89-596: Grønningen is a Danish artists cooperative whose members arrange exhibitions and similar events. Founded in 1915, it is one of the oldest and most important groupings of its kind in Denmark and currently has 54 members. It is named after the street Grønningen in Copenhagen where the first art exhibition was held. Initially, it brought together artists interested in radical and experimental art who had been members of Den Frie Udstilling ("The Free Exhibition"). Most prominent in
178-715: A Neoclassical sculptor trained in Italy and France, who had followed his father as court sculptor, and is remembered for his memorials and garden decorations including the monument of King Frederick V in Roskilde Cathedral and the Naval Monument in Holmens Cemetery. The first painter to lead it was the Swedish-born Carl Gustaf Pilo (c. 1711 – 1793), a portraitist and history painter in the grand style, and
267-777: A World Heritage Site while still alive. Bjarke Ingels whom the Wall Street Journal in October 2011 named the Innovator of the Year for architecture and, in July 2012, cited him as "rapidly becoming one of the design world's rising stars" in light of his extensive international projects. The most significant museums for Danish art are: and others in Category:Art museums and galleries in Denmark . Gundestrup cauldron The Gundestrup cauldron
356-419: A decorated round medallion in the centre of the interior. All the other plates are heavily decorated with repoussé work, hammered from beneath to push out the silver. Other techniques were used to add detail, and there is extensive gilding and some use of inlaid pieces of glass for the eyes of figures. Other pieces of fittings were found. Altogether it weighs just under 9 kilograms (20 lb) . While
445-526: A dominant and hegemonic role. Agreeing with this area of production, determined by the art style, is the fact that the Not only does the Gundestrup cauldron enlighten us about this coin-driven art style, where the larger-metalwork smiths were also the mint-masters producing the coins, but the cauldron also portrays cultural items, such as swords, armor, and shields, found and produced in this same cultural area, confirming
534-467: A fire-gilding technique was not used on the Gundestrup cauldron. The gilding appears to have instead been made by mechanical means, which explains the function of closely spaced punch marks on the gilded areas. An examination of lead isotopes similar to the one used on the silver was employed for the tin. All of the samples of tin soldering are consistent in lead-isotope composition with ingots from Cornwall in western Britain . The tin used for soldering
623-598: A number of light-filled landscapes while living on a farm in Odsherred in north-western Zealand . Harald Giersing (1881–1927) was instrumental in developing the classic modernism movement in Denmark around 1910–1920. Vilhelm Lundstrøm (1893–1950), one of the greatest modernists, brought French cubism to Denmark. He is remembered for his still-life paintings with oranges and for cubistic scenes with nudes. His later work developed into much looser modern art with contrasting colours and form. Richard Mortensen (1910–1993)
712-418: Is a richly decorated silver vessel , thought to date from between 200 BC and 300 AD, or more narrowly between 150 BC and 1 BC. This places it within the late La Tène period or early Roman Iron Age . The cauldron is the largest known example of European Iron Age silver work (diameter: 69 cm (27 in); height: 42 cm (17 in)). It was found dismantled, with the other pieces stacked inside
801-559: Is depicted on outer plate f , which is adjacent and opposite to plate E . Both Olmsted and Taylor agree that the female of plate f might be Rhiannon of the Mabinogion . Rhiannon is famous for her birds, whose songs could "awaken the dead and lull the living to sleep" . In this role, Rhiannon could be considered the Goddess of the Otherworld. Taylor presents a more pancultural view of
890-456: Is generally agreed that the Gundestrup cauldron was the work of multiple silversmiths. Using scanning electron microscopy, Benner Larson has identified 15 different punches used on the plates, falling into three distinct tool sets. No individual plate has marks from more than one of these groups, and this fits with previous attempts at stylistic attribution, which identify at least three different silversmiths. Multiple artisans would also explain
979-560: Is in the National Museum of Ireland , and several are in France, including the Musée gallo-romain de Fourvière at Lyon and the Musée d'archéologie nationale at Saint-Germain-en-Laye . Since the cauldron was found in pieces, it had to be reconstructed. The traditional order of the plates was determined by Sophus Müller , the first of many to analyze the cauldron. His logic uses the positions of
