Travel pictures from Italy

Transcription

1 karina lykke grand Travel pictures from Italy P.C. Skovgaard a romantic tourist Translated from Danish by James Manley Skovgaard s travels P.C. Skovgaard ( ) went on two journeys to Italy which in different ways be came turning-points in his artistic career. The first, crucial journey was in the years , and fifteen years later, in 1869, he set off on his second and last tour. The journeys stand as milestones in Skovgaard s life, and from travel letters and pictures mainly from the first journey it will be shown how the experiences abroad helped to form and mould him as an artist and human being. Expectations In the spring of 1854 P.C. Skovgaard set off on an artistic grand tour. He was 37, newly married, and had his wife Georgia ( ) with him as his travelling com panion. The couple had high expectations of the journey. They dreamed of feeling the joys of intimacy and the beat of the wings of history at legendary cultural sights, and of familiarizing themselves with the great Italian tradition of painting in the galleries and museums of the city. And P.C. Skovgaard looked forward to depicting these many impressions of travel. The letters that the couple sent home from abroad to family and friends in Denmark give us unique insight into how P.C. Skovgaard experienced Italy, what made the greatest impression on him and what the culture of travel was like in the Europe of the time. According to the statements in the letters, their expectations of the journey seem to have been fully met, and P.C. Skovgaard returned to Denmark one year later, full of energy and inspiration and with new visions for an artistic programme that would take his career to new heights on the professional ladder. But although the aim of the artistic journey appears to have been fulfilled, the couple s journey also brought un ex pected situations and sad events that left them in a state of grief and 1

2 karina lykke grand despondency that made the distance back to familiar Denmark seem very great. However, they came home strengthened in the spring 1855, and Skovgaard embarked on a new era in his artistic development. En route! At the apartment in Christianshavn, the travel preparations of P.C. Skovgaard and Georgia were in full swing in the early spring of 1854, and their itinerary was gradually falling into place. They would take the steamship from Copenhagen to Kiel at the end of April; from there, several railway routes would take them through Germany to stay in Switzerland and experience its beautiful mountain landscapes. 1 From there the tour was to go to northern Italy; first to Padua, where they could take the train to Venice; then in the middle of May 1854 they would join their artist friend Wilhelm Marstrand ( ), who was stay ing in the city with his wife Grethe Marstrand ( ) and their son Poul. The couples were close friends and often met privately in Copenhagen; P.C. Skovgaard and Georgia both looked forward to sharing travel memories with them. From there they planned to go to Lake Como, Milan and Parma, and in August they would arrive in Livorno, where Georgia s uncle Christian Dalgas ( ) was stationed as Danish Consul. They planned to spend an extended period with the family before the journey continued to Naples and Rome, where whey wanted to meet Skovgaard s friend the art historian N.L. Høyen ( ) and his wife Birgitte (Edele Birgitte Høyen, née Westengaard, ) in September and October. 2 Skovgaard and Georgia were close friends of the Høyens, so back home they also laid plans to meet them in southern Italy, and in northern Italy too if possible. In February 1855, according to the plan, Skovgaard and Georgia would begin their journey home with a stay in Florence, with a detour through Livorno again, and then through Germany with stays in both Dresden and Berlin before their arrival back in Copenhagen in the spring of It was a widespread practice at the time for travellers to plan their route in detail as P.C. Skovgaard and Georgia did, enabling friends and family to write to them poste-restante in pre-arranged cities. As the actual journey progresses, we see that in the correspon dence they indicate current changes and corrections in the route, so that letters and valuables can be redirected in time. During P.C. Skovgaard s journey, for example, his mother s half-brother, the five-years-older H.C. Aggersborg ( ), manages Skovgaard s travel grants from the Royal Academy of Fine Arts, 3 and as his financial guardian he sends small quantities of money by mail on the basis of the travel route indicated. 4 The postal service of the 2

3 time was relatively effective and reliable in the circumstances; for example a letter could reach the major northern Italian cities from Copenhagen in only seven to ten days. 5 It was a different matter with letters to villages in the mountain areas, where the mail was slow and uncertain, so travellers often kept a poste-restante address in a larger city nearby when the route included detours to less well known areas of Italy. At the end of April 1854, P.C. Skovgaard and Georgia took their leave of friends and family in Copenhagen, and set off together on their long journey to faraway Italy. The leave taking was thorough, for they could not know with certainty whether they would come back home safely. They knew that many travellers fell ill on the way; some died and others became so enthusiastic about the south that the journey home was postponed indefinitely. In Italy Once they had arrived safely in Italy, an optimistic mood took hold of Skovgaard and Georgia. They were full of hopes about all that they would see, and Skovgaard imme diately went to work absorbing impressions and doing studies of the surrounding land scape. In letters home he writes of among other things the marvellous pleasures... of nature, and views that are a captivating sight, and that the experiences of the jour ney are of such an extremely rich and diverse nature that they can hardly be recoun ted in a letter. 6 In the larger cities like Venice and Milan, Skovgaard is also struck by the sight of the many fine buildings which, as he writes, make a powerful impression on me. 7 Even friends and family sense that Skovgaard is blos soming, is positive and enjoys travelling. His close friend the doctor Frederik Krebs ( ) notes for example in a reply to one of Skovgaard s letters to him: Had I not known that you needed to get out and get some air, your letters would have told me so. They are so happy, so vital, that I can already detect the good effects of Italy s art and its warm nature. 8 His uncle H.C. Aggersborg also writes in a letter to Skovgaard that he is pleased to see that... you feel more and more attracted by the character of Italy... 9 And from the many preserved sketchbooks with travel impressions in pictorial form, a pattern seems to emerge of an artist who, already early in the journey, is making such substantial progress that his friends notice it. Grethe Marstrand for example joins the chorus with the following enthusiastic remarks about Skovgaard, addressed to Georgia, after the couple have spent some time together in Venice: 3

4 karina lykke grand May I express my congratu la tions on the promising progress your husband is making with things Italian, and ask you to convey my esteem Not only does Skovgaard thrive in Italy, he also pro duces a number of important sketches and paintings of landscapes and views he has seen; and not least, he is enthusiastic about making the acquaintance of the great artists to be seen there. In Parma they see works by Correggio ( ), in Venice by Titi an (c ) and in Milan they thrill to Leonardo da Vinci s ( ) master piece The Last Supper, while Rome offers them Raphael ( ) and Michel angelo ( ). Seeing the works of the grand style for himself makes a profound impression on Skovgaard, and in letters home he talks about this purpose of the journey: [...] you cannot believe how outstanding it is to get to know the great artists like this, one by one and in their native surroundings; it gives one a quite different notion from seeing single pictures by them here and there in galleries; and then the best of them are often to be found at the place where they actually worked; that was the case with Correggio in Parma, I know, as it is with Raphael and Michelangelo in Rome [...] In Milan I took great pleasure in seeing Leonardo s Supper... I believe I can say that I have gained an impression of these artists, one that I shall be able to preserve. 11 Before his departure from Denmark Skovgaard had only had the opportunity to experi ence the works of the grand style in the form of drawings and tracings that his teacher at the Academy, J.L. Lund ( ), had brought home from his own journeys to Italy in the early 1800s. These copies of the Italian masters were to join the study collections at the Royal Academy and were used by Lund in the teaching of Skovgaard and other students at the Academy. 12 But the encounter with the original works of the masters made a much more profound impression on Skovgaard, which he took home with him to Denmark and seems to have subtly incorporated in his landscape style. 13 Friendships in Venice In mid-may 1854 Skovgaard and Georgia arrive in Venice, where they take lodgings near the Marstrand family so they can spend plenty of time with them. Marstrand shows them around the city, and together the two artist colleagues look at architecture and paintings in the grand style. Skovgaard also immediately starts gathering studies of landscape views; for example he seems very interested in the horizon lines of Venice, 4

5 fig. 1. Wilhelm Marstrand, View from the loggia of the family s lodgings, Pen on paper, cm. Present owner unknown. Photo: Misfeldt Reklamefoto where water and land are intersected by steamships, gondolas and sailing ships (1). The sketchbook shows how he quickly and accurately renders the Lido seen from the water on Ascension Day in 1854, and below he uses the same opening to de pict the contours of a sea view dated 3rd June From Skovgaard s stay in Venice we have a succession of interesting studies in the sketchbooks as well as water colours, oil studies and paintings that he gathered and produced during his month-long stay close to his colleague Marstrand. The outer harbour front in particular claims Skovgaard s interest, but views from the inner canals also seem to interest him. In a water-colour from 17th June 1854 Skovgaard depicts the view at the Grand Canal, where the dis tinc tive look of the city with the gondola as the primary means of transport is cap tured in a picture that gives equal space to the water, the architecture and the sky (2). The view across the Grand Canal was probably done from the loggia where Mar strand lived. In a drawing by Wilhelm Marstrand dated 19th June 1854 Skovgaard can be seen look ing out over the canal with Georgia at his side as well as Marstrand s wife and little son, who stands on a chair to look over the high edge of the loggia, fig 1. Skovgaard s watercolour could well have been done from the place from which he observes the city in Marstrand s drawing. The subject of the drawing is further evidence that the two friends spent much time together, while in the evenings it is usually the two men who go out to experience the city. In a letter Skovgaard describes how in Venice he enjoys [...] splendid (1): Sketchbook page from Venice, 1854, The Royal Collections of Graphic Art, Statens Museum for Kunst (2): Grand Canal, Venice, 1854, Ordrupgaard, Copenhagen 5

