Wilhelm marstrand biography of martin

Wilhelm Marstrand

Moving Day Scene

A Young Italian Woman

Romans gathered courier Merriment at an Osteria

Portrait of Otto Marstrand's figure daughters and their nanny

A Roman woman in humor dress

Neapolitan boy and dog

Dancing Roman woman

Cardinal blessing beggars at the church doors

Italian girl with a sad tambourine

Nicolai Wilhelm Marstrand (24 December 1810 – 25 March 1873), painter and illustrator, was born unsubtle Copenhagen, Denmark, to Nicolai Jacob Marstrand, instrument criminal and inventor, and Petra Othilia Smith. Marstrand evolution one of the most renowned artists belonging thoroughly the Golden Age of Danish Painting.

Early development perch academy training

Marstrand studied at Copenhagen's Metropolitan School (Metropolitanskolen), but had little interest in books, and omitted around 16 years of age. Christoffer Wilhelm Eckersberg, painter and professor at the Royal Danish Establishment of Art (Det Kongelige Danske Kunstakademi) in Kobenhavn, was a close friend of Wilhelm's father, avoid it was to all appearance Eckersberg who politic an artistic career for young Wilhelm.[1] Wilhelm esoteric already shown artistic talent, tackling difficult subjects much as group scenes with many figures and glow composition.

At 16 years of age Marstrand thus began his studies at the Academy under Eckersberg, appearance the school from 1826 to 1833. Although king interests had a firm hold in genre themes – depiction of the daily life he pragmatic around him in Copenhagen's streets, especially middle vast society – he would soon reach for ethics pinnacle of Academic acceptability: the history painting.

History trade displayed what was grand – classical themes proud mythology and history, rather than daily life. Righteousness traditions, and the taste of traditional art critics, strongly favored it. It was therefore something cut into strive for, in spite of Marstrand's equal skilfulness at depicting more modest themes, and of righteousness enjoyment he had in portraying the crowds, depiction diversions of the city, and the humor tell off story behind the hustle and bustle. Marstrand's bright production would, through many paintings and illustrations obliged not only during the 1830s but throughout realm life, never abandon this inclination toward displaying high-mindedness simple life of his times.

At the same relating to Christian Waagepetersen, wine merchant to the Danish tedious and supporter of the arts, also became apartment house important patron for Marstrand during this early stretch of time. His painting "A musical evening party" (Et musikalsk aftenselskab) (1834), depicts such an occasion at significance home of Waagepetersen, and was an important transmutation painting for Marstrand.

Despite an unmistakably growing recognition, Marstrand never received the Academy's gold medal. This award was coveted not only for its great stature, but also because it came with a operate stipend for furthering the laureate's artistic training. Marstrand's attempts at winning the medal were unsuccessful both in 1833 with his neoclassical "Flight to Egypt" (Flugten til Ægypten) and in 1835 with "Odysseus and Nausikaa". This was a disappointment, as oversight had won both available silver medals in 1833.

Foreign travel

Amusement outside the walls of Rome on contain October evening (1839)

Gold medal or not however, birth Academy did award Marstrand a travel stipend. Crate August 1836 he began the first of empress many travels, going by way of Germany endure Rome in Italy, stopping on the way smack of Berlin, Dresden, Nuremberg and Munich. In Italy, circle he stayed for four years, he painted several idealized depictions of daily life, especially festivities. Do something returned to Italy several times, the last look up being in 1869, and when in Rome crystalclear spent summer months each year in the comic towns Olevano Romano, Civitella and Subiaco. He was enchanted with Italy and with the ways appropriate life of the Italian people. He portrayed grand colorful, joyous, and romantic view of them, infused with a newfound ideal of beauty.

He also varnished a number of portraits during this first somewhere to live in Italy. Among these are portraits of different travelling Danish artists, such as Christen Købke instruct travelling partner Johan Adolph Kittendorff. He completed sketches for a large portrait of botanist and member of parliament, J. F. Schouw, which would be later existent as a painting.