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#17328908682781068-639: Is more tentatively thought to be Taranis , the solar or thunder "wheel-god" named by Lucian and represented in a number of Iron Age images; there are also many wheels that seem to have been amulets . The many animals depicted on the cauldron include elephants , a dolphin , leopard -like felines, and various fantastic animals, as well as animals that are widespread across Eurasia , such as snakes, cattle, deer, boars and birds. Celtic art often includes animals, but not often in fantastic forms with wings and aspects of different animals combined. There are exceptions to this, some when motifs are clearly borrowed, as
1157-525: Is much less a feature of Danish art history than that of France, England or other countries. A student of Abildgaard's period at the Academy was Bertel Thorvaldsen (1770–1844), by far the most famous Danish sculptor, who along with the Italian Canova was recognised across Europe as the leading Neoclassical sculptor. Among his works are the colossal series of statues of Christ and the twelve Apostles for
1246-450: Is named (the only source for the name) on the 1st-century Gallo-Roman Pillar of the Boatmen , where he is shown as an antlered figure with torcs hanging from his antlers. Possibly the lost portion below his bust showed him seated cross-legged as the figure on the cauldron is. Otherwise there is evidence of a horned god from several cultures. The figure holding the broken wheel in plate C
1335-423: Is not complete, and now consists of a rounded cup-shaped bottom making up the lower part of the cauldron, usually called the base plate, above which are five interior plates and seven exterior ones; a missing eighth exterior plate would be needed to encircle the cauldron, and only two sections of a rounded rim at the top of the cauldron survive. The base plate is mostly smooth and undecorated inside and out, apart from
1424-522: Is now remembered mainly for his subdued paintings of interiors, usually empty spaces (as in Dust Motes Dancing in Sunbeams ) but occasionally with a solitary figure. Danish expressionist landscape painting developed between the world wars with Jens Søndergaard and Oluf Høst as its main representatives. In parallel, younger artists such as Niels Lergaard , Lauritz Hartz and Karl Bovin adopted
1513-622: Is presented in much later literature in Celtic languages from the British Isles . Others regard the latter interpretations with great suspicion. Much less controversially, there are clear parallels between details of the figures and Iron Age Celtic artifacts excavated by archaeology. Other details of the iconography clearly derive from the art of the ancient Near East , and there are intriguing parallels with ancient India and later Hindu deities and their stories. Scholars are mostly content to regard
1602-516: Is represented by the Golden Horns of Gallehus , now known only from drawings since they were stolen and melted down in 1802, and significant deposits from weapons sacrifice such as that at Illerup Ådal , where 15,000 items were found, deposited during the period 200–500. Danish sites have given their names to two of the six main styles of Viking or Norse art , Jelling style (10th century) and its successor Mammen style (10-11th centuries), though
1691-531: Is usually considered as part of the wider Nordic art of Scandinavia . Art from what is today Denmark forms part of the art of the Nordic Bronze Age , and then Norse and Viking art . Danish medieval painting is almost entirely known from church frescos such as those from the 16th-century artist known as the Elmelunde Master . The Reformation greatly disrupted Danish artistic traditions, and left
1780-615: The Grande Arche at La Défense in Puteaux , near Paris . Prolific Henning Larsen designed the Foreign Ministry building in Riyadh , as well as a variety of prestige buildings throughout Scandinavia , including the recently completed Copenhagen Opera House . Jørn Utzon 's iconic Sydney Opera House earned him the distinction of becoming only the second person to have his work recognized as
1869-741: The Louisiana Museum north of Copenhagen and at the North Jutland Art Museum in Aalborg . The National Museum of Art and the Glyptotek , both in Copenhagen, contain treasures of Danish and international art. On the occasion of her 50th birthday in 1990, Queen Margrethe II decided to use a gift from industry of 13 million Danish crowns to produce a series of tapestries tracing the history of Denmark from
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#17328908682781958-466: The Royal Danish Academy of Fine Arts in 1754 followed the general European pattern, and was intended to develop a national school and reduce the need to import artists from other countries. After a period of development its pupils were indeed to lead the creation of a distinct Danish style. After an architect, the third and fifth Director was Johannes Wiedewelt (1772–1777) and from (1780-1789),