6 karina lykke grand days and evenings, the latter usually with Prof. Marstrand either on a tour in a gondola down into the lagoon or on a walking tour on the won der ful, beau ti ful quays of the city. 14 Venice fascinates Skovgaard so much that during the stay he produces a wealth of sketches and studies that provide him, even several years after his return from Italy, with enough mate rial to produce intensely experienced paintings, espe cially from the outer harbour front of Venice, fig. 2. The painting from 1862 of Venice s harbour front, for example, was based on sketchbook notes and studies as well as memories of Venice, which however gave these travel pictures done at some distance in time from the actual journey a slightly dream-like character. After a stay of a month in Venice, Skovgaard and Georgia go on at the end of June 1854 to Lake Como. Marstrand greatly appreciates that the two friends have stayed so long in the city, unlike other travellers who have also visited him on their way through: At this moment Hans Christian Andersen steps in the door, and like everyone else, is in transit, simply casting a glance at Venice and rushing on and perhaps writing a whole work about it. Alas, these blind men! [...] Høyen has been here ten days, and that was a great pleasure. He is not one of the blind ones or quick-lookers [...] Skov gaard and Georgia are here, and we see much of one another. 15 [...] We had the Skov gaards here for a month, two nice people; they are now at Lago di Como. 16 In the artistic circles in which Skovgaard moves, in-depth experience is thus highly appre ciated, and is apparently seen as a precondition of absorbing authentic travel impres sions, while haste seems rather to be equated with superficiality. In its own way this nor ma tive evaluation has consequences for the remainder of Skovgaard s journey. The journey to Lake Como It becomes typical, not only of Skovgaard s and Georgia s stay in Venice, but also of the rest of their tour of Italy, that they prefer concentrating on selected cities and areas to being on the move all the time. The slower tempo releases energies that allow Skovgaard to immerse himself in the spirit and landscape of the place, and at the same time seems to enable him to collect material for sketches and studies of high artistic quality. They there fore change their schedule a little at Lake Como and drop a number of towns in the area to make space in the programme so they can 6

7 fig. 2. B/w photograph from the exhibition at Charlottenborg in 1917 on the occasion of the centenary of the birth of P.C. Skovgaard. At the top right Canal View in Venice, cm. Present owner unknown. Photo: Misfeldt Reklamefoto stay longer in a secluded village that does not swarm with tourists and other travellers. In a letter to his uncle, H.C. Aggers borg, Skovgaard gives an account of their journey: We are now travelling back from Lake Como, where we have stayed almost a fortnight [...] that is, at northernmost Collico, which does not figure among the famous names. It had been my intention gradually to move down the lake from town to town, but that came to nothing, since [...] it was far more satisfying for us to find calm in one place and feel our way into it a little with the local residents. I also managed to paint some sketches. 17 One of the sketches Skovgaard mentions may be a coloured study dated 7th July 1854, showing a captivating view from Collico out towards Lake Como and its surrounding mountain ridges with low-hanging clouds (3). The view forms a beautiful, picturesque totality, and in a letter Skovgaard writes that the place [...] was very interesting, especially when the clouds drifted around the mountainsides, 18 which is the case in this study. From Collico Skovgaard and Georgia write a number of letters back to Denmark as well as a letter to their friends in Venice thanking them for the stay. And Wilhelm and Grethe Marstrand immediately reply that they would very much like to see more of them: (3): Mountain Landscape in Overcast Weather, Royal Collection of Graphic Art, Statens Museum for Kunst [...] if only, instead of writing, we could ourselves fly off and again spend a little time toge ther in the countryside, by Lake Como It was a pleasant time for us too having you here and 7

8 karina lykke grand it is a pleasure to know that we share this opinion. All the more likelihood that we shall live together on very familiar terms in Copenhagen, which both Grethe and I desire greatly. It is so necessary for artists to live together, one supporting the other; you need a shove when, as I do, you vacillate hither and thither and do not know what and which, and then a statement from a sympathetic soul makes all the dif fe rence and gives you that shove that lets you strike out on a good path, at least for a while. If only we could look at Titian and Paolo now and then back home yes, and you, wonderful person, and other wonderful people yet perhaps I shall also succeed at home in enjoying the full benefit of the beauty of life. 20 Marstrand s positive statements to Skovgaard as a friend and artist colleague are returned, and Marstrand remains a close friend of the family and an artistic sparring part ner throughout life. As can be read between the lines in Marstrand s letter, the two artists each have periods in their careers where they fall into intense doubt about their merits, and in this they become each other s professional supporters. A few years after the return from Italy, Marstrand and Skovgaard became even closer neighbours when they built houses beside each other. From Lake Como, Skovgaard s journey goes on to Milan, where the cathedral and Leonardo da Vinci s Last Supper are at the top of the list of selected sights. View from Milan Cathedral In the middle of July 1854 P.C. Skovgaard and Georgia arrive in Milan, and from the stay there we have a view from the Cathedral. The painting is a central beacon in Skovgaard s artistic production from this first Italian journey and demonstrates his supreme artistic ability to depict views, fig. 3. The Cathedral in Milan is a unique sight with its many spires, statues and extensions, and although Skovgaard s painting is a view from the Cathedral, he still chooses to show a number of the spires from the top balcony, and this subtly helps to place the work geographically. Skovgaard has chosen a bold spatial composi tion for the painting which few artists could master, but he succeeds in his venture. In the right foreground we see one of the many large neo-gothic spires from the Napoleonic era, and horizontally the view is framed by an ornamental balustrade, while the bot tom left of the picture is dominated by the appearance of the many thousand statues that grace the Cathedral. Flush with 8

9 fig. 3. B/w photograph from the exhibition at Charlottenborg in 1917 on the occasion of the cen tenary of the birth of P.C. Skovgaard, View from the Cathedral in Milan, in the background the Alps with Monte Rosa, Oil on canvas, cm. The work hangs at the bottom, right. Present owner unknown. Photo: Misfeldt Reklamefoto the horizon three statues appear, among which the dark statue in the middle becomes the viewer s main visual point of entry to the picture, and thus to the further view of the city of Milan. We see what the statue with its back to us sees. In a letter home Skovgaard writes of this very view, after he and Georgia have been up at the top of the Cathedral: 9

10 karina lykke grand I have had a couple of glimpses of snowy mountains here from Milan, yesterday it was from the roof of the Cathedral. Although the distance is great, it is still a thrilling sight [...] At four this morning we got up to be at the top of the Cathedral at 5 o clock; if the weather is clear one should be able to see Mont Blanc, irrespective of the great distance, and all the others too in their greatest splendour, especially Mont Rosa. I had my painter s case with me to paint it, but alas! it was cloudy with light air; I did however begin a picture to be completed tomorrow, and hope for better luck. 21 The letter bears the same date as the painting, which indicates that this must be the view he is talking about. It must have been a rare sight to see Skovgaard at the top of the Cathedral at dawn with his easel and painter s case, and with Georgia at his side. After his return home the painting presumably took on special importance for Skovgaard and Georgia, since it remained in their private owner ship until Skovgaard s death, and therefore must have hung in the family s rooms as a reminder of their journey. It is interesting, though, that there is a copy of the work done by Skovgaard in 1870 shortly after his return from his second Italian journey; but this work was done with sale in mind. 22 The buyer of the work was probably a private visitor to Skovgaard s home on Rosenvængets Hovedvej who became so fascinated by the subject that he or she commissioned a similar painting from Skovgaard perhaps as a memory of his or her own journey to the same destination? From Milan the tour went on at the end of July by stage coach to Parma to see works by Correggio, and from there by coach and rail to the port of Livorno, south of Pisa, where Georgia s uncle lived and worked. Letters from Gitte Høyen provided Georgia and Skovgaard with regular information on the best routes and transport types for the various stretches, as Gitte and N.L. Høyen travelled through some of the same towns as Skovgaard and Georgia planned to. In Milan the Høyens had hoped to meet Skovgaard and Georgia, but the young couple received their letter just too late for the Høyens departure from Milan in the morning, when Skovgaard and Georgia arrived in the even ing: The day we left there [Collico on Lake Como] we arrived in Milan in the evening, where the Høyens had left in the morning. Wasn t this unlucky? They had been in Milan for eight days and were longing greatly to see us, and waited for us, but we had not received their letter in time. We had no idea where in the world, 10

11 I almost said, where in Italy, I mean they were, otherwise we would have gone there earlier. Now we hope to catch up with them in Livorno in two or three days After a stay in Livorno throughout August, where Skovgaard and Georgia were forced to remain for a long period because of the outbreak of cholera in Naples, 24 at the end of August the couple went north to the harbour town of Seravezza to get away a little from the monotony of the town and the bosom of the family, and not least so that the now rather impatient Skovgaard could absorb new travel impressions. fig. 4. P.C. Skovgaard, Boats pulled up on the Beach at Seravezza, Oil on canvas, cm. Private owner. Photo: Bruun Rasmussen The beaches of Seravezza Highly motivated and hungry for new subjects, Skovgaard found Seravezza s beaches with their small fishing boats an exquisite subject, and produced another highly important travel picture there, fig. 4. Skovgaard s choice of the view from the water s edge in over the beach with the fishing boats drawn ashore shows us an artist who is able to select his subject with precision so it is full of information about the life of a fishing village in Italy; but this does not make the beach landscape a genre picture. Although the fishing boats have been left on the beach covered 11

