Johan Thomas Lundbye

Johan Thomas Lundbye, self-portrait from 1841.

Johan Thomas Lundbye (born September 1, 1818 in Kalundborg , † April 26, 1848 near Bedstedt ) was a Danish painter.

Life and family

Lundbye grew up in the town of Kalundborg on Zealand . His brother Carl Lundbye made a military career and was Danish Minister of War 1863-64. Johan Thomas Lundbye studied painting at the Copenhagen Art Academy from 1832 under Johann Ludwig Lund (he received private tuition from him, as did Christian Holm ). In 1836 he sold his first painting to the Copenhagen Art Association, and more in 1838. In 1839 Bertel Thorvaldsen bought a picture of him. In the same year he met his great (unrequited) love, Louise Marie Neergard. In 1840 he painted various portraits of his friend Lorenz Frølich. In 1841 he described himself as a "melancholic, sitting in front of the stove". In 1842 the Danish King Christian VIII bought his painting “Zealand Landscape” (cf. Madsen, 1895, p. 87); Lundbye started writing diaries. The large paintings “The Goose Tower in Vordingborg” and “A Danish Coast” were created in 1842/43 (the latter in turn was bought by the Danish king). “A cowshed in Vejby” was painted in 1843, and one of the most famous works of this period is the “Cowshed in a farm” (cf. Madsen, 1895, p. 134 f.). In 1844 he fell in love again: in vain. He painted in Northwest Zealand, and that already since 1838: With a picture of the Arresee he achieved the “breakthrough” in 1838 (cf. Madsen, 1895, p. 51 ff., P. 58 and a.), He painted among other things at his Uncle in Vallekilde and rural scenes in Vognserup. In 1843 he painted again in Northwest Zealand (cf. Madsen, 1895, p. 130 ff.). In March 1845 he received a travel scholarship from the art academy, and in June he left for Italy. - In 1847 he painted again in Vognserup; he fell in love with Georgia Schouw (secret engagement). In April 1848 he volunteered for military service in the army. On April 25, 1848, he died from a stray bullet: He only had a little more than ten years of intense artistic creation!

Lundbye, like his close friend PC Skovgaard , belonged to the last generation of the so-called Golden Age of Danish painting, which came to an end with the civil war for the Duchy of Schleswig in 1848/50. Lundbye became famous above all for his landscapes and his animal studies, whereby he was increasingly influenced by the increasing national romanticism. Assignments to epochs usually cause problems: Madsen (1895, p. 47) even calls him a “thoroughbred romantic”, but at the same time an “honest naturalist”. Above all, Lundbye wanted to paint “dear Denmark”, “det kjære [kære] Danmark”, and arouse and strengthen patriotic feelings with his paintings. Some legends have grown up around his tragic death (hit by a stray bullet from a comrade on the way to the front).

• Pictures by Johan Thomas Lundbye
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The painter's father was Colonel and Head of the Missile Corps, Joachim Theodor Lundbye (* 1778; † 1841), and he married Cathrine (Trine) Bonnevie (* 1792; † 1863) in Kalundborg (Northwest Zealand) in 1810 . The grandfather was a respected customs officer in Kalundborg ; Lundbye adored him (and lovingly portrayed him in November 1846) and became the 'famous son of town' himself; The relationship with the strict father was strained. Lundbye was the third oldest in a group of seven brothers. The eldest, Carl or CC Lundbye (* 1812, † 1873), was a soldier (artillery officer, colonel and twice minister of war, who played a highly unfortunate role in the 1864 war; see above: Carl Christian Lundbye). The next, Emanuel Andreas Lundbye (* 1814; † 1903), was major in the 1864 war, most recently head of the Army Officers School in Copenhagen, Frederiksberg Castle. In 1872 he married Ida Comtesse Petersdorff ( Petersdorff (noble families) ) (* 1836, † 1895), and from this, his second marriage, further descendants come. Theodor Louis Lundbye (* 1816, † 1907) was a landowner with many descendants who did not join the military. After the painter, the next Siegvard urn was Rosenvinge Lundbye (* 1820, † 1864), captain and battalion commander; he fell on April 18, 1864 on the Düppeler Schanzen . Honoratus Rudolph Lundbye (* 1821, † 1888) was a lawyer and, among other things, a railway official. The youngest of the brothers, Joachim Emil Lundbye (* 1826; † 1897), was a lieutenant in 1848 and was wounded in Mysunde in 1850. He left the military as a captain and company chief and was with the railroad and post office until 1896. Among his descendants is the Danish author Vagn Lundbye (* 1933; † 2016; see literature, 2008).

