Christoffer Wilhelm Eckersberg | Neoclassical painter

Having won the Great Grand Prize for painting awarded by the Royal Danish Academy in 1809, the Danish painter Christoffer Wilhelm Eckersberg (1783-1853) set out from Copenhagen the following year with Rome as his ultimate destination.

He spent three years in Paris along the way, including one year as a pupil of the foremost European painter of the era, Jacques-Louis David.

Eckersberg was arguably David's most important foreign follower.

Absorbing both his austere Neoclassical idealism and his admonition never to stray from nature, the master's teachings prepared him for Rome as well as his subsequent career as a mentor to younger painters.

Eckersberg was to become the most influential figure of the Golden Age of Danish painting.

His impact was felt throughout Scandinavia and northern Germany until about 1850.

Eckersberg in Rome

In Rome between 1813-1816, Eckersberg produced a series of urban prospects remarkable for their scrupulously simple compositions and saturated hues.

These studies were painted in repeated sittings before the motif in order to faithfully reproduce the effects of the Mediterranean sun on architectural ensembles.

In June 1814, Eckersberg noted in his diary the purchase of a portable painter’s box and the repair of his camp stool, for use in painting out of doors.

On July 23, 1814, the artist wrote to the German-Danish engraver Johan Frederik Clemens (1749-1831):

"I intend to make a collection of the most beautiful of the many picturesque parts of Rome and the surrounding area. I have been working on them throughout the spring. I have already almost half a score of small sketches finished, all of which were completed on the spot after nature.

I limit myself especially to architectural things". | © The Metropolitan Museum of Art

Christoffer Wilhelm Eckersberg | A Section of the Via Sacra, Rome (The Church of Saints Cosmas and Damian), 1814-1815 | The Metropolitan Museum of Art

In Rome, between 1813-1816, Eckersberg produced a series of urban prospects remarkable for their scrupulously simple compositions and saturated hues.

These studies were painted in repeated sittings before the motif in order to faithfully reproduce the effects of the Mediterranean sun on architectural ensembles.

This frieze-like view depicts the fourth-century Temple of Romulus and Remus, which forms the vestibule of the sixth-century Church of Saints Cosmas and Damian.

Eckersberg later installed his Roman views in the apartment he occupied at Charlottenborg Palace, Copenhagen, where they proved a revelation to his younger contemporaries. | The Metropolitan Museum of Art

Dopo aver vinto il Gran Premio per la pittura assegnato dalla Royal Danish Academy nel 1809, il pittore neoclassico Danese Christoffer Wilhelm Eckersberg (1783-1853) partì da Copenaghen l'anno successivo con Roma come destinazione finale.

Trascorse tre anni a Parigi, di cui un anno come allievo del più importante pittore europeo dell'epoca, Jacques-Louis David.

Eckersberg era probabilmente il più importante seguace straniero di David.

Assorbendo sia il suo austero idealismo neoclassico sia il suo monito a non allontanarsi mai dalla natura, gli insegnamenti del maestro lo prepararono per Roma così come per la sua successiva carriera di mentore di pittori più giovani.

Eckersberg doveva diventare la figura più influente dell'Età d'Oro della pittura Danese. Il suo impatto si fece sentire in tutta la Scandinavia e nella Germania settentrionale fino al 1850 circa.

Eckersberg a Roma

A Roma tra il 1813-1816, Eckersberg produsse una serie di prospetti urbani notevoli per le loro composizioni scrupolosamente semplici e le tinte saturate.

Questi studi sono stati dipinti in ripetute sedute davanti al motivo per riprodurre fedelmente gli effetti del sole mediterraneo sugli insiemi architettonici.

Nel giugno 1814, Eckersberg annotò nel suo diario l'acquisto di una scatola da pittore portatile e la riparazione del suo sgabello da campo, per l'uso nella pittura all'aperto.

Il 23 luglio 1814 l'artista scriveva all'incisore tedesco-danese Johan Frederik Clemens (1749-1831):

"Intendo fare una raccolta della più bella delle tante parti pittoresche di Roma e dintorni.

Ci ho lavorato per tutta la primavera. Ho già finito quasi mezza ventina di piccoli schizzi, che sono stati tutti completati sul posto secondo la natura. Mi limito soprattutto alle cose architettoniche". | © The Metropolitan Museum of Art