Danish golden age painters

Paintings from the Danish Golden Age are impressed by a romantic view of life. The paintings were meant to show the ideal picture of realities. From the paintings one can see that the thoughts of nationalism had arisen in the 19th Century. The paintings are meant to show how idyllic life was in the countryside and how beautiful Denmark was.


Bendz has painted his two brothers in their student lodgings. It is at the same time a portrait of the room and a portrait study of the two boys. The room provides an insight into the context of their daily lives and reflects their interests: the soldier's cap, the skull, the coffee pot, the books.... The coat hung carelessly by the door and the paper littering the floor speak of an untidy student life, while the looped and fringed curtains and the plain but elegant furniture show its occupants as comfortably well-to-do. To extend the impact of a portrait by the intimate portrayal of the subject's home life was a favourite Biedermeier device and characteristic of an age which shunned heroics, prizing instead domestic virtue, friendship and family life. This is one of the most successful examples of the genre. Bendz is credited with introducing the middleclass conversation piece into Danish art. He studied with Eckersberg at the Copenhagen Academy and his work reflects in full measure the qualities with which that influential teacher imbued the younger Danish school: an attention to the architectural structure of a painting derived from the great masters of French classicism, an emphasis on fine modelling and finish, and a devotion to intimate realism. Eckersberg's realism found its happiest outlet in landscape and marine subjects and it fell to Bendz to treat scenes of everyday life with the same direct intimacy. There are many parallels between his work and that of German contemporaries, particularly the tightly drawn figure paintings of Berliners such as Hummel. The German influence must have been filtered through fellow students at the Copenhagen Academy for Bendz did not leave Denmark until 183 1. He made a brief but productive stay in Munich, travelling via Hamburg, Berlin and Dresden. The following year he went south to Italy but died in Vicenza.


Christen Koebke

Koebke was born 1810 in Copenhagen and already at the age of 12 started at the art academy.

At first he was one of C.A. Lorentzens students, but lorentzen died and Koebke became one of Eckersbergs students from 1828-1832, because of the demands Eckersberg had, Koebke was able to evolve his talent.
The mainpart of Koebkes portraits was of his friends and family, and when he in a period shared atelies with his friend, the landscapepainter F. Soedring, he painted Soedring sitting at the atelies with a palay and a spatula in his hands.
The painting possessed a liveliness and charm, that together with the fine choice of colours makes the picture to a mainpart in danish portraitpaintings.

In 1834 he moved with his parents to their property outside Copenhagen, at "Blegdammen" ( in english "Palepond") at "Sortedamssoeen" ("Blackpondlake"), and there he painted a lot of his paintings of the view over the lake.
At that point Koebke changed his way of painting into a more monumental style, which led to a couple of paintings.
In 1838 Koebke started travelling Europe to get inspiration, when he returned in 1840, he had a lot of sketches, but the the pictures ended up being boring and uninspired.
His father died in 1843 and 2 years later they had to sell the property at "Blegdammen" and Koebke had to move to Copenhagen, where he died in 1848 of a pneumonia


Christoffer Wilhelm Eckersberg

Danish painter. Eckersberg studied at the art academy in 1803 where he, amongst others was tutored by Abildgaard, whose interest for perspective construction got an influence on him. In 1809 he finished the education with honour, and travelled to Paris from 1811-13, where he was a student of the claccisistic J.L. David, from whom he received the final effect. Eckersberg continued his education journey to Rome, where he in the years 1813-16 tried to better himself in history paintings. The most important pictures from this time, became his little city prospects, they were based on a mixture of nature study and classical komposition princippals, that came to affect his mature style. In 1818 he became a professor at the art academy in Copenhagen. Throughout the years he finished a lot of ordered job for Christiansborg Castle along with several altar tablets. The most famous is his portraits of the Copenhagen citizenship. Amongst others a picture of a Nathan family, which is a jewish family.

Eckersbergs carrier as a portraitpainter were relatively short, when he already from the mid-twenties were outcompetioned by the popular C.A. Jensen.

It was as a academy professor Eckersberg got the most recognicien. He renewed amongst other the teaching by taking his pupils on fieldtrips where they were incouraged to educate themselves in nature. Eckersberg poved trough his emphasezing by the precise study of the visible reality.