2047-478: The iconography derive from the Near East . Hospitality on a large scale was probably an obligation for Celtic elites, and although cauldrons were therefore an important item of prestige metalwork, they are usually much plainer and smaller than this. This is an exceptionally large and elaborate object with no close parallel, except a large fragment from a bronze cauldron also found in Denmark, at Rynkeby ; however
2136-432: The "base plate"), and two fragments of tubing stacked inside the curved base. In addition, there is a piece of iron from a ring originally placed inside the silver tubes along the rim of the cauldron. It is assumed that there is a missing eighth plate because the circumference of the seven outer plates is smaller than the circumference of the five inner plates. A set of careful full-size replicas have been made. One
2225-624: The 1940s, abstract art was introduced by Richard Mortensen and Egill Jacobsen . The annual exhibitions are now held in the Charlottenborg Exhibition Hall and feature key foreign artists. Art of Denmark Danish art is the visual arts produced in Denmark or by Danish artists. It goes back thousands of years with significant artifacts from the 2nd millennium BC, such as the Trundholm sun chariot . For many early periods, it
2314-759: The Celtic tribe known as the Scordisci commissioned the cauldron from native Thracian silversmiths. According to classical historians, the Cimbri , a Teutonic tribe, went south from the lower Elbe region and attacked the Scordisci in 118 BC. After withstanding several defeats at the hands of the Romans, the Cimbri retreated north, possibly taking with them this cauldron to settle in Himmerland , where
2403-579: The Celts in battle and Trajan's Column , and a few pieces are known from archaeology, their number greatly increased by finds at Tintignac in France in 2004. Another detail that is easily matched to archaeology is the torc worn by several figures, clearly of the "buffer" type, a fairly common Celtic artefact found in Western Europe, most often France, from the period the cauldron is thought to have been made. Other details with more tentative Celtic links are
2492-598: The Church of Jesus Christ of Latter-day Saints has made much use of Carl Bloch's paintings, especially those from the Frederiksborg Palace collection, in its church buildings and printed media. Edvard Eriksen (1876–1959) is best known as the sculptor of the bronze Little Mermaid statue in Copenhagen . Based on the story by Hans Christian Andersen , he completed the work in 1913. In 1871, Holger Drachmann (1846–1908) and Karl Madsen (1855–1938) visited Skagen in
2581-689: The Irish Manannán , a god of the sea and the Otherworld . Another possibility is the Gaulish version of Apollo , who was not only a warrior, but one associated with springs and healing besides. Olmsted relates the scenes of the cauldron to those of the Táin Bó Cuailnge , where the antlered figure is Cú Chulainn , the bull of the base plate is Donn Cuailnge , and the female and two males of plate e are Medb , Ailill , and Fergus . Olmsted also toys with
2670-473: The Near East. On several of the exterior plates the large heads, probably of deities, in the centre of the exterior panels, have small arms and hands, either each grasping an animal or human in a version of the common Master of Animals motif, or held up empty at the side of the head in a way suggesting inspiration from this motif. Apart from Cernunnos and Taranis, discussed above, there is no consensus regarding
2759-615: The Skagen community. A little later, at the very beginning of the 20th century, a similar phenomenon developed on the island of Funen with the encouragement of Johannes Larsen (1867–1961) and the inspiration of Theodor Philipsen . Fynboerne or the Funen Painters included: Peter Hansen , Fritz Syberg , Jens Birkholm , Karl Schou , Harald Giersing , Anna Syberg , Christine Swane and Alhed Larsen . Theodor Philipsen (1840–1920) through his personal contact with Paul Gauguin became
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2848-595: The agreement between art style and metal analysis. If as Olmsted (2001) and Hachmann (1990) suggest, the Veneti also produced the silver phalerae, found on the Isle of Sark , as well as the Helden phalera, then there are a number of silver items of the type exemplified by the Gundestrup cauldron originating in northwest France, dating to just before the Roman conquest . Nielsen believes that
2937-513: The base, in 1891, in a peat bog near the hamlet of Gundestrup in the Aars parish of Himmerland , Denmark ( 56°49′N 9°33′E / 56.817°N 9.550°E / 56.817; 9.550 ). It is now usually on display in the National Museum of Denmark in Copenhagen , with replicas at other museums; it was in the UK on a travelling exhibition called The Celts during 2015–2016. The cauldron
3026-624: The basis of the permanent exhibition at the Bornholm Art Museum near Gudhjem . Painters of nature and everyday life such as Erik Hoppe and Knud Agger initiated the highly successful Grønningen association which provided a platform for exhibitions in Copenhagen . Sigurd Swane (1879–1973) was initially influenced by the work of the Fauves in Paris when he began a series of paintings of woodlands rich in greens, yellows and blues. He later painted
