artistic disciplines (sculpture, architecture, decoration, wall paintings) and developed his knowledge of mythology, antiquities, anatomy, and perspective.
In the company of Swedish sculptor Johan Tobias Sergel and painter Johann Heinrich Füssli, he began to move away from the classicism he had learned at the Academy. He developed an appreciation for the literature of Shakespeare, Homer, and Ossian (the legendary Gaelic poet). He worked with themes from Greek as well as Norse mythology, which placed him at the forefront of Nordic romanticism.
He left Rome in June 1777 with the hope of becoming professor at the Academy in Copenhagen. He stopped for a stay in Paris and arrived in Denmark in December of the same year.
An Academic and artistic career
Very soon after joining the academy he was honored with the designation of Professor in 1778. He worked as an academic painter of the neoclassical school. From 1777 to 1794, he was very productive as an artist in addition to his role at the school. He taught painting, mythology, and anatomy at the school. He produced not only monumental works, but also smaller pieces such as vignettes and illustrations. He designed Old Norse costumes. He illustrated the works of Socrates and Ossian. Additionally he did some sculpting, etching, and authoring. He was interested in all manners of mythological, biblical, and literary allusion.
He taughts famous painters like Asmus Jacob Carstens, sculptor Bertel Thorvaldsen, and painters J. L. Lund and Christoffer Wilhelm Eckersberg, later both of them took over his position as professor at the Academy after his death. Eckersberg, referred to as the "Father of Danish painting," went on to lay the foundation for the period of art known as the Golden Age of Danish Painting as professor at the same Academy.
Around 1780 as royal historical painter, Abildgaard was requested by the Danish government to paint large monumental pieces, a history of Denmark, to decorate the entirety of the Knights' Room (Riddersal) at Christiansborg Palace. It was a prestigious and lucrative assignment. The paintings combined not only historical depictions, but also allegorical and mythological elements that glorified and flattered the government. The door pieces depicted in allegory four historical periods in Europe's history. Abilgaard used pictorial allegory like ideograms, to communicate ideas and transmit messages through symbols to a refined public that was initiated into this form of symbology. Abildgaard's professor Johan Edvard Mandelberg supplied the decorations to the room.
Abildgaard married Anna Maria Oxholm on March 23, 1781.
He made a failed attempt to be elected to the post of Academy Director in 1787 and was unanimously elected to the post two years later, serving as director during the period 1789–1791.[1] He had the reputation for being a tyrant and for taking as many of the academy's monumental assignments as possible to himself.
Abilgaard was also known as a religious freethinker and an advocate of political reform. In spite of his service to (and in his artwork the glorification of) the government, he was hardly a great supporter of the monarchy or of the state church. He supported the emancipation of the farmers and participated in the collection of monies for the Freedom Monument (Frihedsstøtten) in 1792. He contributed a design for the monument, as well as for two of the reliefs at its base. He got caught into controversies at the end of the 18th centuatry because of his controversial statetments and satirical drawings. He was excited by the French Revolution, and in 1789–1790 he tried to incorporate these revolutionary ideals into the Knights' Room at Christiansborg Palace. But the King rejected his designs.
His showdowns with the establishment culminated in 1794, when his allegorical painting "Jupiter Weighs the Fate of Mankind" (Jupiter vejer menneskenes skæbne) was exhibited at the Salon. He was politically isolated, cut out of the public debate by censors, and never got any official assignment.
The fire at Christiansborg Palace in February 1794 also had a dampening effect on his career, for seven of the ten monumental paintings of the grandiose project were destroyed in that accident. The project was stopped and so were his earnings.
However after that devastating fire accidents he started getting decorative assignments and also got the opportunity to practice as an architect. He decorated the Levetzau Palace(now known as Christian VIII's Palace) at Amalienborg (1794–1798), recently occupied home of King Christian VII of Denmark's half-brother Frederik. His protégé Bertel Thorvaldsen headed the sculptural efforts.
He also planned for rebuilding the Christiansborg Palace but he couldn’t get the assignment.
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At the start of the 19th century his interest in painting was restored when he painted four scenes from Terence's comedy Andria. This coincided with his second marriage in 1803 to Juliane Marie Ottesen, which was a very happy situation for the aging Abilgaard. He had two sons and a daughter from the marriage. He bought a lovely little place in the country for the family Spurveskjul (Sparrow Hideaway).
In 1804 he received a commission for a series of painting for the throne room in the new palace, but disagreements between the artist and the crown prince put a halt to this project. He continued, however, to provide the court with designs for furniture and room decorations.
He was once again selected to serve as the Academy's director from 1801 until his death in 1809. He is buried in Copenhagen's Assistens Cemetery.
Works
Though he won immense fame in his own generation and helped lead the way to the period of art known as the Golden Age of Danish Painting, his works are scarcely known outside of Denmark. He was a cold theorist, inspired not by nature but by art. His style was classical, though with a romantic trend. He had a remarkable sense of color. As a technical painter he attained remarkable success, his tone being very harmonious and even, but the effect to a foreigner's eye is rarely interesting. A portrait of him painted by Jens Juel was made into a medallion by his friend Johan Tobias Sergel. August Vilhelm Saabye sculpted a statue of him in 1868 based on contemporary portraits.
See also
- Art of Denmark
References
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Wikimedia Commons has media related to Nicolai Abraham Abildgaard. |
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Wikisource has the text of the 1911 Encyclopædia Britannica article Abildgaard, Nikolaj Abraham. |
Christopher John Murray (2004). Encyclopedia of the Romantic Era, 1760-1850: A-K. Taylor & Francis. p. 1. ISBN 978-1-57958-423-8. Retrieved 31 December 2012.
External links
| Cultural offices | ||
|---|---|---|
| Preceded by Johannes Wiedewelt |
Director of the Royal Danish Academy of Fine Arts 1789–1791 |
Succeeded by Andreas Weidenhaupt |
| Preceded by Jens Juel |
Director of the Royal Danish Academy of Fine Arts 1801–1809 |
Succeeded by Christian August Lorentzen |
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