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compositions. He helped develop a unique Danish art form and sensibility. He had a deep sympathy for the Danish landscape and its uniqueness, especially
Denmark's beloved beech forests. Animal life and locals that belonged to the land populated these landscapes. He studied nature diligently, and tried to portray it faithfully, yet ideally, and with a love of his country. He was a master of composition, and in his later works he developed an increasing interest in portraying atmosphere and light. The scale of his paintings was a breakthrough in Danish art.
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But landscape painting soon took the better part of his interest and attention. And with this focus he became recognised for his talents in truthfully and ideally depicting the nature of
Denmark, based on careful study and on artistic and technical skills and training. He painted numerous paintings
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He occasionally painted portraits. These skillful works include paintings of his family and children, of fellow artists such as
Lundbye (1841), of friends such as Amelie Elisabeth Freunds (1860), H. E. Freunds' wife, and of society's important people such as N.F.S. Grundtvig (1847), whom Skovgaard
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Instead of seeking a travel stipend from the
Academy, Skovgaard chose to follow his friend Høyen's advice and continue to develop his craft in Denmark using Danish landscapes as his subject matter. In the years to follow he traveled around in northern Sjælland every summer to do studies, which he
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Skovgaard is primarily known for his landscape paintings, and for the special role he played in portraying
Denmark's nature; not the spectacular but the ordinary and typical. He mastered both the smaller formats with realistic, impasto depictions of nature and bigger, monumental and detailed
198:(View to Frederiksværk from Tisvilde Forest). This work distinguishes itself clearly from those landscapes painted by his contemporaries both by the harsh wildness of the subject matter, and by its dark moodiness. This was also atypical of his later work, which was much more peaceful.
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where his father earned his living as a grocer. Already as a young child he impressed his family with his artistic abilities. His mother, who had studied art under flower painter
Claudius Ditlev Fritsch, gave him instructions in drawing until he was confirmed and could be sent to
392:(A Summer Day in Dyrehave; a Thunderstorm has Passed and the Sun Comes Out Again), two paintings considered among his most important and harmonious works. The latter was his last large work, and was an important study example of his technique for his students.
300:(Country Road near Vognserup Estate) painted in 1849. The latter was painted in memory of his friend Lundbye, who died in early 1848. After 1850 he developed a monumental form of expression that held great importance for the following generation of artists.
212:(On the Outskirts of Vejby Village, Lundbye Sits at the Side of the Road and Draws) painted in 1843 shows Lundbye at work. Lundbye and Skovgaard spent the summer of 1943 together in the area around Vejby. Another well-known work from this same period is
483:(1828-1868) in 1851. She was the daughter of professor J.F. Schouw, botanist and politician, and was also an artist. She is primarily known for her embroideries, many of which were based on drawings by the leading artists of the day, including Lundbye,
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At first
Skovgaard painted more than just landscapes; he also painted portraits, interiors with figures, as well as watercolor illustrations of Hans Christian Andersen's adventure tales, that are now in The Royal Engraving Collection
253:(The Old Oak Tree with Stork Nest in the North Forest near Jægerspris), which also came into the Danish Royal Painting Collection. This painting shows a strong development in his landscape painting abilities. In 1844 he exhibited
133:, Academy professor, former Director and long-standing rival of Lund, although not Skovgaard's teacher, played an influential role by encouraging and arranging field studies for Academy students to paint outdoors, including to
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He painted portraits of each of his three children between 1871 and 1874. His work was exhibited in the World's
Exhibition in Paris in 1878 and 1889, and at the international Art Exhibition in Vienna in 1882.
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P. C. Skovgaard died on 13 April 1875 in
Copenhagen at the age of 58. A religious man, he died quickly after suffering another apoplexy attack as he came out of church with his children. He was buried in
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in 1862 along with Høyen; his work was exhibited at the World's
Exhibition in London that year. He was accepted as member of the Academy in 1864. He traveled again to London and Paris in 1866.
129:, Thorald Læssøe, Dankvart Dreyer and Lorens Frølich; and the many evenings he spent with other young artists at sculptor and Academy professor Herman Ernst Freunds' fashionable house.