Lundbye's attachment to the mother is remarkable; his deep affection was for her, she sometimes protected him from the rudeness of the brothers who wanted to play 'soldier'. Lundbye lost his father in 1841 (cf. Madsen, 1895, p. 84); In 1842 he shared an apartment with his mother in Copenhagen (cf. Madsen, 1895, p. 98). Lundbye was (secretly) engaged to Georgia Schouw (* 1828; † 1868), who married his closest friend PC Skovgaard in 1851 (after Lundbye's death; see Tegninger & Huletanker , 1998, pp. 79 - 90) (see above).

Lundbye at work: I udkanten af ​​landsbyen Vejby, Lundbye sidder ved vejkanten og tegner ( On the edge of the village of Vejby, Lundbye sits by the roadside and draws ; painting by PC Skovgaard, 1843)

A (one-sided) love for Louise Neergård, which "flared up brightly" in 1842 (Ostenfeld, 1977, p. 25) increased Lundbye's depressive disposition.

1848

After the beginning of the military conflict over the Duchy of Schleswig in the spring of 1848, Lundbye volunteered for the Danish troops (cf. in detail Tegninger & Huletanker , 1998, pp. 91-120 with many illustrations). However, he did not go to the front because he was killed by a gunshot wound in an accident near Bedstedt. There has been repeated speculation that his death was suicide, but that has no support in the sources. The tragedy of his untimely death was apparently explained by the signs of depression some gleaned from his last pictures, letters, and diaries, and this was apparently confirmed by a medical doctoral thesis by Ib Ostenfeld (1937), a distant relative who noted "slight signs" of manio-depressive states. Others called him, besides HC Andersen and Kierkegaard, “deeply depressed” and a “failed genius”; however, he painted “the most balanced and serene Danish landscapes”.

His grave in Bedsted ( Bedsted Sogn (Tønder Kommune) ) is tended by the municipality, one of the streets in the municipality bears his name. His mother, who wanted to visit the grave, died when she was eighty on the way there in Aabenraa and was buried next to him in Bedsted in 1863. There are monuments to Lundbye in Bedsted, at the garrison church in Copenhagen and in Kalundborg in front of the cathedral. In the latter place, the modern and large-format bronze head is also reminiscent of the monument of the "brave soldier", which Herman Wilhelm Bissen created for the city of Fredericia in 1849 and which is modeled on the appearance of Lundbye. Two streets in Danish cities bear the name of "Johan Thomas Lundbye", namely in Aalborg and in Copenhagen (each in quarters with the names of painters and artists); a path in Bedsted is named after him.

The painter's nephew, the Danish engineer Johan Thomas Lundbye (* 1874, † 1951), has the same name , and there is a Johan-Thomas-Lundbye-Weg in Flensburg-Weiche , which is named after him.

