P. C. Skovgaard (b. Ringsted 1817, d. Copenhagen 1875)
Purchased by P.C. Skovgaard Museet in March 2022.
In the outskirts of a forest near Nysø with a view across an open field. Unsigned. Dated Nysö 14. Aug. 1868. Oil on canvas laid on canvas. 43×62 cm.
Provenance: The collection of consul general Johan Hansen, 1917 no. 694, 1927 no. 1576, and 1931 no. 1751, his auctions, part VI, Winkel & Magnussen 131, 1933 no. 180, reproduced p. 27.
After the passing of Skovgaard’s wife Georgia in 1868, he and their children spent most of the summer at Nysø Manor. Christine Stampe, who together with her husband was one of the most significant patrons of the Danish Golden Age, was Georgia’s aunt. Hence, the Skovgaard family often visited the couple at their picturesque home.
The present painting is executed nearly a month after Georgia’s death on 15 July 1868. It is easy to imagine, that the densely wooded area overlooking the wide-open fields had been a special place for the couple. The scene contains elements of darkness – characterised by the dense woodland, but also of light – in the shape of the open fields on the other side of the fence. When painting the scene, Skovgaard has placed himself in the darkness, but he is looking out towards the light and the future – or maybe the afterlife, which his wife has already gone to.
"With regard to the influence that his private life had on his artistic expression, the idyllic scenes were pushed in a more melancholic direction after the death of his wife in 1868. The number of moonlit and nocturnal scenes grew larger in the following years, and in one instance, he even incorporated his deceased wife Georgia (1828–1868) in one of his idyllic landscapes”. (Peter Nørgaard Larsen in: Gertrud Oelsner et. Al. (ed.), ”P. C. Skovgaard – Dansk guldalder revurderet”, pp. 342–43). Skovgaard completed the painting mentioned in this quote on 15 August 1868 at Nysø – the day after he painted the present work. That painting depicts Georgia with their daughter Susette (1863–1937) and their sons Niels (1858–1938) and Joakim (1856–1933). The scene becomes melancholic with the presence of Georgia who has been painted posthumously. This form of melancholy, however, seems to be absent from the present painting. Instead, the prevalent moods in this scene are of tranquillity and serenity. There is something calming and familiar about this woodland, and it is easy to imagine it being a form of sanctuary for Skovgaard - where he could keep the memories of his beloved wife alive.
Provenance added: 16–02-2022.
Please note: The item is subject to the Anti-Money Laundering Act. In the event of a hammer price of DKK 50,000 or more, including buyer’s premium, the buyer must submit a copy of a valid photo ID and proof of address in order to collect the item.
Paintings & drawings, 1 March 2022