martes, 22 de agosto de 2017

TRES ARCOS || Christa Zaat

Christa Zaat

La imagen puede contener: cielo y exterior

Christoffer Wilhelm Eckersberg (Danish painter) 1783 - 1853
Udsigt Gennem tre Buer i Colosseums Tredje Stokværk (A View through Three Arches of the Third Storey of the Colosseum), 1815
oil on canvas
32 x 49.5 cm. (12.6 x 19.5 in.)
Statens Museum for Kunst, Copenhagen, Denmark

Catalogue Note Statens Museum for Kunst
Eckersberg’s most famous painting. The view in the background is pieced together from three points of view: When Eckersberg stood in front of the central arch, all he could see was the view painted inside the central arch. In order to see the two other views he had to take two steps to the left or five steps to the right. Eckersberg did a number of paintings at the Coliseum in 1815–16. This painting was presumably done immediately after the preliminary composition sketch, which is most likely to have been done in 1815. On the back of this drawing we find A View from the Interior of the Coliseum, where only some of the stations of the Cross have been moved down to the arena, just as they would have appeared in 1815.

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During his years in Rome from 1813 to 1816, C.W. Eckersberg painted a large number of pictures of the city’s ancient ruins, particularly the old amphitheatre the Colosseum. He painted many views from the inside of the building, and here he has taken up position on the third storey, painting the view through three arches there.

He observed the details of the scene with great care, depicting every one of them exactly as he saw them. Nevertheless, the overall view is a construct: the artist used the arches to link up three views that are slightly separate in real life to form an all-new, harmonious whole.

Eckersberg began his open-air painting, previously unknown within Danish art, while in Rome, completing the painting on site. This gave him the opportunity to observe the scene more directly, and the rendition is characterised by great freshness and immediacy. He undoubtedly used binoculars to be able to faithfully reproduce the details in the background.

With his art firmly anchored in representations of reality, Eckersberg laid down the foundations for the next three or four decades of Danish painting, thus helping to create the Golden Age of Danish art. Eckersberg was appointed professor at the Royal Danish Academy of Fine Arts in 1818, giving his students the chance to study his Roman scenes at the residence provided for him at Charlottenborg.

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Eckersberg was born in Blåkrog in the Duchy of Schleswig (now the southern part of Jutland in Denmark), to Henrik Vilhelm Eckersberg, painter and carpenter, and Ingeborg Nielsdatter.
After being trained in Copenhagen and studying in Paris (1810-13) under Jacques-Louis David, he continued his studies in Rome (1814), where he executed a masterly portrait of his friend Thorvaldsen (Royal Academy, Copenhagen, 1815). Returning to Copenhagen in 1816, he occupied himself mainly with portraits, minutely rendering the features of his models with a Neoclassic feeling for c1arity and purity of line. He also painted many landscapes, however (as he had done in Rome), and as an influential teacher at the Copenhagen Academy (from 1818) he introduced painting from nature into the curriculum. He also executed some religious themes and subjects from Danish history in Christiansborg Palace.

His pupils included Johan Christian Dahl and Christen Købke. He has been called 'the father of Danish painting' because of the influence he exerted on Danish painters in the second quarter of the 19th century. With Christen Købke he was the leading painter of the Danish 'Golden Age' (c. 1800-1850).
He is referred to as the Father of Danish painting.




La imagen puede contener: cielo y exterior

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