plant

Golden age

Lundbye is considered to be one of the main characters of the "[Danish] Golden Age" in the period from around 1815 to 1848, which corresponds to the German Biedermeier period , but in Danish wants to emphasize the high quality of the visual arts of that time. It is also the time of the sculptor Bertel Thorvaldsen (* 1770, † 1844), whom Lundbye and his contemporaries revered (Lundbye draws Thorvaldsen in 1843). While the older generation of painters were students of Christoffer Wilhelm Eckersberg (but they also included Lundbye's close friends Lorenz Frølich and Christen Købke , and the latter was connected to Thorvaldsen with his Italian experience), the younger “Copenhagen School” painted with Lundbye with her teacher Johann Ludwig Lund , who formed a counterpoint to Eckersberg. Eckersberg loved perspective and his pictures are 'realistic'; for Lundbye, the motif in nature was rather the starting point for a relatively freely designed, own composition. He took some details for his paintings 'after nature' from studies and sketches elsewhere. For example his famous 'national romantic' painting “Gåsetårnet i Vordingborg” (The Goose Tower in V., 1842; SMK), often analyzed and interpreted, is composed meticulously down to the smallest detail. The aim for him was to paint “dear Denmark” in sometimes idealized form (Lundbye had never seen the goose tower in Vordingborg himself, he used a watercolor by Skovgaard as a template - he painted this picture for Skovgaard's uncle; cf. Madsen, 1895, p . 90, Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, p. 13, and Svenningsen: Seks år af et liv , 2018, p. 65). With the rural scenes he was basically 'realistic' as well. And where he did not rely on sketches, he could rely on an excellent visual memory ( Tegninger & Huletanker , 1998, p. 15). Lundbye painted and drew incessantly; since he was mostly penniless, often on bad paper.

Drawings, animals and life in the country

From Frølich he learned the technique of pen drawing ( Tegninger & Huletanker , 1998, p. 17); with him he shared a love of ornament (ditto p. 23). The sketches and drawings are among the best of their kind and were created in nature, while the paintings were often, as was customary at the time, composed later in the studio. Motives from home such as B. coastal stretches, hilly landscapes (especially those of his home in Northwest Zealand) and scenes from rural life (stables, cows in the pasture, etc.) were (after nature) often with symbols of home such. B. combined with a barrow and should depict "dear Denmark" in an exaggerated manner. On the other hand, Lundbye's work was new in some ways - "Lundbye brought a new sound to the art of the Golden Age" (Poulsen, 1961, p. 4) - and one of his large paintings with a cowshed as a motif attracted attention by the reality of the representation . Critics said admiringly in front of the picture that it would "stink". Lundbye was also not afraid to paint a heap of dung: nothing rural was alien to him, and he loved the view of rural life at which other people wrinkled their noses. In later years his monogram was an interlinked ITL [Johann Thomas Lundbye] with the year; many drawings can only be dated by assigning them to his important diaries. In his youth and on his early works, he signed with runes in a national romantic way. He loved 'Nordic'. On the other hand, his trip to Italy was a disappointment for him, and he was constantly homesick for his "beloved Denmark". He created the figure of Nisse [Christmas elf, actually a troll and inhabitant of a burial mound or a helping house ghost] as his alter ego - Lundbye calls him “Sindre” (on this “hill troll” cf. in detail Tegninger & Huletanker , 1998, p. 40 - 78, and many other illustrations, pp. 300 - 332) and gave it its appearance, an appearance that has shaped this lovable, very 'Danish' and Christmassy dwarf figure to this day. Lundbye's “Sindre” also moaned in Italy: “Oh God, when I think of my friends in Copenhagen, how freezing cold is life in warm Italy.” Letters were exchanged with friend Lorenz Frølich; Lundbye told him he would be amazed at his crazy "huletanker" (cave thoughts).