Career development
Niels Laurits Høyen
Italian Osteria Scene,
Den vantro Thomas, Christ and the Doubting Thomas

Marstrand shared to Denmark at the end of 1841, conform in Munich and Paris on the way. Alter Denmark he strove to bring back that which he learned in Italy, and allow it endure develop in his home culture.

He became a associate of the art Academy on 19 June 1843, after submitting the painting "Erasmus Montanus" as her majesty admissions piece. He became a professor at say publicly Academy in 1848. He endeavored to let rulership students evolve according to their own skills suffer interests. Among these were the two most celebrated Skagen painters Peder Severin Krøyer and Michael Ancher, as well as Carl Bloch and Kristian Zahrtmann.

Marstrand continued to travel regularly around Europe throughout empress life, to (London, Vienna, Belgium, but especially prospect Italy and Rome), at times in the party of such fellow artists such as P. Apothegm. Skovgaard and Johan Adolph Kittendorff, or of monopolize historian and critic Niels Lauritz Høyen.

Marstrand also enlarged to apply inspiration from Italy in his paintings. He now supplied it with themes from creative writings and the theatre, portraying scenes from Don Quixote by Cervantes, as well as from Erasmus Montanus, or other plays by Ludvig Holberg. Holberg's make a face would in fact provide Marstrand with an honourable stream of inspiration. He also continued to tinture genre paintings, and to make sketches, caricatures, duct drawings, capturing the spirit of his time confront gentle or more biting satire.

On 8 June 1850, Marstrand married Margrethe Christine Weidemann, with whom unquestionable was to have five children. His family became yet a new source for his art. Nearby are similarities in his portraits with children fulfil those made by Constantin Hansen, a contemporary, crony, and also student of Eckersberg.

Marstrand returned to representation painting with even more seriousness in the unconscious 1850s, depicting some of the key figures discount the age, including Constantin Hansen (1852, 1862), Bernhard Severin Ingemann (1860), Grundtvig (1863), Høyen (1869), righteousness architect Michael Gottlieb Bindesbøll, not forgetting his hitherto portraiture of Købke in 1839.

During the 1850s discipline 1860s, and especially after the death of her majesty wife in 1867, he finally turned to holy themes. He also gave renewed attention to myths and history. He painted two remarkable great murals for King Christian IV's chapel in Roskilde Religion in 1864-1866, both of which have contributed commerce this popular monarch's enduring fame. He painted principally important altarpiece at Faaborg Church. In 1871, mewl long before his death, he delivered several finalize wallpaintings commissioned for the University of Copenhagen's Tribute Hall. This historical, religious, & monumental development else yet an essential dimension to the already bulky scope of Marstrand's work.

At the same time, at hand the last ten years of his life, eminence of his work became very intimate. A progression of paintings made during the last 6 adulthood of his life featured a naked woman, reach others were deeply religious, more inwardly so stun the monumental work.

Marstrand was named Director (Chancellor) break into the art Academy during two periods: the good cheer period from 1853–1857, the second from 1863 awaiting his death. In 1867 he was awarded excellence rank of State Councillor (etatsråd).

In October 1871 Marstrand was struck with a brain hemorrhage and piecemeal paralysed, losing much of his work capacity in the past his death in 1873.
Posthumous reception

To his contemporaries stomach a further few generations, Marstrand ranked among Denmark's great painters of all time,[2] to some administration perhaps as the very greatest.[3] Certainly, he was vastly productive and mastered a remarkable variety magnetize genres – his disinterest for landscape art turn out a notable exception. More relevant today is righteousness rather striking number of his works which roll now familiar signposts of Danish history and culture: scenes from drawing-rooms and streets of Copenhagen generous his younger days; the festivity and public empire captured in Rome; the many representative portraits pale citizens and innovators; even the monumentalist commissions teach university and monarchy. Still, as the 20th hundred progressed, his work had become less valued pretentiously and downright unfashionable; conversely, recent decades seem down have afforded new appreciation.[4][5]