New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-04-21
DANISH ART.
a NoueL Exhibition at the GuiLdhaH
-T5cO COrOnGtiOns.
London, April 10.

landic Copenhagen ship carpenters son. with
his intuitive knowledge Of Greek art was not
,o completely detached from his environment
as 10 be a freak OF nature. There IS practical
evidence ia these four galleries that there is a
well trained school of art in Denmark. which
has individuality and force Nearly all the
painters-and il is a large group. numbering
about seventy-learned their art in the Acad-
elny at Copenhagen and have done their work
on Danish soil Kroyer, Tuxen, Locher and
skorgaard completed their studies under Leon
Bonnat. Rosenllrantz also worked in Paris un-
der Constant and five six other painters
went 10 Dresden. Munich. London or elsewhere
for instruction. The bulk Of the work exhib-
fled bears the impress of Danish masters and
Is not influenced by other Continental schools
The earliest painters in the little kingdom. nota-
bly, Carstens and Abildgaard. were inlitators Of
classical work Their Greek goddesses and
Cupids and scandinavian gods are not on the
walls OF The Guildhau galleries Eckersberg.
who was Che leader Of the modern movement
IS represented by characteristics works and
SKETCHES and his influence is shown in the can
vases OF his pupils. MeIbye Fr0uch. Larsen
and Bendz. Bach and Kr5yer have been mas
lers Who have set the style Of painting in the
little capital: and II has been essentially a borne
trained art. with its own point OF view ana mo-
tves. Dignity and repOse We're characteristics
OF Thorwadsen's sculpture. and the same quail
lies in many Of The landscapes with their
sombre masses Of dimly lighted foliage. and In
the marines with their dark waters unlocked
by foam. As he sacrificed realism 10 pure ideal
ism in much OF his modelling. so also is il done
IN Danish paintings Ike ThoroIf Pedersen's
vikings" with its quaint pirate ship adrift on
black waters under steel gray sky.
The ceremonial pictures are naturally IN COM
Alexandra and The Car Professor Lauritz
Tuxen IS a favorite OF the Danish royal family
and he has been a privileged spectator at TWO
coronations. He stood beside the American
painter, Nh. Abbey, during the coronation Of
King Edward. but was chiefly concerned with
The lovely Iabeau which followed the main
function. This the amounting Of Queen
Alexandra In his picture she Is kneeling before
the altar under canopy of cloth Of gold, which
is upheld by ''the four Graces'-the Duchesses
q Portland. Sutherland. Montrose and Marl-
borough. Four train bearers and a maid Of
honor are behind her, TWO bishops in magnia-
cent vestments attend her and the Archbishop
Of York is in front of her. with the Archbishop
Of Canterbury Canon Ducllworth ard Dean
Bradley behind him. in The background is the
royal box filled with princesses in white. and
underneath is the sumptuous display Of golden
plate. Red white and gold, with rich passage
Of royal purple in the Queens robes make up a
glorious color scheme. and amber light streams
in over the princesses' box from the Abbey win
dows. Portraiture is not one Of the best achieve
ments of the Danish school, but the Iikenesses
in this picture are conspicuous for excellence
With all the nlagnjhcence of her coronation
robes the Queen is as simple. graceful and beau
tiful as a bride AT a wedding. and the four
duchesses rival one another in stateliness
Professor Tuxen's companion piece portrays
the coronation OF Nicholas II in the presence Of
princes mobiles, courtiers and peasants II lacks
HE simplicity and loneliness Of the tableau in
Westminster Abbey. The coronation is inter-
TFs;ed whole at the supreme moment when
The Gar. before recitIng his confession Of faith
and Offering a prayer of intercesson for the en-
pire, is standing erect and preparing 20 crown
himself Instead Of being the passive recipient,
like the kneeling Queen. OF the amounting cere-
mony, he is the dominating figure in 2 splendid
scene crowded with faces and figures and filed
with gorgeous coloring. Two subordinate fig
tires are also standing: the youthful Empress
Alexandra ak, with face of exquisite sensi-
bni'y and the Empress Marie Dagmar, with the
strength Of character inherited from her Danish
mother. Complex as is the tableau within tho
Byzantine Cathedral of the Assumption with its
Stimulating ikons, splendid shrines and sym
bohc ornamentation. II has dramatic force and
harbarc opulence of color. The robes and vest
ments are gold and white. and blends OF red in |
high light or shadow sre flaming in the decora-
lions of The coronation church. Less pictorial /
IN grouping than Mr.. Abbey's picture Of the
coronation OF Edward VII. it reproduces with 1
more subtety the essential character OF this me-
eieyal function as a solemn religious rite Of the
eoyereign's conservation 70 the welfare OF his /
subject millions
Religious art, 10 which ThorTaidsen devoted |
the maturity OF his powers, seems cold and IN |
imaginative on these walls. Baron Arid Ros- |
ehkraniz presents a French imitation OF Il in |
Acce Agnus Del" in which theatrical rather I
than religious effect IS produced by brilliant I
technique. AxeI HaIsted's Christ and the !
Fharisees" lacks elevation of style in the prin-
opal figure and variety OF treatment in the /
Sroup OF cynical questioners. Irminger's Chris |
aan Martyr in the Roman Arena" is simply an /
example % superior craftsmanship in a nude /
inquire. and julius Pausens Adam and Eve" IS /
an academic drawing OF Electrically posed mod |
.S without symbolism or spiritual significance. |
Ns IhorWaldseR neglected the Scandinavian 1
tssss and confined his art 10 the illustration OF |
sleek myths and Christian legends. so the Dam
'sh painters have turned their backs upon Odin /
ana Thor and ali the gods and heroes OF Wal /
Nlila- Only one Danish ballad Is illustrated |
WIN intensity OF feellng--child Olaf in Mrs. |
Nouers The Dying Betrothed," and Otto
1sehes huge canvas portraying the flight OF |
eonsDirators from FinneruD after the murder
" A'ng Eric IS the most conspicuous OF the his
.'tacal subjects A coarser and more effective
sample OF realism Is Christian Zaartmann's |
Dssth OF Queen Sophia Amelia" and this is not |
- Wen painted as the same artists portrait OF |
- Biehl a scandalmonger with pas
49, 49, sof mud raldng. There IS indeed slight evil /
aslee OF Danish origin in tho subjects OF a ma
"a ~ or the works. II is IN the painters power