Artist friends and portraits

Lundbye was and is characterized as the inspiring core of an artist group of his contemporaries, especially Skovgaard, Frølich, Købke (eight years older), Jens Adolf Jerichau and Thorald Læssøe. The painter and the family were friends with Hans Vilhelm Kaalund (* 1818; † 1885), and the painter illustrated his Fabler for Børn (fables for children, 1845 [see: literature]) with lovable line drawings (e.g. a woodcut of the dog [based on Lundbyes's pen drawing for Kaalund], who watches the boat sailing away on the quay). By the age of 19 Lundbye was a fully trained artist (Madsen, 1895, p. 12). Many of Lundbye's drawings and paintings are portraits of family members and friends - and self-portraits that document him in a differentiated and often self-critical manner. The painter was extremely well-read in Danish literature, loved Old Norse, read Kierkegaard, listened to the sermons of Nikolai Frederik Severin Grundtvig (with whose son Svend he later became friends; see Svenningsen: Seks år af et liv , 2018, p. 76; to NFS Grundtvig cf. Madsen, 1895, p. 44 f.), Read the historical novels by Bernhard Severin Ingemann (cf. Svenningsen, p. 116), allowed himself to be drawn from the strict art historian NL Høyen (Niels Laurits Andreas Høyen; * 1798; † 1870), who opened his eyes to 'patriotic' motifs in nature (cf. Madsen, 1895, pp. 139 - 141, etc.), and Lundbye wrote detailed diaries (cf. Madsen, 1895, p . 159 ff. To p. 179, and above all Jesper Svenningsen, 2018), in which he made notes on his works, but also stylized his own life 'literarily'. Lundbye lived to a high degree “with and in poetry” (Madsen, 1895, p. 42) - in 1835 a collection of poems by Christian Winther (writer) was published that provided inspiration (cf. Madsen, 1895, p. 48 - 50, p . 68 and other). With his diaries, which were also intended for a reading public, he wanted to melt the visual arts, literary predilection and his own personality into a 'total work of art' (a surprisingly modern idea).

Johan Thomas Lundbye - A bull calf tied to a gate post.

Lundbye's respected great works were landscape paintings during his lifetime. Animal studies were sketches and preparatory work for them (with them, however, as a student of Christian Holm , his artistic career began). Over time he developed back into an “animal painter” (cf. Madsen, 1895, p. 101 ff.), Called himself that, and “Dyrmaler” is written on his grave. His drawings of animals in rural areas are increasingly valued today. The same applies to Lundbye's depiction of trees and parts of the forest (cf. Tegninger & Huletanker , 1998, pp. 28 ff.) And especially to the numerous sketches in his diaries, e . B. for the magical pen and ink drawings in the travel diary to Italy in 1846 (with additions up to 1848; edited by Eigil H. Brünniche, 1953): and again and again with the nits that are homesick, up to the small drawing that dwarfs himself as "Volunteers" on March 30, 1848 shows. In the relatively short period after the trip to Italy, a number of particularly “beautiful” pictures were created, again with rural motifs in the area around Vognserup in Northwest Zealand (cf. Madsen, 1895, p. 193 ff.). But Madsen also registers a growing restlessness and "freshness" in the pictures from 1847, which the critic ascribes to the rather gloomy emotional state of Lundbye during this time (Madsen, 1895, p. 212 f.); he considers him "mentally ill" (ditto, p. 214). Lundbye considered starting a "military career" (ditto, p. 227), and in December 1844 he began the diary with the famous entry that he had enlisted in the military (together with Carlo Dalgas and Svend Grundtvig). There he inserted the (incomplete) sentence that triggered speculation: "If a stray / feral ball ..." (ditto, p. 231; in Danish: "Om en vildsom ball ...", in the original four dashes).

Effect and afterlife

Despite the short life span of 29 years, Lundbye's work is very extensive. In addition to being privately owned (after his death, the painting and drawing estate was first divided up in the family), his works hang mainly in Danish museums: Statens Museum for Kunst (SMK), Hirschsprung Collection , Ny Carlsberg Glyptotek , all in Copenhagen; there as well the Thorvaldsen Museum , Nivaagaard and Ordrupgaard Museum . Some works are in regional Danish museums by z. B. Ribe, Randers, Viborg ( Skovgaard Museum ) and Horsens. In addition to the permanent holdings of the large (Danish) museums, Lundbye's works have been shown at numerous exhibitions, also internationally. Today, it is only possible to properly appreciate the rich work in a scientific team: In the catalog Tegninger & Huletanker… (Hirschsprungsche Collection, 1998), Jens Peter Munk write about the portraits and pictures of Zealand after introductory articles with a view to different aspects of Lundbye's life , Marianne Saabye (director of the Hirschsprung collection from 1986 to 2016), Munk and a group on the sketches, Munk on the trip to Italy from 1845–46, Saabye and colleagues on Lundbyes Nisse or hill troll. The team also takes care of the documentation: the fate of the drawings (after Lundbye's death scattered in the family, much later collected again in the museum) and the 37 [!] Sketchbooks (like the sketches were widely distributed). Birgitte Johannesson documents the letters and other notes. The three named scientists are also responsible for editing the volume.