12 karina lykke grand with sails hanging to dry, the beach is abuzz with life. A man leans over the gunwale of the closest boat, and farther into the picture a boy or man is on his way up towards one of the boats after having been out bathing. In the background a pair of horses rest, probably after helping to pull the boats out of the water after the morning s fishing. And out in the water we can make out a couple of bathing figures. The waves that wash in over the beach indicate that it is just after high tide, since a large area of the sand is still wet. It produces a good visual effect that the mutable appearance of the foreground is brought into play with the unchanging mountain range in the background, which is linked in subtle pictorial ways, through the masts of the boats that rear into the air, with the sundrenched eternal sky at the top of the pic ture. In the closest foreground the viewer can also get a very precise sense of Skov gaard s presence and viewing position, since tracks in the sand guide the gaze towards a point slightly to the right of the middle, outside the picture frame. There, in the summer heat, Skovgaard has installed himself with his easel and case of paints, and has gone to work capturing a travel atmosphere and a slice of the world he is experiencing. We are left with a unique image of a beach landscape that captures an Italian mood as Skov gaard felt it then, in August From letters we know that Skovgaard had to hurry to finish a number of the pictures he had begun at Seravezza, since news suddenly arrived that the cholera was no longer so dangerous in Naples. 25 On receiving this news Skovgaard and Georgia hastened by steamship to Naples, as they were behind schedule and very much wanted to meet N.L. and Birgitte Høyen on the island of Ischia near Naples. The Gulf of Naples The voyage by steamship from Seravezza to Naples took three days, and behind the choice of transport was probably Birgitte Høyen, who in a letter had recommended the couple to go by sea to avoid crossing the mountainous areas to the south. The couple were very satisfied with the choice of the sea route, since they were greatly taken with the sight of the Gulf at Naples, and in a letter Skovgaard talks about the experience: On 31st August we left Seravezza and on 3rd September at sunrise we sailed into the harbour of Naples imagine what a marvellous sight, the sun rose behind Vesuvius and this lovely city lay right in front of us, and around the Gulf the delightful coasts with beautiful mountains, with a line of shining white villages at their foot, and farthest out in the Gulf, the familiar, beautiful Capri

13 fig. 5. Michel Amodio, The Harbour in Naples with Vesuvius in the Background, c Fratelli Alinari Museum, Collection- Palazzoli. Florens This highly picturesque description of Vesuvius in the light of the sunrise seen from the water indicates that Skovgaard was greatly interested in the distinctive qualities of the landscape as pictorial form, and the way the compositional elements sky, sea and settlement were distributed. In addition the description shows that in a way Skovgaard was seeking confirmation of a pictorial form he already knew from back home, since the use of the word familiar suggest that he was also painting his way into the tradition. As was the case in Venice, where Skov gaard was preoccupied with the graphic contours of the harbour front, in Naples too he was interested in depicting the distinctive landscape view of the area with the charac teristic form of Vesuvius in the background just as tradition required. In studies and paintings the familiar shape of the volcano had often been pictorialized and immorta lized, 27 and even on excursions outside Naples Skovgaard preferred to turn his painter s gaze in that direction to include the landmark in the view. In a watercolour from the village of Capodimonte, north of Naples, Skovgaard looks from a high point towards Vesuvius and is able to render the graphic appearance of the volcano (4) with great precision. And if we compare the picture of Vesuvius with photos from the time, both the volcano as a whole and the mood of the letter seem to be well hit off, fig. 5. The photograph is from around the period when Skovgaard and Georgia were in Naples, and presumably they arrived in the harbour town with a large steamship similar to the one seen to the right of the lighthouse in the foreground of the photograph. As Skovgaard s description of the shining (4): View from Capodimonte towards Vesuvius, Ordrupgaard, Copenhagen 13

14 karina lykke grand white villages at the foot of Vesuvius indicates, the photo graph too seems characteristic, with its long line of white settlements down towards the water. Shortly after their arrival in Naples Skovgaard and Georgia sailed on to the small island of Ischia, west of Naples, where they looked forward to meeting N.L. and Bir gitte Høyen. In a letter to his grandfather, Skovgaard wrote: As quickly as we could we sought out the Høyens on Ischia, spent three days with them there riding on donkeys and on excursions, and left there on the 8th; yesterday we spent all day in Pompeii, today in the royal palace, and tomorrow we intend to go on a tour of several days to Sorrento, Amalfi, Salerno and Posuna, all of course in the company of the Høyens what do you say to such a life? 28 Enthusiastic about being with the Høyen couple, Skovgaard enjoys travelling to the full, and by all indications N.L. Høyen was able, at the historic sights, to give vivid accounts of the events of the past that pleased everyone. After a six-week stay in Naples and its environs, the tour went on to Rome, where they arrived on 27th October in the city that was often the main destination for the educational journeys of the artists of the time. Rome at last The day Skovgaard and Georgia arrived in Rome, Georgia immediately wrote to family and friends with news of their arrival, since it is long past the time when we intended to reach Rome. 29 In other words, glitches have arisen in their travel schedule, and their relatives back home did not know where to mail letters and news to. Several family members have asked in some consternation where they are and whether the letters they have sent have been lost, since they have not received replies: I cannot explain to myself your long silence otherwise than that you have not received my letters... you forgot in the letter to Father to say where letters to you should be addressed... since I have not been able to write until today, as I have been told that the letter should be addressed to Livorno. 30 The letter that has thus mistakenly been sent to Livorno must after its arrival be redirected to Rome, so a long time passes before the couple receive new, important information from home. In Rome the plan is that Skovgaard and Georgia will take their time to digest the previous impres- 14

15 sions of the journey, and that Skov gaard will be able to immerse himself in the painting process. The expectations of the stay are great: So now we have reached the destination of the journey, and are sitting here in mighty Rome; my husband is in seventh heaven [...] yes, for him this journey is truly a blessing. 31 But the happiness does not last. When the first redirected letters begin to arrive in Rome they are dismayed by the news in them, which is to spread a pall of sorrow over their whole stay in Rome. A large, bulging envelope which contains letters from their uncle H.C. Aggersborg, Skovgaard s sister Wilhelmine and the family doctor Leo U. Brion ( ), brings the news that Skovgaard s mother is dead. The lack of information about changes in their travel route during the long period they were in Naples and its surroundings had prevented Skovgaard and Georgia on the one hand from receiving information about his mother s illness, and on the other hand from the opportunity of travelling home in time to say goodbye to her. But according to informa tion from the family doctor, the mother apparently did not wish the travellers to be told of her illness, since she did not want them to change their travel plans: She had seemingly herself given up hope of recovery and wished only that Our Lord would not make her sufferings too long... I attempted at the time to comfort her over this outlook with the hope that she would again see her son. But in this respect I found her very resolved. She seems to have prepared herself once and for all to see you no more. Your journey, she said, was a business journey, and it would not do to recall you from it. On your departure she had considered the possibility that she would be leaving this world, and trusted that whatever happened she would find you again in another. 32 It was with great grief and dismay the couple received this sad news in a faraway, foreign land, far from your dear mother, from her last smile and last sigh. 33 The mood was now reversed, and November and December 1854 became dark months even though they were in the south, in Rome. The news from home in this period was mainly about the mother s estate, the funeral, memories of her etc., and from replies to letters that Skovgaard and Georgia sent it is clear that Skovgaard descended into sadness and fell ill. 34 Not until January was Skovgaard on his feet again mentally as well as physi cally, and now they recovered the joy of travelling again. Together they continued to see works from the grand style in the city s museums and galleries. Georgia wrote for example in a letter to Copenhagen of how each of them became absorbed in the works of the masters, and how this concentration on art brought incredible 15

16 karina lykke grand riches to their lives. Soon their journey was drawing to an end, and Georgia took stock of it: It is our daily task to go out and enjoy one, two or three pictures, and such work, as you will understand, can be wonderful... this calm, these endless riches... are what make life here so enjoyable... but now it will soon be over, this whole strange travelling life, and we shall retain only the memory and the Lord be praised, a lovely memory it will be. 35 From Rome we know of a small painting that shows the couple s everyday life in the city with the Høyens on a rather special day in Rome, however, fig. 6. For Høyen is to have an audience with the Pope, and Skovgaard has depicted a private scene around the breakfast table where Høyen, still in his nightcap, is waited on by Georgia and Birgitte, while Skovgaard fetches the teapot from the lit fireplace. On the wall hang paintings without frames, presumably works done by Skovgaard on his travels. Art and politics in the south and back home Skovgaard s personal enthusiasm for his painterly profession is aroused again in Rome after despondency over the news of his mother s death, and before the departure from Rome at the end of January 1855 he sends home a number of the works he has pro duced on the journey. After the arrival of the works in Denmark, Marstrand writes to Skovgaard with the news that one of his works has been valued at 5000 Rdl., a very large sum compared with the normal prices of the era. 36 The high valuation thus indi cates that Skovgaard is a much sought-after artist in Denmark who is at the pinnacle of his career, and who therefore has no problems selling his works. Like Georgia, Skovgaard gradually begins to prepare himself mentally to return to Denmark, which prompts Marstrand to add news of how matters stand at the Aca demy: [...] I would ask you to be prepared, in the artistic world, to take up shield and lance, for there is war there, as in so many other domains, and it is difficult to say what the outcome will be... but now you must join the fray, and we are in sore need of you. In earlier letters Marstrand speaks of the Royal Academy of Fine Arts as the institution, 37 clearly indicating that Marstrand belongs to the artistic faction that oppo ses the Academy as institution. The same goes for their artist friend Constantin Hansen ( ), who also corre- 16

17 sponds frequently with Skovgaard on his travels. In July 1854 he writes that he is bitter about not having become a professor at the Academy, and in September 1854 he is still angry at the Academy and feels rejected and scorned by the press. In November the same year he writes in a letter that to his surprise he is to receive the long-awaited professorship, but that it is being awarded to him in silence. His opposition to the Academy has therefore apparently not changed in January 1855 when in a letter to Skovgaard he showers the institution with opprobrium: A more scoundrelly society than the Academy hardly exists. 38 Both artist friends do however ask Skovgaard not to think too much about the situation back in Denmark, but to enjoy his travels as long as they last: I vividly remember the pleasurable feeling, while I was in Rome, of being well outside all this petty, vexatious nonsense at home. 39 Skovgaard is a member of the artistic faction of the time who personally make such great demands on art, and not least on their own art, that they reject the acceptance by the Academy of members or staff they do not consider qualified or able enough. They further think that the public fig. 6. P.C. Skovgaard, Professor N.L. Høyen preparing for an Audience with the Pope, Oil on canvas, cm. The Skovgaard Museum. Photo: The Skovgaard Museum 17