3115-524: The beginnings to the present day. Woven by the historic Manufacture des Gobelins in Paris, the tapestries were based on full-sized sketches by the versatile Danish artist Bjørn Nørgaard . Completed in 1999, they now hang in the Great Hall at Christiansborg Palace Following in the footsteps of Arne Jacobsen , Denmark has had some outstanding successes in contemporary architecture. Johann Otto von Spreckelsen , relying on simple geometrical figures, designed
3204-427: The bowl, but instead formed part of the decorations of a wooden cover. The gold can be sorted into two groups based on purity and separated by the concentration of silver and copper. The less pure gilding , which is thicker, can be considered a later repair, as the thinner, purer inlay adheres better to the silver. The adherence of the overall gold is quite poor. The lack of mercury from the gold analysis suggests that
3293-546: The boy riding a dolphin is borrowed from Greek art, and others that are more native, like the ram-headed horned snake who appears three times on the cauldron. The art of Thrace often shows animals, most often powerful and fierce ones, many of which are also very common in the ancient Near East, or the Scythian art of the Eurasian steppe , whose mobile owners provided a route for the very rapid transmission of motifs and objects between
3382-534: The case. Interior scenes, often small portrait groups, are also common, with a similar treatment of humble domestic objects and furniture, often of the artist's circle of friends. Little Danish art was seen outside the country (indeed it mostly remains there to this day) and the Danish-trained leader of German Romantic painting Caspar David Friedrich was important in spreading its influence in Germany. A crucial figure
3471-478: The cauldron's source metals have been traced to the Black Sea region, and depicts elephants, the cauldron should no longer be considered [strictly] Celtic . The decorated medallion on the circular base plate depicts a bull. Above the back of the bull is a female figure wielding a sword; three dogs are also portrayed, one over the bull's head and another under its hooves. Presumably all of these figures are in combat;
3560-494: The civilizations of Asia and Europe. In particular, the two figures standing in profile flanking the large head on exterior plate F , each with a bird with outstretched wings just above their head, clearly resemble a common motif in ancient Assyrian and Persian art , down to the long garments they wear. The figure is usually the ruler, and the wings belong to a symbolic representation of a deity protecting him. Other plates show griffins borrowed from Ancient Greek art of that of
3649-467: The countryside, and objects excavated in modern times. Lurs are a distinctive type of giant curving Bronze Age horn, of which 35 of the 53 known examples have been found in bogs in Denmark, very often in pairs. They are normally made of bronze, and often decorated. A possibly alien find in Denmark is the Gundestrup cauldron , a richly decorated silver vessel , thought to date to the 1st century BC. It
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3738-554: The course of the 19th and 20th centuries. Of most interest to Danish art are the Gothic paintings from the 15th and 16th centuries as they were painted in a style typical of native Danish painters. Adopting the Biblia pauperum approach, they present many of the most popular stories from the Old and New Testaments in typological juxtapositions. Danish panel painting and painted wood-carving of
3827-706: The driving force behind the Cobra group where he excelled in ceramics but also continued to paint in oils. Danish design became of international importance in the decades after World War II, especially in furniture, where it pioneered a style sometimes known as Danish modern . The style is a forerunner of the general Scandinavian Design style later popularized and mass-produced by IKEA for example. Important designers in Danish modern include Finn Juhl (1912–1989), Hans Wegner (1914–2007) and Arne Jacobsen (1902–1971). Collections of modern art enjoy unusually attractive settings at
3916-423: The early years were artists such as Harald Giersing , Sigurd Swane , Olaf Rude , William Scharff , Fritz Syberg and Johannes Larsen . They were soon joined by Vilhelm Lundstrøm , Svend Johansen , Axel Salto , Jens Søndergaard , Niels Lergaard , Erik Hoppe , Christine Swane , Astrid Noack and Gottfred Eickhoff . Later came Erik Werner , Eiler Krag , Ib Spang Olsen , Lars Bo and Bo Bojesen . During