literature

• Fabler for Børn at HV Kaalund and JT Lundbye . Copenhagen: Philipsen, 1845 (without pagination, 50 poems by Hans Vilhelm Kaalund and illustrations; the pictures, line drawings Lundbyes, are lithographed by Kittendorff; in the second edition 1866 recut in wood by HP Hansen, 1908 again with the original hand drawings; cf. the modern edition from 2008).
• Mindeblade om Den Nordiske Højtid (memorial sheets for the Nordic Festival). January 13, 1845. Copenhagen: Bing & Ferslev, 1845 (“Autographs” by Frølich, Lundbye, Skovgaard [not specifically assigned]; 12 unpaginated sheets, sheet no. 10 “Heimdal”).
• Arbejder af Johan Thomas Lundbye udstillede i Kunstforeningen in København October 1893 . 56 p. (Exhibition catalog with 495 catalog numbers [e.g. the drawings often several works under one number], chronologically since the first painting "En Hund", 1835 at the Charlottenborg exhibition in 1835; Lundbyes works with, among other things, a reference to provenance [ often private ownership] and type of signature; 161 paintings of landscapes and the like, portraits, drawings and watercolors, etchings and woodcuts)
• Madsen, Karl: Johan Thomas Lundbye 1818–1848 . Copenhagen: Art Association, 1895 (a second edition, Copenhagen 1949). 284 p., Numerous illustrations (the classic artist biography of Lundbye; detailed information on biography and artistic career; list of paintings since 1834, p. 246 ff. To p. 264 [263 paintings are listed here]; list of etchings, woodcuts [after Lundbye's death based on his drawings] and the like).
• Lundbye, J. Th .: Dagbogsoptegnelser (diary entries; excerpts published by) Karl Madsen. Copenhagen: Gyldendal, 1918 (second edition 1961; see there).
• Hendriksen, F. [Frederik]: Lorenz Frølich. Egne Optegnelser og Breve til og fra hans Slægt og Venner (… own notes and letters from and to his family and childhood friends). Copenhagen: Hendriksen, 1920–1921. 408 p., Numerous illustrations (including many letters from and to Lundbye, also with drawings; p. 138 ff. To p. 143 with the Nordic gods, 1845; p. 141 Lundbye did not draw the Heimdall figure, but all the frames , see illus. p. 142; p. 195 f. Lundbye's letter of April 14, 1848 to Frølich in Rome. pp. 197–200 Frølich's report on Lundbye, 1877 [in excerpts] - Second part, p. 209 ff. about the time after Lundbye's death).
• Johan Th. Lundbye. 60 Autotypier i Tontryk […]. Copenhagen: Gad, 1931. 64 pp., Illustrations (“Smaa Kunstbøger”, no. 21).
• Madsen, Karl: painter af Johan Thomas Lundbye (painting by ...). Copenhagen: Gad, 1931. 76 p. (58 black-and-white illustrations with dimensions and provenance)
• KF [Kai Flor]: "Lundbye, Johan Thomas". In: Illustreret Dansk Konversationsleksikon , Volume 14, Copenhagen: Berlingske, 1935, p. 245 f.
• Ostenfeld, Ib: J. Th. Lundbye. Et Stemningsliv's history. Study over lette manio-depressive Tilstande [... The story of a mood life . Studies on mild manio-depressive states]. Copenhagen: Gad, 1937. 233 pp. And supplements (Ostenfeld 1977 offers a more recent, abridged version also for non-medical professionals).
• Brünniche, Eigil H .: [Lundbye] Troldom og Hule-Tanker 1846 (facsimile) / Vejledende tekst til J. Th. Lundbyes skitsebog Troldom og Huletanker by ... (groundbreaking text to ... sketchbook "Magic and Cave Thoughts"). Copenhagen 1953. Images without pagination / 18 pp.
