Gerhard Henning was a Swedish-Danish sculptor. While working at the Royal Danish Porcelain Factory, he designed a number of delicately decorated figurines, he is however remembered above all for his statues celebrating the female form. After attending the Technical School in Copenhagen, he worked for a couple of years as a house painter's apprentice before spending the winter of 1897-98 in Gothenburg. There he met the Swedish painter Ivar Arosenius whose friendship influenced his early work as a painter and illustrator, their circle of friends was inspired by the British illustrator Aubrey Beardsley whose erotic style is reflected in Henning's early work. In 1931, Henning became a Danish citizen. In 1909, Henning began to work for Copenhagen's Royal Porcelain Factory where, apart from an interruption from 1914 to 1920, he continued to be employed until 1925. There he met and married china painter Gerda Heydorn, who became a noted textile designer with whom he collaborated. Although he had never had instruction in sculpture, he created sophisticated little groups of figures in erotic situations inspired by 18th century French art.
But after he had met Kai Nielsen and had studied the sculptural works of Auguste Rodin, Aristide Maillol and some of the classical works in the Glyptothek, his approach developed along more personal and monumental lines. Henning showed an early interest in classical poetry Ovid's Metamorphoses, which inspired him to create a number of amorous figures such as Cupid with Psyche and Pygmalion with Galathea, his main theme was however the naked female figure which he developed in collaboration with Kai Nielsen. His statuette of a "Reclining Girl" led to Nielsen's "Leda without the Swan" which in turn encouraged him to experiment with larger formats, his large female figures began with the bold "Danae" and was soon followed by the voluptuous "Girl Standing". Around 1930, he altered his style with his "Moder Girl", a slender, short-haired figure in contrast to the heavier bushy-haired figures inspired by antiquity. During the 1930s, he added socks to his naked figures but soon omitted them again, his "Seated Girl" is based on a complex diagonal theme but stands in calm, harmonious equilibrium like his "Reclining Girl".
He worked on his last large sculpture "Susanne" for a full 10 years, drawing on his sketches of Pygmalion and Galatea from 1919-20. One of the finest works executed by Henning while he was at the Royal Copenhagen factory was "The Princess on the Pea" inspired by Hans Christian Andersen's fairy story. With meticulous attention to detail, Henning has depicted a series of images on the many surfaces of the glazed sculpture including Chinese dragons, Persian warriors and children at play. Created in 1911, the following year the piece was awarded the First Class Medal at the Paris Salon where it was considered to be one of the finest pieces of European porcelain of the times. Other overglazed figurines include three Fairy Tale couples, Moongirl, (Satyr and Nymph and Psyche, Grief and Susanne. With his appreciation of the curvature and tension of the female form, Henning is one of the most important contributors to the female figure in Danish sculpture. In 1937, Henning in 1955 received the Prince Eugen Medal.
Gerhard Henning sculptor images from Google images
Heinrich Hansen (painter)
Heinrich Hansen was a Danish architectural painter and State Councillor. His son, Adolf Heinrich-Hansen, was an architectural painter, his father was a cloth dyer who came from Flensborg. After some time as a journeyman painter, he went to Copenhagen in 1842 to enroll at the Royal Danish Academy of Fine Arts with the intention of becoming a decorative painter. Before the year was out, he had begun assisting with the decorations at the Thorvaldsen Museum, he attended the modeling classes and won a silver medal in 1846 for his live model painting. The following year, together with Wilhelm Marstrand, he helped create decorations for the burial chapel of King Christian IV at Roskilde. In 1847, he was awarded money from the Reiersenske Fund, which provides grants to artists and craftsmen; this enabled him to study in Germany. During his time there, he decided to be an architectural painter. In 1848, he held his first exhibition had an exhibit of oil paintings in 1849, it was well-received and his travel support was extended so he was able to visit most of Western Europe, including Italy.
One of the paintings that resulted from this trip, a view of the Church of Our Blessed Lady of the Sablon, was purchased for the Royal Collection. Upon returning, he was a teaching assistant for perspective and ornamentation at the Academy for many years, until the death of Gustav Friedrich Hetsch in 1864, when he was promoted to succeed him as a professor of perspective, he was a member of the selection committee for the Charlottenborg Spring Exhibition. He was appointed Knight of the Order of the Dannebrog in 1859 and a State Councillor in 1871. Over the years, he worked on restoration projects at Rosenborg and Frederiksborg castles, the last of which suffered a major fire in 1859, he designed furniture and porcelain, coordinating design at Bing & Grøndahl's porcelain factory for a period of 22 years. In 1877, together with his wife, Margrethe, he created the "State Councilor H. Hansen and Wife Silver Anniversary Scholarship", he went through an extended period of illness and recovered for a time, but had a sudden relapse and died the next day.