4005-613: The end of the period painting style, especially in landscape art, became caught up in the political issue of the Schleswig-Holstein Question , a vital matter for Danes, but notoriously impenetrable for most others in Europe. Danish painting continued many of the characteristics of the Golden Age, but gradually moved closer to styles of the rest of Europe, especially Germany. Artists include: Elisabeth Jerichau-Baumann (1819–1881)
4094-567: The exceptional wetland deposits in Scandinavia have produced a number of objects of types that were probably once common but where other examples have not survived. It has been much discussed by scholars, and represents a fascinatingly complex demonstration of the many cross-currents in European art, as well as an unusual degree of narrative for Celtic art , though we are unlikely ever to fully understand its original meanings. The Gundestrup cauldron
4183-491: The existing body of painters and sculptors without large markets. The requirements of the court and aristocracy were mainly for portraits, usually by imported artists, and it was not until the 18th century that large numbers of Danes were trained in contemporary styles. For an extended period of time thereafter art in Denmark either was imported from Germany and the Netherlands or Danish artists studied abroad and produced work that
4272-504: The fact that some of her husband's sculptures were erotic in nature. Carl Heinrich Bloch (1834–1890) was a rare Danish history painter , mostly of Biblical subjects, who developed his academic style in Italy before returning to Copenhagen in 1866. He was commissioned to produce 23 paintings for the Chapel at Frederiksborg Palace consisting of scenes from the life of Christ which have become very popular as illustrations. For over 40 years
4361-535: The far north of Jutland where they quickly built up one of Scandinavia's most successful artists' colonies . They were soon joined by P.S. Krøyer (1851–1909), Carl Locher (1851–1915), Laurits Tuxen (1853–1927), the Norwegian Christian Skredsvig (1854–1924) and Michael (1849–1927) and Anna Ancher (1859–1935). All participated in painting the natural surroundings and local people. The symbolist Jens Ferdinand Willumsen (1863–1958) also visited
4450-459: The first time since the Middle Ages; the period lasted until the middle of the 19th century. It has a style drawing on Dutch Golden Age painting , especially its landscape painting , and depicting northern light that is soft but allows strong contrasts of colour. The treatment of scenes is typically an idealized version of reality, but unpretentiously so, appearing more realist than is actually
4539-408: The former as motifs borrowed purely for their visual appeal, without carrying over anything much of their original meaning, but despite the distance some have attempted to relate the latter to wider traditions remaining from Proto-Indo-European religion . Among the most specific details that are clearly Celtic are the group of carnyx players. The carnyx war horn was known from Roman descriptions of
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#17328908682784628-567: The fragments of paint which remained on the original. Church wall paintings (Danish: kalkmalerier ) are to be found in some 600 churches across Denmark, probably representing the highest concentration of surviving church murals anywhere in the world. Most of them date back to the Middle Ages . They lay hidden for centuries as after the Reformation in Denmark , they were covered with limewash (Danish: kalk ) only to be revealed and restored during
4717-467: The highly variable purity and thickness of the silver. The silverworking techniques used in the cauldron are unknown from the Celtic world, but are consistent with the renowned Thracian sheet-silver tradition. The scenes depicted are not distinctively Thracian, but certain elements of composition, decorative motifs, and illustrated items (such as the shoelaces on the antlered figure) identify it as Thracian work. Taylor and Bergquist have postulated that
4806-607: The idea that the female figure flanked by two birds on plate f could be Medb with her pets or Morrígan , the Irish war goddess who often changes into a carrion bird. Olmsted sees Cernunnos as Gaulish version of Irish Cu Chulainn . As Olmsted indicates, the scene on the upper right of plate A , a lion, a boy on a dolphin, and a bull, can be interpreted after the origin of the bulls of the Irish Táin , who take on various matched animal forms, fighting each other in each form, as indicated in
4895-759: The late Middle Ages was mostly by, or heavily influenced by, the prevailing North German styles, especially those of Hamburg and other Hanseatic cities. At the Protestant Reformation religious painting virtually ceased, and for a long period the most notable portraits of the royal family were made by foreign artists, such as Hans Holbein the Younger 's portrait of Christina of Denmark . Albrecht Dürer 's portrait of her father Christian II of Denmark , painted in Brussels in 1521, has not survived, though portraits of him by other foreign artists have. The establishment of
