Christian Friedrich Wilhelm Heinrich Syberg known as Fritz Syberg, was a Danish painter and illustrator, one of the or Funen Painters living and working on the island of Funen. Syberg, from a poor background in Fåborg, first served a house painter's apprenticeship under Syrak Hansen, the father of fellow artist Peter Hansen before attending the Copenhagen Technical School in 1882 where Holger Grønvold taught him drawing. After a short period at the Danish Academy, he attended the Kunstnernes Frie Studieskoler where he was the first of the Fynboerne to study under Kristian Zahrtmann, his travels included Sweden where he visited Johannes Larsen, Italy together with Jens Birkholm, the Netherlands and Paris and Pisa. Syberg married Syrak Hansen's daughter Anna in 1894 and, after her death in 1914, he married her sister Marie in 1915, he was the father of composer Franz Syberg. Together with Johannes Larsen, Poul S. Christiansen and Peter Hansen, Syberg was one of the first Funen artists to study under Zahrtmann who had broken away from the traditions of the Danish Academy to venture into Naturalism and Realism.
He was influenced by Zahrtmann's colourist approach which can be seen in Dødsfald depicting his mother's death in Fåborg's poorhouse 14 years earlier. After marrying Hansen's sister, the painter Anna Syberg, his works became brighter as evidenced by his landscapes and the 18 large drawings he completed in 1895 to 1898 to illustrate Hans Christian Andersen's The Story of a Mother, now considered to be among Denmark's finest drawings. Thereafter, his oils include Dødens komme and Døden ved vuggen and landscapes depicting scenes from Funen, first around Dyreborg and Svanninge such as Forår and Aftenleg i Svanninge Bakker and the area west of Kerteminde where his garden and children were the main subjects. Quite early in his career, Syberg began to paint watercolours but it was during his three-year stay in Pisa with his family that he completed a whole series of watercolours adopting a style, new to Danish art, but shortly after he returned to Denmark, on the occasion of his daughter Besse's marriage to Harald Giersing, Syberg came into contact with the younger generation of Danish artists, resulting in an Modernist approach and a return to oils as in Overkærby Bakke.
Vinter. His son Ernst Syberg became an artist. Rugmark ved Svanninge Dødsfald Forår Historien om en moder Aftenlegg i Svanninge Bakker Børnene på Fyns Hoved Mor og datter ved Hverringe Strand Dødens komme Døden ved vuggen Sommerhytterne. Korshavn Efter badet, Italien Overkarby Bakke. Vinter Ved Morgenkaffen Komponisten Syberg Keramik
Royal Danish Academy of Fine Arts
The Royal Danish Academy of Fine Arts has provided education in the arts for more than 250 years, playing its part in the development of the art of Denmark. The Royal Danish Academy of Portraiture and Architecture in Copenhagen was inaugurated on 31 March 1754, given as a gift to the King Frederik V on his 31st birthday, its name was changed to the Royal Danish Academy of Painting and Architecture in 1771. At the same event, Johann Friedrich Struensee introduced a new scheme in the academy to encourage artisan apprentices to take supplementary classes in drawing so as to develop the notion of "good taste"; the building boom resulting from the Great Fire of 1795 profited from this initiative. In 1814 the name was changed again, this time to the Royal Danish Academy of Fine Arts, it is still situated in its original building, the Charlottenborg Palace, located on the Kongens Nytorv in Copenhagen. The School of Architecture has been situated in former naval buildings on Holmen since 1996; the academy is larger and better funded than the Jutland Art Academy and Funen Art Academy, which offer similar programs.
It teaches and conducts research on the subjects of painting, architecture, graphics and video and in the history of those subjects. The academy is under the administration of the Danish Ministry of Culture; the Academy’s School of Architecture offers education in the fields of architectural design and restoration and landscape planning and industrial and furniture design. The school has four research institutes and six affiliated research centres; the undergraduate course, leading to the Bachelor of Architecture diploma, lasts three years while the Master of Arts in Architecture is a two-year graduate course. Notable Danish architect Arne Jacobsen, a major influence behind the Architectural Functionalism, studied at the Academy, as did Bjarke Ingels, the rising star in the world of architecture and design. In 2011, the Wall Street Journal named Ingels the Innovator of the Year for architecture. Kunstakademiets Billedkunstskoler, The School of Visual Arts Kunstakademiets Arkitektskole, The School of Architecture Kunstakademiets Designskole, The School of Design Kunstakademiets Konservatorskole, The School of Conservation Det Kongelige Akademi for de Skønne Kunster C. F.