• Johann Thomas Lundbye September 1, 1818 - April 25, 1848. Fortegnelse over Tegninger udstillede i Kunstforeningen January 1 - 24, 1954 . Copenhagen 1954 (exhibition catalog of the drawings; chronological since the self-portrait from 1834 with information on size and provenance; 107 catalog numbers [many drawings in collective frames]; no pagination).
• Madsen, Karl: J. Th. Lundbyes Dagbogsoptegnelser [in excerpts]. Copenhagen: Haselbalch, 1961. 60 p., Some illustrations (representation using quotations from the diaries; a first edition on this: Karl Madsen, Lundbyes Dagbogsoptegnelser , Copenhagen 1918; see there).
• Poulsen, Vagn: Danish painters. Koenigstein i. T .: Langewiesche - Köster, 1961. 87 p., Illustrations (“The Blue Books”; introduction in German, English, French, Danish; illustrations by Lundbye: “Hankehøj” on Zealand, p. 39; self-portrait, p. 46; Hof bei Lodskov, Zealand, p. 49; Winterlandschaft, p. 54).
• Johan Thomas Lundbye: Et Aar af with Liv (one year of my life), with a longer introduction and remarks by Mogens Lebech. Copenhagen: Busck, 1967. 173 pp., Illustrations (diary March 1842 to April 1843).
• Johan Thomas Lundbye. Traveller's Day 1845–1846 . Published by a working group of the Royal Copper Engraving Collection in Statens Museum for Kunst . Copenhagen 1976. 350 pages, numerous illustrations.
• Ostenfeld, Ib: Johan Thomas Lundbye. En kunstners kamp med sin skæbne. En epilog (… an artist's struggle with his fate. Epilog). Copenhagen: Rhodes, 1977. 62 pp., Illustrations. ISBN 87-7496-572-7 (cf. the dissertation from 1937; 1977 review by Poul Bonnevie in Ugeskrift for læger [Danish weekly for doctors]).
• Årets tolv måneder. Tegninger: J. Th. Lundbye . Copenhagen no year [approx. 1979]. 118 p., Illustrations (Danish poems, illustrated with drawings by Lundbye).
• Nørregård-Nielsen, Hans Edvard: Danske kyster (Danish coasts). Without place: Danmarks Naturfredning et al., 1986. 175 p., Illustrations. ISBN 87-87030-21-7 (illustrations by Lundbye, p. 12 ff. To p. 17; p. 48 to p. 57 “En dansk kyst” [A Danish coast]; p. 58 ff. To p. 63 ).
• Wivel, Mikael: Ordrupgaard. Udvalgte værker (… selected works). Copenhagen: Ordrupgaard, 1993. 75 plates (without pagination). ISBN 87-88692-08-6 (Lundbye = plates 67 and 68 with descriptions; plate 69 = LA Ring ( Lauritz Andersen Ring ), "Lundbyes Bænk ved Arresø", 1899, the bank on the Arresee, from which Lundbye [allegedly] often painted).
• Johan Thomas Lundbye 1818–1848. … At male det kjære Danmark (… painting the love of Denmark). Copenhagen: Thorvaldsens Museum, 1994. 235 p., Numerous [very good] illustrations [p. 35 - 87 and ff. With the contributions]. English summaries; Bibliography. ISBN 87-7521-068-1 (and various contributions by, among others, Stig Miss, Kasper Monrad, Vagn Lundbye to works and about works by Lundbye).
• From Denmark's golden age. Early 19th century landscape paintings from the Statens Museum for Kunst , Copenhagen. Cologne: Wallraf-Richartz-Museum, 1995. 143 p., Illustrations (including contributions by Kasper Monrad; description of images; Lundbyes works = catalog numbers 31 to 37).
• Nørregård-Nielsen, Hans Edvard ( Hans Edvard Nørregård-Nielsen ): Dansk Guldalder Maleri. Ny Carlsberg Glyptotek [catalog]. Copenhagen 1995. 305 pp., Numerous illustrations. ISBN 87-7452-162-4 . - Nørregård-Nielsen, Hans Edvard: Danish Painting of the Golden Age. Ny Carlsberg Glyptotek [Catalog]. Copenhagen 1995. ISBN 87-7452-163-2 (longer introduction and detailed description of Lundbye's works, exhibition numbers 70 to 86).