4984-414: The light French colours and formalism of modernism , founding the Corner group of artists in 1932. Around the same time, Edvard Weie , the Swedish artist Karl Isakson , Olaf Rude , Kræsten Iversen , Oluf Høst and Niels Lergaard were attracted by the natural beauty of the Baltic islands of Bornholm and the much smaller Christiansø . Together they initiated the so-called Bornholm School providing
5073-526: The long swords carried by some figures, and the horned and antlered helmets or head-dresses and the boar crest worn on their helmet by some warriors. These can be related to Celtic artefacts such as a helmet with a raptor crest from Romania , the Waterloo Helmet , Torrs Pony-cap and Horns and various animal figures including boars, of uncertain function. The shield bosses, spurs and horse harness also relate to Celtic examples. The antlered figure in plate A has been commonly identified as Cernunnos , who
5162-441: The next Nikolaj Abraham Abildgaard (1743–1809), himself an ex-student, who developed a Neo-Classical style. Leading Danish artists teaching at the Academy included Christian August Lorentzen and Jens Juel , also later Director. Unlike in England, for example, most leading Danish artists for at least the next century trained at the Academy and often returned to teach there, and the tension between academic art and other styles
5251-429: The order cannot be determined from the solder alignments. His argument is that the plates are not directly adjacent to each other, but are separated by a 2 cm gap; thus, the plates in this order cannot be read with certainty as the true narrative, supposing one exists. However, Larsen indicates, not only did his study vindicate the order for the inner plates established, by Muller, Klindt-Jensen, and Olmsted, but
5340-430: The order of the outer plates is also established by the rivet holes, the solder alignments, and the scrape marks. The Gundestrup cauldron is composed almost entirely of silver, but there is also a substantial amount of gold for the gilding, tin for the solder and glass for the figures' eyes. According to experimental evidence, the materials for the vessel were not added at the same time, so the cauldron can be considered as
5429-425: The other figures, and many scholars reject attempts to tie them in to figures known from much later and geographically distant sources. Some Celticists have explained the elephants depicted on plate B as a reference to Hannibal's crossing of the Alps . Because of the double-headed wolfish monster attacking the two small figures of fallen men on plate b , parallels can be drawn to the Welsh character Manawydan or
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#17328908682785518-406: The other styles are also represented in Denmark. Only one Danish ship burial is known, from Ladbyskibet. The images on the runestones at Jelling are probably the best known Danish works of the period. Although little of their original paint remains today, copies of the largest stone in the National Museum of Denmark and in the museum at Jelling have been redecorated in vivid colours based on
5607-399: The peat gradually grew over it. The manner of stacking suggested an attempt to make the cauldron inconspicuous and well-hidden. Another investigation of Rævemose was undertaken in 2002, concluding that the peat bog may have existed when the cauldron was buried. The cauldron was found in a dismantled state with five long rectangular plates, seven short plates, one round plate (normally called
5696-420: The period, though the business has outlasted the great majority of such factories, and survives today as part of a larger group, which also includes the Kosta Glasbruk glass company, founded in 1742 by two army officers, and the Orrefors Glasbruk (founded 1898), all known internationally. Around the beginning of the 19th century the Golden Age of Danish Painting emerged to form a distinct national style for
5785-409: The plate, and the medallion is considered the most accomplished part of the cauldron in technical and artistic terms. Each of the seven exterior plates centrally depicts a bust. Plates a , b , c , and d show bearded male figures, and the remaining three are female. For many years, some scholars have interpreted the cauldron's images in terms of the Celtic pantheon, and Celtic mythology as it
5874-435: The plates and bowl together, as well as the glass eyes, is very uniform in its high purity. Finally, the glass inlays of the Gundestrup cauldron have been determined through the use of X-ray fluorescence radiation to be of a soda-lime type composition. The glass contained elements that can be attributed to calcareous sand and mineral soda, typical of the east coast of the Mediterranean region. The analyses also narrowed down