ArtNet: More works by Hansen
Emma Gad, born Emma Halkier, was a Danish writer and socialite who wrote plays and books that were satirical. Although she was a prolific writer, many of her works fell into obscurity after her death. One work that remained popular was a book of etiquette she wrote in old age, she received a gold Medal of Merit in 1905. Today her plays are preserved in Denmark's Royal Library. Gad grew up in a affluent home and received a good education for a woman at the time, she married Nicolas Urban Gad, a rear admiral, in 1872. They had two sons: Henry and Peter Urban Gad, who became a filmmaker, she was a member of many trade unions and women's societies in Copenhagen, her home was an important meeting place for intellectuals in Denmark at the turn of the century. In 1886 she premiered as a dramatist at the Royal Danish Theatre's Ny Scene. In the mid-1890s, she was the driving force behind the successful 1895 Copenhagen Women's Exhibition. In 1898 she co-founded the Women's Trade and Clerical Association, the first professional organization of women in the office.
Gad's book Etiquette - About Dealing with People was published in 1918. Her oft-repeated point is that when visitation is between considerate people "etiquette" is not necessary, it is the indifferent, selfish, or directly ruthless people that create the need for a formal etiquette. On January 21, 2013, Google made a doodle for Emma Gad's 161st birthday, in honor of her book of etiquette. Works by Emma Gad at LibriVox
An obelisk is a tall, four-sided, narrow tapering monument which ends in a pyramid-like shape or pyramidion at the top. These were called tekhenu by their builders, the Ancient Egyptians; the Greeks who saw them used the Greek term'obeliskos' to describe them, this word passed into Latin and English. Ancient obelisks are monolithic. Most modern obelisks are made of several stones; the term stele is used for other monumental, upright and sculpted stones. Obelisks played a vital role in their religion and were prominent in the architecture of the ancient Egyptians, who placed them in pairs at the entrance of the temples; the word "obelisk" as used in English today is of Greek rather than Egyptian origin because Herodotus, the Greek traveller, was one of the first classical writers to describe the objects. A number of ancient Egyptian obelisks are known to have survived, plus the "Unfinished Obelisk" found hewn from its quarry at Aswan; these obelisks are now dispersed around the world, fewer than half of them remain in Egypt.
The earliest temple obelisk still in its original position is the 68-foot 120-metric-ton red granite Obelisk of Senusret I of the XIIth Dynasty at Al-Matariyyah in modern Heliopolis. The obelisk symbolized the sun god Ra, during the religious reformation of Akhenaten it was said to have been a petrified ray of the Aten, the sundisk, it was thought that the god existed within the structure. Benben was the mound that arose from the primordial waters Nu upon which the creator god Atum settled in the creation story of the Heliopolitan creation myth form of Ancient Egyptian religion; the Benben stone is the top stone of the Egyptian pyramid. It is related to the Obelisk, it is hypothesized by New York University Egyptologist Patricia Blackwell Gary and Astronomy senior editor Richard Talcott that the shapes of the ancient Egyptian pyramid and obelisk were derived from natural phenomena associated with the sun. The pyramid and obelisk's significance have been overlooked the astronomical phenomena connected with sunrise and sunset: the zodiacal light and sun pillars respectively.
Around 30 B. C. after Cleopatra "the last Pharaoh" committed suicide, Rome took control of Egypt. The Ancient Romans were awestruck by the obelisks, looted the complex to the extent that they destroyed walls at the Temple of Karnak to haul out obelisks. There are now more than twice as many obelisks that were seized and shipped out by Rome as remain in Egypt. A majority were dismantled during the Roman period over 1, 700 years ago and the obelisk were sent in different locations; the largest standing and tallest Egyptian obelisk is the Lateran Obelisk in the square at the west side of the Lateran Basilica in Rome at 105.6 feet tall and a weight of 455 metric tons. Not all the Egyptian obelisks in the Roman Empire were set up at Rome. Herod the Great imitated his Roman patrons and set up a red granite Egyptian obelisk in the hippodrome of his new city Caesarea in northern Judea; this one weighs about 100 metric tons. It has been re-erected at its former site. In 335 A. D. Constantine I ordered the removal of two of Karnak's obelisks.