Hansen Medal Thorvaldsen Medal Eckersberg Medal Thorvald Bindesbøll Medal N. L. Høyen Medal The School of Visual Arts C. C. A. Christensen Olafur Eliasson Lili Elbe Oluf Hartmann Jeppe Hein Georg Jensen Jane Jin Kaisen Karl Kvaran Asger Jorn Caspar David FriedrichThe School of Architecture Jan Gehl Birgit Cold Knud Holscher Bjarke Ingels Victor Isbrand Arne Jacobsen Finn Juhl Kaare Klint Henning Larsen Alex Popov Steen Eiler Rasmussen Verner Panton Johann Otto von Spreckelsen Magnus Steendorff Lene Tranberg Jørn Utzon Kristian von Bengtson Architecture of Denmark Arne Ranslet Danish art List of Danish painters Open access in Denmark Det Kongelige Danske Kunstakademi Kunstakademiets Arkitektskole Det Jyske Kunstakademi Det Fynske Kunstakademi Top 10' World's best Architecture Universities / Schools
Funen, with an area of 3,099.7 square kilometres, is the third-largest island of Denmark, after Zealand and Vendsyssel-Thy. It is the 165th-largest island in the world, it is located in the central part of the country and has a population of 466,284. Funen's main city is Odense, connected to the sea by a seldom-used canal; the city's shipyard, Odense Steel Shipyard, has been relocated outside Odense proper. Funen belongs administratively to the Region of Southern Denmark. From 1970 to 2006 the island formed the biggest part of Funen County, which included the islands of Langeland, Ærø, Tåsinge, a number of smaller islands. Funen is linked to Zealand, Denmark's largest island, by the Great Belt Bridge, which carries both trains and cars; the bridge is in reality three bridges. Two bridges connect Funen to Jutland; the Old Little Belt Bridge was constructed in the 1930s shortly before World War II for both cars and trains. The New Little Belt Bridge, a suspension bridge, was constructed in the 1970s and is used for cars only.
Apart from the main city, all major towns are located in coastal areas. Beginning in the north-east of the island and moving clockwise, they are Kerteminde, Svendborg, Fåborg, Assens and Bogense; the populations of the major cities and towns are, as of 1 January 2018: Odense: 178,210 Svendborg: 27,324 Nyborg: 17,164 Middelfart: 15,246 Fåborg: 7,065 Assens: 6,209 Kerteminde: 5,914 Ringe: 5,912 Bogense: 3,891Funen was the birthplace of Hans Christian Andersen, the composer Carl Nielsen, American Revolutionary War hero Colonel Christian Febiger, pop singer MØ and international footballer Christian Eriksen. The highest natural point on Funen is Frøbjerg Bavnehøj. Broholm Den Selvforsynende Landsby Egeskov Castle Fynske Livregiment Horne Church Hvedholm Castle Korshavn, Denmark Skrøbelev Gods The Funen Village an open-air museum. Funen brachteate in the collections of the National Museum of Denmark. Official tourist information site for Funen
Realism, sometimes called naturalism, in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, or implausible and supernatural elements. Realism has been prevalent in the arts at many periods, can be in large part a matter of technique and training, the avoidance of stylization. In the visual arts, illusionistic realism is the accurate depiction of lifeforms and the details of light and colour, but realist or naturalist works of art may, as well or instead of illusionist realism, be "realist" in their subject-matter, emphasize the mundane, ugly or sordid. This is typical of the 19th-century Realist movement that began in France in the 1850s, after the 1848 Revolution, social realism, regionalism, or kitchen sink realism; the Realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. There have been various movements invoking realism in the other arts, such as the opera style of verismo, literary realism, theatrical realism, Italian neorealist cinema.
Realism is the precise and accurate representation in art of the visual appearance of scenes and objects i.e. it is drawn in photographic precision. Realism in this sense is called naturalism, mimesis or illusionism. Realistic art was created in many periods, it is in large part a matter of technique and training, the avoidance of stylization, it becomes marked in European painting in the Early Netherlandish painting of Robert Campin, Jan van Eyck and other artists in the 15th century. However such "realism" is used to depict, for example, angels with wings, which were not things the artists had seen in real life. 19th-century Realism art movement painters such as Gustave Courbet are by no means noted for precise and careful depiction of visual appearances. It is the choice and treatment of subject matter that defines Realism as a movement in painting, rather than the careful attention to visual appearances. Other terms such as naturalism, naturalistic and "veristic" do not escape the same ambiguity, though the distinction between "realistic" and "realist" is useful, as is the term "illusionistic" for the accurate rendering of visual appearances.
The development of accurate representation of the visual appearances of things has a long history in art. It includes elements such as the accurate depiction of the anatomy of humans and animals, of perspective and effects of distance, of detailed effects of light and colour; the Art of the Upper Paleolithic in Europe achieved remarkably lifelike depictions of animals, Ancient Egyptian art developed conventions involving both stylization and idealization that allowed effective depictions to be produced widely and consistently. Ancient Greek art is recognised as having made great progress in the representation of anatomy, has remained an influential model since. No original works on panels or walls by the great Greek painters survive, but from literary accounts, the surviving corpus of derivative works it is clear that illusionism was valued in painting. Pliny the Elder's famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, but indicates the aspiration of Greek painting.