5963-458: The product of a fusion of cultures, each inspiring and expanding upon one another. In the end, based on accelerator datings from beeswax found on the back of the plates, Nielsen concludes that the vessel was created within the Roman Iron Age. However, an addendum to Nielson's article indicates that results from the Leibniz Lab on the same bee's wax dated some 400 years earlier than reported in his article. According to Ronald Hutton , because
6052-413: The production time of the glass to between the second century BC and first century AD. The workflow of the manufacturing process consisted of a few steps that required a great amount of skill. Batches of silver were melted in crucibles with the addition of copper for a subtler alloy. The melted silver was cast into flat ingots and hammered into intermediate plates. For the relief work, the sheet-silver
6141-419: The question of origin is the wrong one to ask and can produce misleading results. Because of the widespread migration of numerous ethnic groups like the Celts and Teutonic peoples and events like Roman expansion and subsequent Romanization, it is highly unlikely that only one ethnic group was responsible for the development of the Gundestrup cauldron. Instead, the make and art of the cauldron can be thought of as
6230-412: The rebuilding of Vor Frue Kirke in Copenhagen. Motifs for his works (reliefs, statues, and busts) were drawn mostly from Greek mythology , but he also created portraits of important personalities, as in his tomb monument for Pope Pius VII in St Peter's Basilica, Rome . His works can be seen in many European countries, but there is a very large collection at the Thorvaldsen Museum in Copenhagen. He
6319-446: The relatively mild nature of the Danish Reformation , and the lack of subsequent extensive rebuilding and redecoration of churches, has meant that with other Scandinavian countries, Denmark has unusually rich survivals of medieval church paintings and fittings. One period when Nordic art exerted a strong influence over the rest of northern Europe was in Viking art, and there are many survivals, both in stone monuments left untouched around
6408-533: The scene with warriors on the lower part of Plate E as a Gaulish version of the "Aided Fraich" episode of the Táin where Fraich and his men leap over the fallen tree, and then Fraech wrestles with his father Cu Chulainn and is drowned by him, while his magic horn blowers play "the music of sleeping" against Cu Chulainn. In the "Aided Fraich" episode, Fraich's body is then taken into the underworld by weeping banchuire to be healed by his aunt and wife Morrigan. This incident
6497-450: The sole Danish impressionist of his generation. L. A. Ring (1854–1933), famous for his involvement in Danish symbolism , specialised in paintings of village life and landscapes in the south of Zealand . Paul Gustave Fischer (1860–1934) was a romantic impressionistic painter specialising in city street scenes and bright bathing compositions. Vilhelm Hammershøi (1864–1916) was considered something of an enigma in his lifetime but
6586-422: The third dog, located beneath the bull and near its tail, seems to be dead, and is only faintly shown in engraving , and the bull may have been brought down . Below the bull is scrolling ivy that draws from classical Greco-Roman art. The horns of the bull are missing, but there is a hole right through the head where they were originally fitted; perhaps they were gold. The head of the bull rises entirely clear of
6675-422: The trace solder located at the rim of the bowl. In two cases, a puncture mark penetrating the inner and outer plates also helps to establish the order. In its final form, the plates are arranged in an alternation of female-male depictions, assuming the missing eighth plate is of a female. Not all analysts agree with Müller's ordering, however. Taylor has pointed out that aside from the two cases of puncturing,
6764-680: The two lions fighting on the lower right of plate A . Plate B could be interpreted after a Gaulish version of the beginning of the Irish Táin , where Medb sets out to get the Donn bull after making a circuit around her army in her chariot to bring luck to the Táin . Olmsted interprets the scene on plate C as a Gaulish version of the Irish Táin incidents where Cu Chulainn kicks in the Morrigan 's ribs when she comes at him as an eel and then confronts Fergus with his broken chariot wheel. Olmsted (1979) interprets
6853-516: The vessel was found in Denmark, it was probably not made there or nearby; it includes elements of Gaulish and Thracian origin in the workmanship, metallurgy , and imagery. The techniques and elements of the style of the panels relate closely to other Thracian silver, while much of the depiction, in particular of the human figures, relates to the Celts , though attempts to relate the scenes closely to Celtic mythology remain controversial. Other aspects of
6942-619: The vessel was found. According to Olmsted (2001) the art style of the Gundestrup cauldron is that utilized in Armorican coinage dating to 75–55 BCE , as exemplified in the billon coins of the Coriosolites . This art style is unique to northwest Gaul and is largely confined to the region between the Seine and the Loire , a region in which, according to Caesar, the wealthy sea-faring Veneti played