One was sent to Constantinople, the Eastern Emperor Theodosius took the obelisk and had it set up in a hippodrome, where it has weathered Crusaders and Seljuks and stands in the Hippodrome square, now called Istanbul. This one stood 95 feet tall and weighing 380 metric tons, its lower half reputedly once stood in Istanbul but is now lost. The Istanbul obelisk is 65 feet tall; the other was transported to Rome and is the most well-known 25 metres, 331-metric-ton obelisk at Saint Peter's Square in the world. The obelisk had stood since AD 37 on its site and on the wall of the Circus of Nero, flanking St Peter's Basilica: "The elder Pliny in his Natural History refers to the obelisk's transportation from Egypt to Rome by order of the Emperor Gaius as an outstanding event; the barge that carried it had a huge mast of fir wood. One hundred and twenty bushels of lentils were needed for ballast. Having fulfilled its purpose, the gigantic vessel was no longer wanted. Therefore, filled with stones and cement, it was sunk to form the foundations of the foremost quay of the new harbour at Ostia."Re-erecting the obelisk had daunted Michelangelo, but Sixtus V was determined to erect it in front of St Peter's, of which the nave was yet to be built.
He had a full-sized wooden mock-up erected within months of his election. Domenico Fontana, the assistant of Giacomo Della Porta in the Basilica's construction, presented the Pope with a little model crane of wood and a heavy little obelisk of lead, which Sixtus himself was able to raise by turning a little winch with his finger. Fontana was given the project; the obelisk, half-buried in the debris of the ages, was first excavated. The re-erection, scheduled for 14 September, the Feast of the Exaltation of the Cross, was watched by a large crowd, it was a famous feat of engineering, which made the reputation of Fontana, who detailed it in a book illustrated with copperplate etchings, Della Trasportatione dell'Obelisco Vaticano et delle Fabriche di Nostro Sig
Ludvig Peter Fenger was a Danish architect. He was a proponent of the Historicist style and from 1886 to 1904 he was City Architect in Copenhagen. Among his works are several churches, the Central Fire Station and Vestre Prison in Copenhagen, he directed the renovations of Church of Holmen and Christian IV's Stock Exchange. Ludvig Fenger was born on 7 July 1833 in the village of Slots Bjergby outside Slagelse as the son of the local pastor. After graduating from Slagelse Latin School he attended the Royal Danish Academy, in the same time working for architects such as Michael Gottlieb Bindesbøll, Christian Hansen and Ferdinand Meldahl, he received the Academy's Large Gold Medal in 1866 and went on several journeys abroad from 1867 to 1869. He participated in the Second Schleswig War against Germany, was wounded and became a prisoner of war. In 1871 Fenger became a member of the Academy and in 1880 he was made a professor. From 1886 he was a corresponding member of the Royal Institute of British Architects.
In 1885 he entered local politics when he became a member of the Borgerrerpæsentationen in Copenhagen, a post he left when he was appointed City Architect the following year. Laboratory building, Lund University, Sweden Royal Mint, Copenhagen Rynkevang Manor, Kalundborg Frederik VII's Tower, Himmelbjerget Tiselholt Manor, Svendborg St. James' Church, Østerbro, Copenhagen St. Mathew's Cgurch, Copenhagen Stege Sugar Factory, Stege St. Alban's Church, Cioenhagen Copenhagen Central Fire Station, Copenhagen Vestre Prison, Copenhagen Øksnehallen, the Copenhagen Meatpacking District, Copenhagen Holmens Cemetery Chapel, Holmens Cemetery, Copenhagen Architecture of Denmark
St. Matthew's Church, Copenhagen
St. Mathew's Church is the oldest and largest church in the Vesterbro district of Copenhagen, Denmark, it is located at the corner of Mathæusgade and Valdemarsgade and was completed in 1880 to design by city architect Ludvig Fenger. The decommissioning of Copenhagen's Bastioned Fortifications was prolonged process; when a law in 1868 relinquished ownership of the fortifications and lifted the restrictions in the area outside them, new residential districts sprang up outside the four former city gates, dismantled in 1868–69. This was the case with Vesterbro outside the former Western City Gate which developed into a crowded and poor working-class neighbourhood. Constructed between 1879 and 1880, St. Matthew's Church was the first church to be built in the area. At that time the parish had around 2,000 inhabitants, its architect was Ludvig Fenger. Up until the mid-1890s, St. Matthew's remained the only church in Vesterbro. At the turn of the 20th century the population had grown to about 7,000. Like many other Danish buildings of its time, St. Matthew's Church is inspired by North Italian Romanesque brick architecture.
A distinctive feature of the exterior is the many pinnacles along the eaves as well as on the corners of the tower and at the base of the spire. Most of the inventory is designed by Ludvig Fenger, including the organ case; the organ works were created by A. H. Busch & Sønner in 1880; the altarpiece is a mural painted directly on the wall behind the altar by Henrik Olrik depicting the Sermon on the Mount. St. John's Church, Copenhagen Jesus Church, Valby