18 karina lykke grand does not demand enough of art, but on the whole simply uncritically buys what is for sale, for it is wretched how little the world de mands. When I consider it I feel most of all like laying down my brush Through his life Skovgaard defends high artistic quality where only the best art is exhibited and sold. 41 And Constantin Hansen agrees that we should have an S.K. [Søren Kierke gaard] in art who could champion rigour, which our whole age lacks; they compromise on excellence, indeed on eternity, insofar as they even believe in it. 42 By this Hansen means it has become too easy and too tempting for the artists of the time just to paint the subjects that are in demand rather than constantly developing and challenging art in style, form and content. Søren Kierkegaard was making an impact in the press at the time with critical remarks on prominent figures, and Hansen misses this type of criticism in the world of art. Hansen, Marstrand and Skovgaard all hold the banner of art high, and the fight ing spirit of the faction also comes to expression in their political stances, since they all support the prevailing National-Liberal current. Among prominent National-Liberal poli ti cians one can for example mention Orla Lehmann ( ), D.G. Monrad ( ) and Carl Ploug ( ), who also frequents the artists privately and occasionally puts in orders for works of art from them. The artistic circles are therefore closely linked with the political circles in the milieu around Skovgaard, so it is also natu ral that the letters Skovgaard receives on his travels deal with and debate the political situa tion in Denmark. In particular, Skovgaard is kept abreast of subjects related to the development of constitutional government, since he cannot read Fædrelandet the Nati onal-liberal-leaning newspaper of the period every day. 43 But foreign affairs also hold Skovgaard s interest, since the outbreak of the Crimean War is imminent as Skov gaard and Georgia are on their way home. As their friend Frederik Krebs succinctly puts it in a letter to Skov gaard: Denmark waits all of Europe waits. 44 In the letters that Skovgaard and Georgia receive with news of the political situation, a pattern seems to emerge where the men often write objectively and soberly about their interpretation of the current political scene, primarily addressed to Skov gaard, while among the women one more often sees a focus on the human and emo tional consequences of the political situation, primarily addressed to Georgia. For exam ple the good friends Carl ( ) and Elise Ploug wrote to Skovgaard and Georgia respectively in August 1854, when the establishment of a Rigsraad, as an advisory body to the Rigsdag or national assembly, is an item of news that several of them write about. Carl Ploug, who besides his political office is also the editor of Fædrelandet, tells Skovgaard about 18

19 the composition of this assembly, and the legal powers it is intended to have. But fervent Liberal as he is, his view of the ministries establishment of a joint constitution also comes out: On 26th July the Ministry has surprised everyone with something that they call a People s Constitution, but which is nothing but a grand attempt to get rid of the Constitution and lead us back to Absolutism... now it must come to a serious struggle and final settlement, whether we are to continue to be a free people or go back to Absolutism, because we do not understand how to use our freedom Carl Ploug knows well that with these sombrely coloured political remarks he has disturbed you in your peaceful... enjoyment of the beauty of the South..., but he also knows Skovgaard well enough to expect that he wants to receive news of the conditions here at home, since I know that your love and longing remain directed towards the home front Carl s wife, Elise, is also fervently interested in politics like Georgia, but as an extra seasoning to the men s political accounts, the women permit themselves to be more subjective in their letters by freely passing on what other women in the circle have heard and seen. For example she writes agitatedly about the failed policy of the Ministry but concludes with a second-hand account from Monrad s wife: The Ministry persists in all sorts of malice... and intends to destroy us thoroughly. But the Rigsdag will probably strike back in the winter, Monrad will not be gentle. The traitors to their country will see that it is not easy to ruin Denmark has not yet been forgotten. Many of the blind have now at last had their eyes opened...to those who have not belongs Tscherning, he... has in particular expressed a terrible hatred of Hother Hage, whom he actually calls a traitor. Mrs Monrad visited them [Hage] the other day, she said he gave the impression of having taken leave of his senses. 47 The information about the former Minister of War Anton Frederik Tscher ning ( ) and the National-Liberal politician Edvard Philip Hother Hage ( ) refers directly to the upheavals taking place at the time among leading figures of the liberal opposition, who had widely differing attitudes; on the one hand to whether Denmark should work for a united-monarchy solution with the Duchies, and on the other whether suffrage should be extended to all, and thirdly how liberty was to be con ceived and administrated. 19

20 karina lykke grand Since Skovgaard and Georgia are very closely linked with many of the National-Liberal politicians, and apparently get on well with everyone, they receive many letters on their travels about the political situation in Denmark viewed from within and are thus constantly updated on the situation at home while they are in foreign parts, and are men tally prepared for what awaits them in the world of art as well as politics on their imminent return. The journey home approaches After ten months in the south the journey north began again. The Høyens had gone ahead, 48 since they had originally been accompanying a married couple and their fol low ing on their travels, and N.L. Høyen had been hired to act as their expert art guide in return for their financial sponsorship of his journey. 49 For the Skovgaards the first stop was Florence, followed by a stay in Livorno at the beginning of March 1855 with the Dalgas family. At the end of March Skovgaard and Georgia travelled through Germany and received mail in Berlin with the news that Høyen was stranded in the city by the winter freeze. 50 The sea passage to Denmark was icebound, and the steamships could not sail to Copenhagen. However, not many letters from Skovgaard and Georgia s return have been preserved, so we do not know whether they met the Høyens in Berlin, or went home with them to Denmark. In a letter to Skovgaard addressed to Berlin Mar strand says that it may perhaps turn out very well that Høyen is stranded in Berlin, since spending time in Germany may change his view of the neighbouring country, against which he has always had strong prejudices. In Marstrand s words, Høyen will thus have an opportunity to condemn the German nature more roundly, if he retains his strong national zeal, or else, as would please me more, he might take the matter more calmly and not lump them all together. 51 In wider circles N.L. Høyen is best known for his lectures on how the artists of the time must strive to produce a distinctive national art that could have an identity-forming effect on the Danish people. 52 He is a particular advocate of the cultivation of a genre painting with authentic depictions of the common Danish people. But this strikingly patriotic view of his country seems neither to inhibit his desire to see Italian art again on the journey in nor to hinder Skovgaard in cultivating landscape painting as a genre. Although Høyen was undoubtedly a promi nent figure on the Danish art scene, and was far from neutral in his views of other Dan ish artists of the time, he apparently did not try to dominate Skovgaard and the circle of artists he frequented privately. In the letters between the Skovgaards and Høyens there is nothing to indicate that 20

21 Høyen imposes limits on Skovgaard or even tries to influence his artistic career. Rather, the travel letters give the impression that the two men respect each another and like to experience the foreign art and culture together: [...] You have meant so much to us that I cordially wish you could feel it [...] He [N.L.] has often lamented en route that we did not have you with us, and today when we saw a beautiful picture by Giorgione, he said, if only Skovgaard were here. 53 The overall impression one gets of P.C. Skovgaard the man from the travel letters addressed either to him or Georgia is that he is an incredibly well-liked artist who re ceives praise, both personal and artistic, from everyone. After Marstrand s return to Copen hagen he joins the chorus with a summary of Skovgaard s journey, which Skov gaard received in March in Berlin before his own return: Your statements about Italy please me greatly, and the whole way you have travelled and the thorough viewing of the products of art in which you have mainly spent your time, I consider so right, and I am convinced that it will benefit you as long as you live. 54 And Marstrand proves right; the rewards of the first journey to Italy have already left their mark, and will continue to leave their traces on Skovgaard s artistic development for many years to come. The first journey The basis of our knowledge of Skovgaard s journey is very slender in the existing lite ra ture about him; usually the claim that he travelled to Italy with N.L. Høyen in is repeated. 55 However, a new, quite different picture of Skovgaard s journey emerges from the primary correspondence, hitherto unresearched, that underlies this article. It is quite evident from the letters that his travelling companion was his wife Georgia, but that along the way they met both the Marstrands and the Høyens for extended periods. However, the Skovgaards and the Høyens missed one another several times on the journey, so it is inaccurate to speak of Høyen as Skovgaard s travelling companion. It is also often claimed that the artistic benefit of Skovgaard's journey was modest; for example Sigurd Müller writes in 1884 in Nyere Dansk Malerkunst of Skov gaard s works from Italy that none of them, however, is among the master s most outstanding works; for that they are too cold in the colours and in general too little southern in their mood. 56 Müller on the other hand is full of praise for Skovgaard as a Danish landscape painter, and writes that he stands as the grand master of Danish 21