As well as accuracy in shape and colour, Roman paintings show an unscientific but effective knowledge of representing distant objects smaller than closer ones, representing regular geometric forms such as the roof and walls of a room with perspective. This progress in illusionistic effects in no way meant a rejection of idealism. Roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects; the art of Late Antiquity famously rejected illusionism for expressive force, a change well underway by the time Christianity began to affect the art of the elite. In the West classical standards of illusionism did not begin to be reached again until the Late medieval and Early Renaissance periods, were helped, first in the Netherlands in the early 15th century, around the 1470s in Italy, by the development of new techniques of oil painting which allowed subtle and precise effects of light to be painted using small brushes and several layers of paint and glaze.
Scientific methods of representing perspective were developed in Italy in the early 15th century and spread across Europe, accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm; the accurate depiction of landscape in painting had been developing in Early Netherlandish/Early Northern Renaissance and Italian Renaissance painting, was brought to a high level in 17th-century Dutch Golden Age painting, with subtle techniques for depicting a range of weather conditions and degrees of natural light. After being another development of Early Netherlandish painting, by 1600 European portraiture could give a good likeness in both painting and sculpture, though the subjects were idealized by smoothing features or giving them an artificial pose. Still life paintings, still life elements in other w
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Theodor Esbern Philipsen was a Danish painter of Jewish ancestry. He did small figures in wax and clay, he was learned to draw at an early age. At first, however, he was interested in animals, so he went to study agriculture at his uncle's estate near Slangerup. In the 1860s, one of his brothers introduced him to the painter, Hans Smidth, which made him decide to become an artist, he began his studies at the Royal Danish Academy of Fine Arts with Carl Bøgh and came under the influence of Frederik Vermehren. He was familiar with the animal portraits of Johan Thomas Lundbye and the 17th-century painter Paulus Potter. In 1873, he was awarded the Neuhausenske Prize for his painting of horses swimming. In the 1880s, he began to show some elements of Impressionism. At the age of thirty-five, concerned that his images were not realistic enough, he went to Paris to study with Léon Bonnat. There, he practiced intensive croquis drawing, he obtained knowledge of the radical trends in French art through his friend, Rémy Cogghe, with whom he spent some time in Spain and Italy.
This all came together in a distinctive style. His favorite places for painting were Amager. In the winter of 1884-1885, Paul Gauguin made a visit to Copenhagen. Philipsen approached him for some advice and was shown how to use small brushes with quick, firm strokes, they remained friends for life. In 1890, he received the Eckersberg Medal. Around 1905, he began to suffer from an eye disease. In 1915, he was awarded the Thorvaldsen Medal, he is credited with establishing Impressionism as an important aspect of Danish painting. Karl Madsen, Maleren Theodor Philipsen, Kunstforeningen, 1912. Complete text @ the Internet Archive Finn Terman Frederiksen, Philipsen og Fynboerne, Randers Kunstmuseum, 2001 ISBN 87-88075-41-9 Thomas Lederballe, Philipsen og impressionismen, Ordrupgaard, 2001 ISBN 87-88692-26-4 Theodor Philipsen @ "A Mirror of Nature", travelling exhibition "Theodor Philipsen og Kastrup" @ Kastrupgårdsamlingen
Poul Simon Christiansen
Poul Simon Christiansen referred to as Poul S. Christiansen was a Danish painter who developed a Colourist style under Kristian Zahrtmann and as a result of his appreciation of the works of Paul Gauguin and Vincent van Gogh, he painted religious works, many of which became popular as reproductions. Trained by his father as a windmill builder, he studied art at Zahrtmann's Artists Studio School, he stayed with Zahrtmann in Civita d'Antino. Despite his own rather Grudvigian approach, he was considered by the Funen Painters to be one of their own when they exhibited his works at the Faaborg Museum. Christiansen met considerable opposition and it was only with Zahrtmann's support that he was able to exhibit at Den Frie Udstilling in 1895. However, he was not recognized until his works were exhibited retrospectively in 1910, he rather Grundvigian background led him to associate with the younger but more mature artists Joakim and Niels Skovgaard and with his old school friend Niels Larsen Stevns. With his dedicated concern for detail and a feel for dramatic effect, Christiansen created monumental works with strong bright colours.
Many of his works are drawn from the Bible, mythology and from Dante's Divine Comedy. His Dante pictures, inspired by Giotto and Bernardino Luini, reveal his Expressionistic use of colour also influenced by his appreciation of paintings by Gauguin and Van Gogh which were exhibited in Copenhagen in 1893, his large classical paintings of Danish landscapes are comparable to those of P. C. Skovgaard. Among his most notable paintings are Dante og Beatrice i paradiset and Knud den Store ved Havet. From 1895, he was a member of Den Frie Udstilling and in 1923 was awarded the Thorvaldsen Medal. Among Christiansen's most notable works are: Dante og Beatrice i paradiset Dante og Vergil ved helvedes port Kristi Opstandelse Englerne forkynder Kristi fødsel for hyrderne Knud den store ved havet Landevej ved Karise Varm sommerdag i Tibirke Bakker Cività d'Antino i Abruzzerne Skovinteriør, Dyrnæs De kloge og de ukloge jomfruer