7031-402: The work of artisans over a span of several hundred years. The quality of the repairs to the cauldron, of which there are many, is inferior to the original craftsmanship. Silver was not a common material in Celtic art, and certainly not on this scale. Except sometimes for small pieces of jewellery, gold or bronze were more usual for prestige metalwork. At the time that the Gundestrup cauldron
7120-519: Was Christoffer Wilhelm Eckersberg , who had studied in Paris with Jacques-Louis David and was further influenced towards Neo-Classicism by Thorwaldsen. Eckersberg taught at the Academy from 1818 to 1853, becoming director from 1827 to 1828, and was an important influence on the following generation, in which landscape painting came to the fore. He taught most of the leading artists of the period, including: Among other artists, C.A. Jensen (1792–1870) specialized almost exclusively in portraits. At
7209-535: Was an important surrealistic painter, inspired by Wassily Kandinsky . He was a joint founder of the " Linien " group of artists and also a member of the Grønningen group. His later expressionist works exhibit large, clear, brightly coloured surfaces. Asger Jorn (1914–1973) was a Danish artist, sculptor, writer and ceramist. Looking for inspiration outside Denmark, he traveled widely. After meeting artists such as Constant Nieuwenhuys , Appel and Dotremont , he became
7298-417: Was annealed to allow shapes to be beaten into high repoussé ; these rough shapes were then filled with pitch from the back to make them firm enough for further detailing with punches and tracers. The pitch was melted out, areas of pattern were gilded, and the eyes of the larger figures were inlaid with glass. The plates were probably worked in a flat form and later bent into curves to solder them together. It
7387-527: Was based in Rome for many years, and played an important role in encouraging young Danish artists spending time in the city. Another important Neoclassicist produced by the Academy was the painter Asmus Jacob Carstens , whose later career was all spent in Italy or Germany. The establishment in 1775 of the Royal Copenhagen Porcelain Factory was another royal initiative, typical of monarchies in
7476-501: Was born in Żoliborz (Jolibord) a borough of Warsaw but moved to Denmark when she married Danish sculptor Jens Adolf Jerichau in 1846. She is best known for her portraits and was commissioned by the Danish Royal Family to paint their portraits to the annoyance and jealousy of local artists. The mild eroticism of a few of her paintings was looked upon unfavourably by many at the time but she remained aloof, perhaps reassured by
7565-405: Was created, silver was obtained through cupellation of lead / silver ores. From comparisons of the concentration of lead isotopes with the silver work by other cultures, it seems that the silver came from multiple ore deposits, mostly from Celtic northern France and western Germany in the pre- Roman period. Lead isotope studies also indicate that the silver for manufacturing the plates
7654-411: Was discovered by peat cutters in a small peat bog called "Rævemose" (near the larger " Borremose " bog) on 28 May 1891. The Danish government paid a large reward to the finders, who subsequently quarreled bitterly amongst themselves over its division. Palaeobotanical investigations of the peat bog at the time of the discovery showed that the land had been dry when the cauldron was deposited, and
7743-430: Was found in 1891 in a peat bog near the hamlet of Gundestrup in north-eastern Jutland. The silversmithing of the plates is very skilled. Now in the National Museum of Denmark , it is the largest known example of European silver work from the period. The style and workmanship suggest Thracian origin, while the imagery seems Celtic , so it may not reflect local styles. The Germanic Iron Age period of about 400-800 AD
7832-423: Was prepared by repeatedly melting ingots and/or scrap silver. Three to six distinct batches of recycled silver may have been used in making the vessel. Specifically, the circular "base plate" may have originated as a phalera , and it is commonly thought to have been positioned in the bottom of the bowl as a late addition, soldered in to repair a hole. By an alternative theory, this phalera was not initially part of
7921-534: Was seldom inspired by Denmark itself. From the late 18th century on, the situation changed radically. Beginning with the Danish Golden Age , a distinct tradition of Danish art began and has continued to flourish until today. Due to generous art subsidies, contemporary Danish art has a big production per capita. Though usually not especially a major centre for art production or exporter of art, Denmark has been relatively successful in keeping its art; in particular,
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