22 karina lykke grand landscape art. The slightly negative attitude to Skovgaard s paintings with Italian subjects seems to come from the first true art-historical text about Skovgaard, written by Julius Lange in This sees Skovgaard s journey as a parenthesis in his life, and fortunately, [...] as early as the next spring he was home and again at work on the Danish landscape. 57 Lange, like Müller, is extremely enthusiastic about Skovgaard s Danish landscape paintings, but the pictures from abroad are very poorly rated. It seems there fore that a pattern has emerged, originating in Lange s negative attitude to Skov gaard s Italian works, and that this view was reproduced throughout the nineteenth century and into the twentieth. 58 Despite the fact that Lange had no in-depth knowledge of Skovgaard s journey or works from the tour, the polarization of the Danish and foreign works has remained intact. This means that no true study of Skovgaard s travel pictures was ever conducted to determine whether the views passed down by Lange were reliable art criticism or not. At the same time a remark that Høyen may or may not have made to Skov gaard at some point in the 1840s has been repeated: that Skovgaard should not travel abroad, but instead stay at home and [...] become intimately familiar with the Danish landscape. 59 In the letters between Høyen and Skovgaard from the journey in , though, there is nothing to suggest that Høyen wanted to limit Skovgaard in his artistic expression or even keep him from travelling. We may hope that the new insights that have emerged after the first more detailed study of Skovgaard s sketchbooks, drawings, water-colours, paintings and correspondence from his first journey to Italy may help us to reassess future impressions of the artist P.C. Skovgaard. The second journey to Italy In 1869 Skovgaard went on his second and last journey to Italy. Fifteen years had passed since his first journey to the south, and much had happened in the intervening period. Not only had Skovgaard been an extremely industrious artist in the 1850s and 1860s; he had also become a much sought-after and well paid artist. Besides his journey to Italy in , in 1862 he went on a journey to London and Paris lasting a total of three months in the company of Høyen and Marstrand, primarily to see the World Exhi bition in England. 60 And in 1866 he went to Stockholm to see a large Scandinavian exhi bi tion where he himself exhibited a few works, as he had done at the World Exhibition. On both journeys Georgia stayed home in Østerbro in their new house with the children, whom they had in 1856, 1858 and 1863 respectively. During the tour to 22

23 London Georgia was thus pregnant with their third child, and was prevented from going with him; apparently she was almost unable to walk because of the complications of the pregnancy. Although Skovgaard, according to correspondence with Georgia, was ex tremely enthusiastic about experiencing both London and Paris, and although Rome had lost its status as the central city on an artist s educational journey, 61 he still chose to go to Italy to experience Rome and Naples once more a few years later. On this journey it was unfortunately not possible to take his life s companion, since Georgia died in the autumn of 1868 in childbirth with the fourth child. In despair at losing not only a child but his beloved wife, Skovgaard sank into melancholy and illness again, and prompted by this, six months later, he rushed off to Italy in an attempt to recover his strength mentally as well as physically. 62 He left his three children at home with the housekeeper. His neigh bour, Marstrand, who was in a similar situation after Grethe Marstrand s death in 1867, accompanied Skovgaard on the journey, also leaving his four children at home. The two artists were joined by the lithographer Adolph Kittendorff ( ), who however went back to Denmark a couple of months before them. Skovgaard, Marstrand and Kittendorff set off for the south at the end of April 1869, 63 and six months later Skov gaard returned to his children with renewed strength. 64 In Rome Since Skovgaard had last travelled to Italy the development of industrial society had meant that many more railways lines and steamship routes had been established, such that it was now possible to travel by many direct steam-powered routes to Italy. The three men therefore quickly reached both Florence and Rome, where they spent much of their time looking at works of art. Skovgaard is enthusiastic about once more absorbing new inspiration, while Marstrand suddenly seems old and tired in his statements. In a letter home Skovgaard writes enthusiastically about his travel experiences: Believe me, so far I have benefited from the journey. I enjoy these matchless works of art far more even than the first time I saw them. Yes, I shall carry that joy with me now for the remainder of my life, and I do not believe that I shall long to come here again. After this I will settle down at home and take pleasure in what is beautiful here. If only I retain the strength to produce things from it

24 karina lykke grand Skovgaard writes with a clear awareness that he is at the end of his life and thus also of his career, but also that he still has many pictures in him that will find their way to the canvas. He further writes in the letter that he does not expect to return to Italy: I have decided that I will not throw my bajos in the Trevi Fountain this is done on the last evening one is in Rome, then one will come back again; not because I am superstitious, but one must not play with fate either, there would be something bad about that, I think. When I was last in Rome I threw my bajos in the Trevi, but Georgia would not, I cannot forget that. 66 Skovgaard thus has Georgia with him in his thoughts during the stay in the city of Rome, which he last visited with her. As for the overall impressions of the journey shared by Skov gaard and Marstrand, the aging artist colleague, as mentioned, seems much wearier, since he writes directly that his energy for painting new subjects is not what it has been: It is a joy to see all the wonderful art treasures again, but also painful, since we are so far from being able to achieve anything similar, however much we torment and torment ourselves. I suppose it is refreshing to see all this, but on the other hand one is too old to start anew, and the energy is gone. 67 Skovgaard s purpose in making another journey to Italy thus seems different in a number of respects from that of his seven-years-older artist col league Marstrand, who has been in Italy twice before. For example Skovgaard has gone to paint and look, while Marstrand mainly wants to relax and experience the landscape. The landscape and atmosphere of Subiaco In June 1869 Skovgaard, Marstrand and Kittendorff set off for Subiaco, and there Marstrand at last enjoys travelling again: After a highly eventful visit to Florence and Rome... now Skovgaard and Kittendorff and I sit here her in Subiaco in the middle of the Abruzzi enjoying the freshness and wonderful air of the summer...we use our legs and eyes more than our fingers, for it is very difficult among all these riches to be con tent with the little one might possibly manage oneself, with the result that the benefit so far has so to speak only been to the body, as was in fact my main purpose with the journey

25 fig. 7: P.C. Skovgaard, P.C. Skovgaard and Wilhelm Marstrand in Italy, Oil on canvas, cm. Present owner unknown. Photo: Bruun Rasmussen Although Marstrand writes home that they are all enjoying the landscape visually rather than painting, in his letters home to the children and the housekeeper Skovgaard speaks differently of how hard he is working at his art: I am working rigorously both morning and afternoon. In the afternoon I have a boy called Petruvio to carry my paint case A painting from Subiaco seems very aptly to illustrate how Skovgaard probably painted all day long, while Marstrand went for walks and occasi onally stood behind Skovgaard to see his daily artistic yield, fig. 7. Perhaps this is the Petruvio whom Skovgaard mentions in the letters, standing on the left ready to carry the aging artist s case. Skovgaard makes many sketches of the surrounding landscape in his sketch books. From Subiaco we know a landscape sketch done from a high lookout point where an oval stone bench forms the foreground, while the top of a tower appears in the middle ground. 70 The same motif forms the point of departure for an oil study where the bench and the tower have been bathed in an atmospheric evening sun shining from behind cloud cover (5). However, the vantage point in the oil study is slightly higher than in the pencil drawing, so that the view of the hazy mountain peaks fades picturesquely and idyllically into the background. (5): Landscape near Subiaco. Sunset, Statens Museum for Kunst. 25

26 karina lykke grand Skovgaard s mood The style of painting in Skovgaard s Italian works has changed greatly since the last visit in the 1850s, since many of his works from the later tour have a slightly dreamlike, idyllizing appearance. The same is true of a number of his landscape paintings from Den mark, but a new style makes its appearance in earnest in Italy, privileging the hazy twilight over the cloudless, sunny sky, at the same time preferring to add beautiful cultu ral markers like a bench, a tower, etc. to the otherwise pristine landscape views. His aim is thus by no means to depict the industrial changes the landscape is undergoing, for example the railway lines projecting into the landscape. His works seem far more to shelter the viewer and the potential buyer from such progress, instead depicting a land scape that is a personally felt, beautiful memory, partly of his journey and partly of Georgia, who is no longer by his side. He has left Denmark in deep sorrow, and this mood suffuses the works like a spiritual tone. The rendering of the sky for example plays a greater role than it has done hitherto in Skovgaard s oeuvre, as it is now given an almost religious atmosphere that reminds us of the inscrutable ways of fate. The writing on the page supports the idea that Skovgaard is so afflicted by grief on the journey that he realizes that he will grieve as long as he lives: My dear sister. I feel a kind of need today to speak with some of my dear ones. And I choose you. I would however have preferred to send [a letter] to my children, but they do not understand me. Nor will I attempt to transfer any of my grief to them. That would be a shame. I hope they will remember their mother with love and joy at least the bigger ones not with sorrow. From the memories I cherish I suppose sorrow cannot be separated, although I know too that I shall spend the time Our Lord grants me and the energy He allows me to keep, as usefully as I can, and not wish myself in the grave before He so wills. But I wish so fervently that her memory and our whole blessed life together may be kept fresh for me, but the Lord knows whether it can ever be separated from grief and loss. 71 It is now clear that Skovgaard has considered it necessary to travel away from the children so as not to impose on them his own grief, which is so powerful. This is his motivation for travelling, and it becomes a theme he attempts to work with in Italy so he can cope with his role of parent again on his return to Denmark. 26

27 From Skovgaard s second journey to Italy there are also letters from the children to Skovgaard, all written in a very brave tone. They do not ask him to come home, or write that they cry themselves to sleep or the like. Their feelings for their father, on the other hand, come out very clearly in their greetings for example A kiss I am longing, or A loving kiss from your own In a letter, his 6-year-old daughter Susette Skovgaard ( ) writes that she has laid a wreath on her mother s grave, and that Skovgaard s sister Wilhelmine has told her that her father is thinking of her. 73 In a letter from Skovgaard, which thus crosses Susette s, he asks whether the children have laid a wreath on their mother s grave on the anniversary, when she would have been 41 years old. 74 And they have! At the start of November Skovgaard is back home in Østerbro, reunited with his family and more in harmony with himself. On his journey he has gathered enough pictorial material for many winters of memories and absorption in the Italian views that he never quite lets go of as subjects or memories. Skovgaard s journeys to Italy between dream and reality In different ways Skovgaard s two journeys abroad to Italy became turning-points in his artistic career. The first, crucial journey, which took place in , gave Skovgaard renewed energy and inspiration and new visions for an artistic programme that carried his career forward into history as Denmark s National-Romantic painter, with his feet firmly planted in the Golden Age. In Danish bourgeois disguise, the magnificent Italian figural tradition that he has just experienced seems to be fused with his native eye for landscape, and for finding exactly the views of the Danish countryside in which every Dane can feel at home. The special Golden Age tradition of depicting private, intimate views without human figures is combined by Skovgaard with National Romanticism s tradition of showing official, recognizable views with narrative and figurative elements. It is in Italy that the pieces of the jigsaw uniting the Golden Age and National Roman ticism fall into place, and where the balance between the landscape and the figure-rich subject is created and established in earnest. Back home in Denmark Skovgaard is established as a well-reputed and well paid artist with great success. The first journey to Italy thus means that Skovgaard develops his skills, gathers inspiration and becomes familiar with the great tradition. In subsequent years he remains artistically at a pinnacle of National-Romantic style. 27