238:(View from Møns Klint), which features the island's unique, monumental white chalk cliffs. He depicted Møns Klint from various angles. The painting is in the collection of local
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During the 1840s he traveled around the country painting views of the landscape, often with friend and contemporary artist Lundbye. One of the landscapes from his home town
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268:(View Over Lake Skarrit), which came into the National Collection, as the Danish Royal Painting Collection came to be known around this time. He also exhibited
113:. More advantageous to him, he felt, were the time he spent learning craft painting; the time he spent visiting the Danish Royal Painting Collection, now the
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in and around Vejby, his family's home area, in these early years, and he showed many different influences before developing his own assured style.
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is dedicated to the artistic production of the entire Skovgaard family. A number of paintings by P. C. Skovgaard are in the museum's collection.
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He started his training at the Academy in 1831. He did not think much of this training or of that under private lessons starting in 1836 with
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to farmer Tham Masmann Skovgaard and his wife Cathrine Elisabeth. The family had to leave the farm when he was six years old. They moved to
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His work has been shown both in Denmark and internationally in numerous exhibitions of Danish art, and especially art representative of the
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He was recognized as Denmark's foremost landscape painter, and received many orders for his works. He particularly enjoyed painting at
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That same year he exhibited at Charlottenborg and received the established art world's recognition by winning the Neuhausen prize (
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In 1836 he started at the Academy's School of Model Painting, and exhibited at Charlottenborg for the first time. His painting
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Another Danish national romantic landscape painters of his generation, in addition to lifelong friend J.T. Lundbye, was
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His art production and academic career had a large influence on landscape painting's future in Denmark.
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He traveled out of the county with a stipend from the Academy first in 1854. He spent the winter in
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then reworked as large paintings in his studio every winter. These have resulted in such works as
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En Sommerdag i Dyrehaven; et Tordenvejr er trukket forbi og Solen atter kommen frem
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272:(View at the Edge of Tisvilde Forest), which was purchased by Høyen's Art Union.
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With the attention and encouragement of such highly regarded contemporaries as
257:(View of Sjælland's Coast by Droningemøllen, Stormy Spring Day) also known as
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144:(Moonlight Piece with Motif from Langebro) was purchased by Crown Prince
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Parti af Sjællands Kyst ved Dronningemøllen, Foraarsdag med uroligt Vejr
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His works are in the collection of many Danish museums including the
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He is considered one of the leading landscape painters of the 1800s.
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I udkanten af landsbyen Vejby, Lundbye sidder ved vejkanten og tegner
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landscape painter. He is one of the main figures associated with the
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His wife died in 1868, and shortly afterwards he suffered a case of
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In 1860 he became titular professor at the Academy. He traveled to
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261:(The Stream's Outflow), which also came into the royal collection.
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642:(in Danish). Kunstindeks Danmark & Weilbachs Kunstnerleksikon
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Shortly after his homecoming in 1855 he painted his well-known
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In 1845 he won the Artists Exhibition Medallion for his large
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Det gamle Egetræ med Storkereden i Nordskoven ved Jægerspris
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and is now in the collection of the Copenhagen City Museum.
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388:(A Forest Lake, Summer Evening) and in 1874
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186:In 1837 and 1838 the Copenhagen Art Union (
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621:"Peter Christian Skovgaard (1817-1875)"
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270:Parti ved Udkanten af Tisvilde Skov
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78:Det Kongelige Danske Kunstakademi
28:Peter Christian Thamsen Skovgaard
814:19th-century Danish male artists
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400:The results of a fruitful life
230:That same year he traveled to
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420:Golden Age of Danish Painting
40:Golden Age of Danish Painting
789:19th-century Danish painters
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315:(Evening by the Farm Pond).
194:) purchased the large scale
481:Georgia Marie Louise Schouw
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192:Den kongelige Malerisamling
157:Christian Jürgensen Thomsen
117:and studying the classical
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216:(Oat Field near Vejby).
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662:"Joachim Frederik Schouw"
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435:Hirschsprung Collection
319:Travel to foreign lands
98:Training at the Academy
23:P. C. Skovgaard (1870s)
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758:Categories
532:References
259:Åens Udløb
225:Møns Klint
223:View from
168:N.L. Høyen
104:J. L. Lund
70:Copenhagen
30:(known as
286:Dyrehaven
63:in north
51:Childhood
515:See also
375:apoplexy
359:forest.
309:Hellebæk
108:romantic
65:Sjælland
57:Ringsted
646:3 March
605:21 July
451:Horsens
469:Viborg
453:, and
447:Aarhus
437:, the
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364:London
333:Venice
368:Paris
357:beech
325:Italy
119:Dutch
61:Vejby
723:2021
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455:Ribe
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