• Tegninger & Huletanker. Johan Thomas Lundbye 1818–1848 (drawings and cave thoughts…). Copenhagen: Den Hirschsprungske Samling, 1998. 386 p., Numerous illustrations. ISBN 87-90597-03-6 (large-format catalog of the exhibition September 1998 - January 1999, then in Hamburg-Altona January - February 2000; focus on the drawings with images in excellent quality; next to Madsen (1895) and the diary edition of 2018 [Jesper Svenningsen] one of the basic works on Lundbye; pp. 370 - 372 references).
• Ordrupgaard. Dansk kunst fra Guldalderens århundrede (… Danish art from the century of the Golden Age). Copenhagen: Ordrupgaard, 1999. 127 pp., (Good) illustrations. ISBN 87-88692-18-3 (Lundbye = tables p. 52 to 59 with descriptions; p. 114 f. = LA Ring ( Lauritz Andersen Ring ), "Lundbyes Bænk ved Arresø", 1899, the bank on the Arresee, from the from Lundbye [allegedly] often painted; see p. 52 f. Lundbyes "Wiese am Arresee", 1838).
• Johan Thomas Lundbye 1818–1848. An artist of the Danish Golden Age. Drawings & watercolors . Hamburg: Altonaer Museum, 2000. 62 p., (Good) illustrations. ISBN 87-90597-05-2 (short edition of the Danish catalog from 1998).
• Mortensen, Klaus P .: Johan Thomas Lundbys kærlighed (… love [to Louise Neergaard]). Copenhagen: Gad, 2000. 99 p. (After a review by Jens Kistrup. In: Weekendavisen , Copenhagen, September 22-28 , 2000, p. 11)
• Himlens spejl. Skyer og vejrlig i dansk painter 1770–1880 . (The mirror of the sky. Clouds and weather in Danish painting ...). Odense: Fyns Art Museum & Storstrøms Art Museum. 215 p., Illustrations. ISBN 87-7838-738-8 (several illustrations after Lundbye, p. 190 ff., And corresponding explanations in the text).
• Nørregård-Nielsen, Hans Edvard: Undervejs med J. Th. Lundbye (walks with ...). Copenhagen: Gyldendal, 2004. 63 pp., Illustrations. ISBN 87-02-03747-5 (descriptions with reproductions of Lundbye's pictures in Northwest Zealand, including around the rectory in Vallekilde, where his uncle, Honoratus Bonnevie, 1795–1873, was pastor; portraits of the mother and self-portraits are characterized, the landscape on Vejrhøj and Dragsholm Castle - some of the pictures are juxtaposed with modern photos, e.g. the Hankehøj tumulus near Vallekilde otherwise happy to argue.).
• Dirk Luckow, Dörte Zbikowski: The Copenhagen School. Masterpieces of Danish and German painting from 1770 to 1850. Kiel 2005.
• Fabler for børn. Gendigtet af Vagn Lundbye . Efter HV Kaalund. Med de originale illustrationer af Johan Thomas Lundbye (Fables for children. Retouched by… After Kaalund. With the original illustrations by…). Copenhagen: Lindhardt og Ringhof, 2008. 63 pp., Illustrations. ISBN 978-87-595-2909-6 (with an afterword by the poet Vagn Lundbye; texts by J. Th. Lundbye that have been adapted to the present day Danish and are partly re-poised).
• Nørregård-Nielsen, Hans Edvard: Johan Thomas Lundbye 1818–2018. Værker fra private samlinger . (… Works from private collections). Skive: Wunderbuch, 2018. Only z. Partly paginated [about half = 63 pages], numerous illustrations. ISBN 978-87-93557-12-3 (exhibition catalog Kalundborg 2018).
• Svenningsen, Jesper: Seks år af et liv. Johan Thomas Lundbye, Dagbøger om tro, skæbne, kunst og kærlighed (Six years of a life ... diaries about faith, fate, art and love). Copenhagen: Ny Carlsbergfond - Strandberg, 2018. 511 pp., Numerous illustrations. ISBN 978-87-93604-13-1 (Introduction: Lundbye in his time, the diary writer, characterization of the diaries; all texts with annotations and appropriate images from the various diaries from March 1842 to April 1848).