28 karina lykke grand (6): View from Monte Pincio in Rome, Nivaagaards Malerisamling If Georgia and Skovgaard had not had children, he would probably have gone to Italy again at the beginning of the 1860s. There are indications that the thought had occurred to him, if Georgia and the children could go too, since in a curious series of pictures Skovgaard depicts himself, Georgia and their two sons in Rome (6), fig. 8 and fig. 9. The series consists of two works in panoramic format where the work on the right shows a procession with the Pope greeting a kneeling group, while the Skovgaard family have been added as spectators to the scenario in the left-hand work of the pair. Susette has not yet been born, so only the sons Joakim and Niels dressed in summer clothes and hats with brims are in the dream of Italy. In a while the Pope will pass them by, and then they too will kneel to him presumably. There is a sketch of the family group where one sees how Skovgaard has worked to get the expressions of the boys right, and how he has shown Georgia, fondly preparing little Niels to meet the Pope. Joakim is shown at full length in two places, since Skovgaard appears to have experi men ted with his posture (The artist, his Wife Georgia and the Sons Niels and Joakim). 75 The scenes in the two paintings both take place at Monte Pincio, from which there is a fantastic view of Rome and not least of St. Peter s, which is shown in both works. In a photo from the time taken down on the Piazza del Popolo with Monte Pincio high in the background we see how the area is green, and how large trees grow up on the terraced plateau, as in Skovgaard s works 76, fig. 10. After depicting the dream of getting the whole family to Italy, Skovgaard went to London and Paris for three months in In London he saw pictures from the great tradition, where Claude Lorrain in particular caught his eye. Another aim of the journey was to see contemporary art, and he had rich opportunities at the World Exhibition, where he was also represented by a couple of works. From correspondence between Skovgaard and Georgia it is clear that Skovgaard had doubts about his artistic merits in London in the encounter with other stylistic idioms in contemporary art. He was de spon dent and unclear about the direction in which he himself wanted to move. 77 It was probably after this journey that he decided to continue his career as a painter along the National-Romantic lines on which he had embarked, pursuing an artistic programme with naturalistic renderings of the landscape, its animals and its cultural traces. We also see that pictures from the Royal Deer Park with groups of stags appear in Skovgaard s repertoire of commissions in the subsequent period, and it is for these few pictures that Skovgaard is usually remembered by posterity. 28

29 fig. 8. P.C. Skovgaard, From Monte Pincio, n.d. Oil on canvas, cm. Unknown private owner. The work hangs at top left. According to information from Susette Holten, née Skovgaard, the work originally belonged to H.C. Aggersborg and had hung in his living room as an overdoor. B/w photograph from the exhibition at Charlottenborg in 1917 on the occasion of the cente nary of the birth of P.C. Skovgaard, Photo: Misfeldt Reklamefotografi fig. 9. P.C. Skovgaard, Monte Pincio. Sunset, Oil on canvas, cm. Unknown private owner. B/w photograph from the exhibition at Charlottenborg in 1917 on the occasion of the cente nary of the birth of P.C. Skovgaard, Photo: Misfeldt Reklamefotografi 29

30 karina lykke grand fig. 10. Fratelli Alessandri, Roma, Piazza del Popolo e ingresso del Monte Pincio, n.d. The progress in Skovgaard s artistic career continued until 1868, when Georgia s death brought all his creativity to an abrupt stop. Despairing over his whole life, Skov gaard went to Italy again in 1869, and this was a mental turning-point for him, after which he produced a number of beautiful, skilful views of Italian landscapes. The works from the late tour to Italy are often of a hazy, misty landscape type, which might suggest an influence from the many Claude Lorrain works he saw in London. On his journey in 1869 he found his feet again, and from his homecoming in the autumn of 1869 until his death in 1875 he created works in large formats with complex landscape structures where the inspiration from the Italian masters is mixed with the inspiration from Claude Lorrain. Skovgaard ended his career by producing a number of memory pictures from his travels in Italy, where he drew on the rich visual material he had collected on his two journeys there. Although Skovgaard only made two journeys to Italy in the real world, in his overall oeuvre a picture emerges of an artist who had been able to travel much more often in his dreams. His pictures with Italian subjects painted somewhere between reality, dream and memory show us that the travel pictures are far from only recording a particular physical journey abroad. Travelling was an experience that left its marks for life in Skovgaard s mind and on the painter s palette. 30

31 Notes 1. Switzerland was dropped as a destination as the journey proceeded. See letter from P.C. Skov gaard to H.C. Aggersborg, Milan, 18th July 1854, folder 36 no. 10 B, Skovgaard Museum Letter Archive: I have already long ago given up the Swiss tour... because I, or we I should say, cannot endure to travel so much. We have therefore decided to choose five places, and live there in relative calm, and familiarize ourselves a little with the place. [...] In the end the Swiss tour too was abandoned for financial reasons. 2. See letter from P.C. Skovgaard to H.C. Aggersborg, Milan 18th July 1854, folder 36 no. 10 B, Skov gaard Museum Letter Archive, where Skovgaard mentions their schedule, which includes a meet ing with Høyen. Skovgaard chooses to stick to their plan rather than deviate from it, so he must give up a meeting with H.C. Aggersborg, but this requires an explanation to his uncle: Through an error of the postal service we did not get your letter yesterday when we were at the post office, but only today. Yesterday on the other hand we received a letter from Høyen [...] The important thing about this is that we see, we know, that by following this plan, we will be able to stay for a while with Høyen in Naples in the first place, and thus also in Rome, and that is of great importance to me; I will benefit much more from seeing everything in his company, than from seeing them alone; I already expe rienced that benefit in Venice, and I believe too that I can sense from the letters that he longs to see me. 3. The Ministry for Church and Educational Affairs has notified the Academy that His Majesty the King, on 26th May this year, has been pleased to approve the choice of yourself to receive this year a travel grant amounting to 600 Rigsdaler... See letter from the Royal Danish Academy of Fine Arts/ H. Bissen to P.C. Skovgaard, Copenhagen 13th June 1854, folder 12, no. 40, Skovgaard Museum Letter Archive. 4. The Academy of Arts has paid to me your grant of 300 Rdl, which sum I keep at your disposal... See letter from H.C. Aggersborg to P.C. Skovgaard, Copenhagen 7th July 1854, folder 12, no. 32. Skovgaard Museum Letter Archive. 5. See letter from Gitte Høyen to Georgia Skovgaard in Venice, 20th June 1854, folder 12, no. 13, Skovgaard Museum Letter Archive, which mentions a letter sent from Copenhagen on 9th June and received in Italy on 19th June. See also letter from Cathrine Elisabeth Skovgaard to P.C. and Georgia Skovgaard, 28th July 1854, where she mentions that she has just received their letter, sent on 21st July from Parma (i.e. the letter from Parma to the mother in Copenhagen took 7 days). 6. See letter from P.C. Skovgaard to the Academy, draft, folder 12, no. 40, Skovgaard Museum Letter Archive, and letter from P.C. Skovgaard to H.C. Aggersborg, Milan 18th July 1854, folder 36, no. 10 B, Skovgaard Museum Letter Archive and further the letter from P.C. Skovgaard to Niels Alsing Aggersborg, 10th September 1854, Naples, folder 2, no. 19, Skovgaard Museum Letter Archive. 7. See letter from P.C. Skovgaard to the Academy, draft, folder 12, no. 40, Skovgaard Museum Letter Archive. 8. See letter from Frederik Krebs to P.C. Skovgaard, Læsø 3rd August 1854 to Naples, folder 81, no. 27, Skovgaard Museum Letter Archive. P.C. Skovgaard s letter to Krebs has not been preserved, so we only have Krebs reply. 9. See letter from H.C. Aggersborg to P.C. Skovgaard, Copenhagen 7th July 1854, folder 12, no. 32, Skovgaard Museum Letter Archive. 31

32 karina lykke grand 10. See letter from Grethe Marstrand to Georgia Skovgaard, Venice 19th July 1854, addressed to Livorno, Consul Dalgas, folder 38, no. 7b, Skovgaard Museum Letter Archive. 11. See letter from P.C. Skovgaard to H.C. Aggersborg, Milan 18th July 1854, folder 36 no. 10 B, Skov gaard Museum Letter Archive, and letter from P.C. Skovgaard to the Academy, draft, folder 12, no. 40, Skovgaard Museum Letter Archive. 12. J.L. Lund was in Italy in and again in , after which he returned to Denmark and became a professor at the Academy of Fine Arts. For information on Lund s study collection, see Hanne marie Ragn Jensen, J.L. Lunds tegninger fra Italien En studiesamling, pp , in Hannemarie Ragn Jensen, Solfrid Söderlind and Eva-Lena Bengtsson (eds.), Inspirationens skat kammer Rom og skandinaviske kunstnere i 1800-tallet, Museum Tusculanums Forlag, Copenhagen I am thinking in particular of the work A Beech Wood in May, which Skovgaard produced shortly after his return from Italy, and which seems to combine his abilities as a landscape painter with his newly discovered talents as a figure painter. 14. See letter from P.C. Skovgaard to the Academy, draft, folder 12, no. 40, Skovgaard Museum Letter Archive. 15. See letter to Raffenberg from Wilhelm Marstrand, Venice 4th June 1854, printed in Etatsraad Raffenberg, Wilhelm Marstrand, Breve og uddrag af Breve fra denne Kunstner. Samlede og led sagede med nogle indledende ord af Etatsraad Raffenberg, J.H. Schultz, Copenhagen 1880, p See letter to the painter Jørgen Roed from Wilhelm Marstrand, Venice, 17th July 1854, printed in Raffenberg, op. cit., p. 73. In the Skovgaard Museum Letter Archive there is no information on whether P.C. Skovgaard and Georgia are in Venice at the same time as N.L. Høyen and his wife, but it is likely that all three couples had occasion to meet at the Marstrands. From Marstrand s sketchbooks we have a small drawing, presumably from the summer of 1854, in which the three couples ride on donkeys in rural surroundings, but whether this is based on a real tour cannot be established further in the Museum s Letter Archive. 17. See letter from P.C. Skovgaard to H.C. Aggersborg, Milan 18th July 1854, folder 36 no. 10 B, Skovgaard Museum Letter Archive. 18. See letter from P.C. Skovgaard to the Academy, draft, folder 12, no. 40, Skovgaard Museum Letter Archive. 19. See letter from Grethe Marstrand to Georgia Skovgaard, dated Venice 29th June 1854, sent to Milan, folder 12, no. 6A, Skovgaard Museum Letter Archive. 20. See letter from Wilhelm Marstrand to P.C. Skovgaard, dated Venice 29th June 1854 to Milan, folder 12, no. 6B, Skovgaard Museum Letter Archive. 21. See letter from P.C. Skovgaard to H.C. Aggersborg, Milan, 18th July 1854, folder 36, no. 10 B, Skovgaard Museum Letter Archive. 22. P.C. Skovgaard, View from a Balcony of the Cathedral in Milan, 1870, owner unknown, reproduced in Kunsthallen s sale catalogue, no. 423, 1993, ill See letter from P.C. Skovgaard to his mother, Cathrine Elisabeth Skovgaard, 21st July 1854, Parma, folder 36, no. 10e, Skovgaard Museum Letter Archive. 24. On cholera in Naples: [...] I have seen in a newspaper that there [Naples] one must probably observe 7 days quarantine... See letter from P.C. Skovgaard to his mother, Cathrine Elisabeth Skovgaard, 21st July 1854, Parma, folder 36 no. 10e, Skovgaard Museum Letter Archive. [...] because of cholera in Naples... our stay here [in Livorno]... became much longer than originally intended, but now that the news is better from Naples, and if we do not want to ruin our travel schedule, it is quite necessary to depart... See letter from P.C. Skovgaard to Niels 32

33 Alsing Aggers borg (his grandfather), 10th September 1854, Naples, folder 2, no. 19, Skovgaard Museum Letter Archive. 25. I did not manage to write on the actual day... because in those days I had to paint early and late to finish the pictures I had begun at Seravezza. See letter from P.C. Skovgaard to Niels Alsing Aggers borg (his grandfather), 10th September 1854, Naples, folder 2, no. 19, Skovgaard Museum Letter Archive. 26. See letter from P.C. Skovgaard to Niels Alsing Aggersborg (his grandfather), 10th September 1854, Naples, folder 2, no. 19, Skovgaard Museum Letter Archive. 27. See The Gulf of Naples, painting, owner unknown, seen in b/w reproduction in picture box DAK 242 at the Art Library in Copenhagen. 28. See letter from P.C. Skovgaard to Niels Alsing Aggersborg (his grandfather), 10th September 1854, Naples, folder 2, no. 19, Skovgaard Museum Letter Archive. 29. See letter from Georgia Skovgaard to Cathrine Elisabeth Skovgaard, Skovgaard s mother, Naples 20th October 1854 and Friday 27th, Rome, folder 35, no. 9A, Skovgaard Museum Letter Archive. 30. See letter from H.C. Aggersborg to P.C. Skovgaard, Copenhagen 8th October and 15th October 1854, folder 12, no. 34 A-D, Skovgaard Museum Letter Archive. 31. See letter from Georgia Skovgaard to Cathrine Elisabeth Skovgaard, Skovgaard s mother, Naples 20th October 1854 and Friday 27th, Rome, folder 35, no. 9A, Skovgaard Museum Letter Archive and letter from Georgia Skovgaard to Wilhelmine Skovgaard, Rome, 29th October 1854, folder 36, no. 4B, Skovgaard Museum Letter Archive. 32. See letter from Leo U. Brion to P.C. Skovgaard, Copenhagen, 15th October 1854, folder 12, no. 26, Skovgaard Museum Letter Archive. 33. See letter from Leo U. Brion to P.C. Skovgaard, Copenhagen, 15th October 1854, folder 12, no. 26, Skovgaard Museum Letter Archive. 34. See letter from Christian Dalgas to Georgia Skovgaard, Livorno, 27th November 1854, folder 12, no. 5, Skovgaard Museum Letter Archive, and letter from Gertrude Muhle to Georgia Skovgaard, Aabenraa, 18th November 1854, folder 13, no. 14, Skovgaard Museum Letter Archive and letter from Miss Broe to P.C. Skovgaard, 6th January 1855, folder 12, no See letter from Georgia Skovgaard to Jørgine Nielsine Elenora Aggersborg, Rome, 18th January 1855, folder 2, no. 20, Skovgaard Museum Letter Archive. 36. See letter from Wilhelm Marstrand to P.C. Skovgaard, Charlottenborg, 23rd March 1855, folder 11, no. 20, Skovgaard Museum Letter Archive. 37. See letter from Wilhelm Marstrand to P.C. Skovgaard, Venice, 20th July 1854, folder 38, no. 7c, Skovgaard Museum Letter Archive. 38. See following letters from Constantin Hansen to P.C. Skovgaard: Copenhagen 25th July 1854, folder 11, no. 29; Copenhagen, 24th September 1854, folder 11, no. 31; Copenhagen, 27th November 54, folder 11, no. 32; Copenhagen, 31st January 1855, folder 11, no. 33 a and b, all from the Skovgaard Museum Letter Archive. Unlike P.C. Skovgaard, Constantin Hansen appears to have had difficulties selling his pictures, which influences his mood and not least his finances: Unfortunately I feel rather disgruntled... When I hardly had time, the commissions poured in, and now when I have time, they have dried up. See letter from Constantin Hansen to P.C. Skovgaard, Copenhagen, 27th November 54, folder 11, no. 32, Skovgaard Museum Letter Archive. 39. See letter from Constantin Hansen to P.C. Skovgaard, Copenhagen, 31st January 1855, folder 11, no. 33 a and b, Skovgaard Museum Letter Archive. 33

34 karina lykke grand 40. See letter from Wilhelm Marstrand to P.C. Skovgaard, Venice, 20th July 1854, folder 38, no. 7c, Skovgaard Museum Letter Archive. 41. See letter from P.C. Skovgaard to Jørgen Roed, 24th April 1872, folder 11, no. 24a-c, Skovgaard Museum Letter Archive. 42. See letter from Constantin Hansen to P.C. Skovgaard, Copenhagen, 31st January 1855, folder 11, no. 33 a and b, Skovgaard Museum Letter Archive. 43. [...] I will speak a little of politics as I understand that you miss not finding Fædrelandet on your table in the evening. See letter from H.C. Aggersborg to P.C. Skovgaard, 19th May 1854, folder 12, no. 27, Skovgaard Museum Letter Archive. 44. See letter from Frederik Krebs to P.C. Skovgaard, Læsø, 3rd August 1854, sent to Naples, folder 81, no. 27, Skovgaard Museum Letter Archive. 45. See letter from Carl Ploug to P.C. Skovgaard, 16th August 1854, Kridthuset, folder 12, no. 11a, Skovgaard Museum Letter Archive. 46. See letter from Carl Ploug to P.C. Skovgaard, 16th August 1854, Kridthuset, folder 12, no. 11a, Skovgaard Museum Letter Archive. 47. See letter from Elise Ploug to Georgia Skovgaard, 17th August 1854, Kridthuset, folder 12, no. 11b, Skovgaard Museum Letter Archive. 48. See letter from Birgitte Høyen to Georgia Skovgaard, 13th January 1855, folder 12, no. 20, Skov gaard Museum Letter Archive, where she describes their journey home via Vienna and through Ger many, and thanks Skovgaard and Ernst Hermann Freund for having accompanied them to the coach in Rome. 49. Høyen is acting as a guide for the couple Mr. and Mrs. Deichmann. 50. See letter from Rikke Vinter to Georgia Skovgaard, 13th February 1855, folder 38, no. 6, Skovgaard Museum Letter Archive. 51. See letter from Wilhelm Marstrand to P.C. Skovgaard, Charlottenborg, 34 23rd March 1855, folder 11, no. 20, Skovgaard Museum Letter Archive. 52. For example lectures given at the Society for Nordic Art, which he helped to found in See letter from Birgitte Høyen to Georgia Skovgaard, 13th January 1855, folder 12, no. 20, Skov gaard Museum Letter Archive. 54. See letter from Wilhelm Marstrand to P.C. Skovgaard, Charlottenborg, 23rd March 1855, folder 11, no. 20, Skovgaard Museum Letter Archive. 55. See for example Julius Lange, Landskabsmaleren P.C. Skovgaard, in Fremtidens Nytaarsgave, vol. 1, Copenhagen 1866; Knud Voss, Guldalderens malerkunst: dansk arkitekturmaleri , Nyt Nordisk Forlag, Copenhagen 1968; Kunstindeks Danmark for the information on P.C. Skovgaard s journey in with Høyen. 56. Sigurd Müller, Nyere Dansk Malerkunst. Et Billedværk, Copenhagen Julius Lange, Landskabsmaleren P.C. Skovgaard, in Fremtidens Nytaarsgave, vol. 1, Copen hagen The negative understanding and view of P.C. Skovgaard s Italian tour and its benefits are repeated by Henrik Bramsen in Landskabsmaleriet i Danmark : [...] the same is shown by his art after his journey, which undoubtedly had a rather banalizing effect on his vision. See Henrik Bramsen, Landskabsmaleriet i Danmark Stilhistoriske Hovedtræk, Nyt Nordisk Forlag, Copenhagen 1935, p Julius Lange, Landskabsmaleren P.C. Skovgaard, in Fremtidens Nytaarsgave, vol. 1, Copen hagen In Landskabsmaleriet i Danmark Henrik Bramsen repeats the statement that Høyen s advice was followed. Bramsen further stresses that the very fact that he followed Høyen s advice helped to ensure him a significant place in Danish landscape art. See Henrik Bramsen, Landskabsmaleriet i Danmark Stilhistoriske Hovedtræk, Nyt Nordisk Forlag, Copenhagen 1935, p. 104.

35 60. See correspondence between P.C. Skovgaard and Georgia Skovgaard from 1862 to and from London and later Paris, August-November, folder 5 and folder 7, various numbers, totalling 17 letters preserved from this journey. Property of the Skovgaard Museum Letter Archive. 61. The artists no longer play first violin in Rome as in the old days. Now far too many foreigners come here and the old life, which truly enough had its natural centre in Thorvaldsen and the other fellows, is quite gone. Settling down in Rome for an extended time, 4 to 5 years, as before, no longer exists; nor is it perhaps necessary, now that any country can perhaps better train its own artists that would at least be more natural. See letter from Wilhelm Marstrand to Thiele, Subiaco, 12th June 1869, printed in Etatsraad Raffenberg, Wilhelm Marstrand, Breve og uddrag af Breve fra denne Kunstner. Samlede og ledsagede med nogle indledende ord af Etatsraad Raffenberg, J.H. Schultz, Copenhagen 1880, p It pains me deeply that you suffer so much with your head; indeed you would probably really benefit from a journey abroad, but I fear to think you will travel so far from your children and everyone, but Our Lord will surely protect you and bring you safely home again... See letter from his sister Magdalene, 16th February 1869, folder 10, no. 63, Skovgaard Museum Letter Archive. 63. Now the journey to Rome approaches. I intend that we Skovgaard, Kittendorff and I will depart with the steamship for Lübeck at noon on Wednesday. See letter from Wilhelm Marstrand to Povl Marstrand, Copenhagen, 26th April 1869, printed in Etatsraad Raffenberg, Wilhelm Marstrand, Breve og uddrag af Breve fra denne Kunstner. Samlede og ledsagede med nogle indledende ord af Etatsraad Raffenberg, J.H. Schultz, Copenhagen 1880, p. 86. As for Skovgaard s travelling compa nions on the second journey to Italy, the basis for our knowledge of this in the literature about Skov gaard has hitherto been so slender that one often reads that the second journey was with Georgia; and indeed that he depicted himself and her on a visit to a museum. However, the picture may still be of Skovgaard and Georgia together, since there is at least one precedent where Skovgaard painted Georgia into a pic ture after her death. See Nina Damsgaard (ed.), Rejsebilleder: romantikkens tegninger, Vejle Museum of Art, Vejle Marstrand will be home by October. I may not come home until November. See letter from P.C. Skovgaard to Wilhelmine Skovgaard, 15th June 1869, folder 37, no. 14 a-b. 65. See letter from P.C. Skovgaard to his sister Wilhelmine Skovgaard, Subiaco, 15th June See letter from P.C. Skovgaard to his sister Wilhelmine Skovgaard, Subiaco, 15th June See letter from Wilhelm Marstrand to Thiele, Olevano, 7th September 1869, printed in Etatsraad Raffen berg, Wilhelm Marstrand, Breve og uddrag af Breve fra denne Kunstner. Samlede og ledsagede med nogle indledende ord af Etatsraad Raffenberg, J.H. Schultz, Copenhagen 1880, pp See letter from Wilhelm Marstrand to Thiele, Subiaco, 12th June 1869, printed in Etatsraad Raffen berg, Wilhelm Marstrand, Breve og uddrag af Breve fra denne Kunstner. Samlede og ledsagede med nogle indledende ord af Etatsraad Raffenberg, J.H. Schultz, Copenhagen 1880, p See letter from P.C. Skovgaard to Miss Rønne and the children, Subiaco 1869, folder 37, no. 15, Skov gaard Museum Letter Archive. 70. Sketchbook opening, pencil on paper, inscr. at bottom Fr. Benedetto ved Subiaco 20 Juni 1869, property of ARoS Aarhus Museum of Art. 35

36 karina lykke grand 71. See letter from P.C. Skovgaard to Wilhelmine Skovgaard, 15th July 1869, folder 37, no. 16, Skov gaard Museum Letter Archive. 72. See letter from Joakim Skovgaard to P.C. Skovgaard, Rosenvænget, 3rd May 1869, folder 9, no. 11 and letter from Niels Skovgaard to P.C. Skovgaard, 4th August 1869, folder 9, no. 16, Skovgaard Museum Letter Archive. 73. See letter from Susette Cathrine Skovgaard, later married Holten, to P.C. Skovgaard, Rosen vænget, 15th July 1869, folder 9, no. 15, Skovgaard Museum Letter Archive. 74. See letter from P.C. Skovgaard to the children, 28th September 1869, folder 37, no. 17, Skovgaard Museum Letter Archive. 75. Drawing, 1861, property of ARoS Aarhus Museum of Art 76. There is yet another work from Monte Pincio where the left-hand part of the panorama picture series is repeated in half-size in Here Skovgaard depicts the section where two ecclesiastics stand enjoying the view from Monte Pincio with two boys on their right. In the version from 1865, Monte Pincio, Sunset, Rome, the boys stand on the left, and according to the art historian Carl V. Petersen they are the artist s two sons. See Carl V. Petersen, Italien i dansk malerkunst, Eckersberg og hans kreds, Gads forlag, Copenhagen The painting was exhibited at Charlottenborg in 1917 on the occasion of the centenary of P.C. Skovgaard s birth, no. 322, and belonged in 1917 to the firm V. Winkel og Magnussen (ill. 18). 77. See correspondence between P.C. Skovgaard og Georgia Skovgaard from 1862 to and from Lon don and later Paris, August-November, folders 5 and 7, various numbers. A total of 17 letters are preserved from this journey. Property of Skovgaard Museum Letter Archive. Literature unpublished sources Skovgaard Museum Letter Archive, various unpublished letters. published sources Bramsen, Henrik: Landskabsmaleriet i Danmark Stilhistoriske Hovedtræk, Nyt Nordisk Forlag, Copenhagen 1935 Damsgaard, Nina (ed.): Rejsebilleder: romantikkens tegninger, Vejle Museum of Art, Vejle 1993 Jensen, Hannemarie Ragn, Solfrid Söderlind and Eva-Lena Bengtsson (eds.); Inspi ra tionens skatkammer Rom og skandinaviske kunstnere i 1800-tallet, Museum Tuscu lanums Forlag, Copenhagen 2003 Lange, Julius; Landskabsmaleren P.C. Skovgaard, in Fremtidens Nytaarsgave, vol. 1, Copenhagen 1866 Müller, Sigurd: Nyere Dansk Malerkunst. Et Billedværk, Copenhagen 1884 Petersen, Carl V: Italien i dansk malerkunst, Eckersberg og hans kreds, Gads forlag, Copenhagen 1932 Raffenberg, Etatsraad: Wilhelm Marstrand, Breve og uddrag af Breve fra denne Kunstner. Samlede og ledsagede med nogle indledende ord af Etatsraad Raffenberg, J.H. Schultz, Copenhagen 1880 Voss, Knud: Guldalderens malerkunst: dansk arkitekturmaleri , Nyt Nordisk Forlag, Copenhagen

37 this on-line publication P.C. Skovgaard The Danish Golden Age Reassessed is an English edition of P.C. Skovgaard Dansk guldalder revurderet Acta Jutlandica. Humanistisk Serie 2010/8 Fuglsang Kunstmuseum, Skovgaard Museet & Aarhus Universitetsforlag 2010 Editors: Gertrud Oelsner and Karina Lykke Grand Co-editor: Iben Overgaard Editor of P.C. Skovgaard The Danish Golden Age Reassessed Susanne Bangert Fuglsang Kunstmuseum & The Skovgaard Museum 2012 Cover image: P.C. Skovgaard, View across the Sea from Taleren. The Cliffs at Møn (detail) Oil on canvas, cm. Private owner. Photo: Ole Akhøj Design: Carl-H.K. Zakrisson, Polytype P.C. Skovgaard Dansk guldalder revurderet Printed in Denmark 2010 issn (Acta Jutlandica) issn (Humanistisk Serie 2010/8) isbn Published as companion to the exhibition Wonderful Denmark: P.C. Skovgaard The Golden Age reasssessed (Danmark dejligst: P.C. Skovgaard guldalderen revurderet) fuglsang kunstmuseum 17th September nd January 2011 Nystedvej 71 dk-4891 Toreby l. the skovgaard museum 14th January th May 2011 Domkirkestraede 2-4 dk-8800 Viborg Exhibition: Gertrud Oelsner, Karina Lykke Grand and Iben Overgaard 37