Web links

Commons : Johan Thomas Lundbye  - collection of images, videos and audio files

Individual evidence

1. ↑ Family history “Lundbye” incorporated into Geneanet , publicly accessible after registration under “oholzapfel” and the corresponding persons.
2. ↑ See Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, p. 100.
3. ↑ Karl Madsen wrote the early standard work on Lundbye: Johan Thomas Lundbye 1818–1848 . Copenhagen: Art Association, 1895
4. ↑ He lived with his brother Honoratus Rudolph on the Vognserup manor near Holbæk. See https://vognserup.weebly.com/ (Febr. 2019) with good pictures of Lundbye's pictures from this area (and with pictures of Skovgaard and Philipsen).
5. ↑ Clear, recent biographical data z. B. in Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, p. 9 ff., And in Svenningsen: Seks år af et liv , 2018, p. 502 f.
6. ↑ Lundbye was with Skovgaard in Vejby, Gribskov municipality, in North Zealand in 1843, where he painted several pictures with rural scenes.
7. ^ Johan Thomas Lundbye 1818–1848… at male det kjære Danmark is the title of the very good exhibition catalog from the Thorvaldsen Museum in Copenhagen, 1994; there is a corresponding contribution by Stig Miss, pp. 21–33.
8. ↑ On the Bonnevie family, cf. Kristine Bonnevie and Poul Bonnevie: Families Bonnevie i Danmark og Norge. 1714–1930 [based on the family tree of Daniel Thrap, 1915], Copenhagen - Oslo 1931 (about the Lundbye family there pp. 133–143). With regard to the father and some of his sons one spoke (exaggerated) of a 'military dynasty Lundbye' (for example also at dk.Wikipedia.org, in Danish "Militærslægt"), but the role in the Danish wars of 1848 and 1864 is something that some people played the members of this family is noticeable. - The progenitor of the Bonnevies came from Antibes and first moved to southern Norway in 1715. - Cf. Madsen, 1895, p. 8 ff.
9. ↑ Wikimedia Commons = Carl Lundbye.jpg and other images
10. ↑ Wikimedia Commons = Emanuel Andreas Lundbye approx. 1870.jpg and other images
11. ↑ To the exact genealogy Lundbye - von Petersdorff and so on; Descendants including Ras-Lundbye (in Holland) and Holzapfel (in Germany) cf. Geneanet oholzapfel. The Lundbye family named themselves after the small place of origin Lundby near Brarup on Falster, where the progenitor Rasmus Hansen Boesen is mentioned in 1738 as a smallholder and cottage owner. The son, Christen Lundbye (* 1739; † 1786), and grandfather of the painter was, among other things, royal steward on St. Croix, Danish West Indies (Virgin Islands).
12. ↑ Skovgaard painted a similar motif with this Lundbye group of children in 1849, after Lundbye's death, and named it "Country road near the Vognserup estate"; see. Statens Museum for Kunst [SMK], Copenhagen, call number: KMS580. The sculptor Kai Nielsen [1882-1924] designed this scene around 1911 [opening of the collection] as a triangular gable relief above the entrance to the Hirschsprung collection. Compare "Den Hirschsprungske Samling" Wikipedia.de with illustration. Skovgaard painted and drew the friend several times, and Lundbye, conversely, portrayed the friend as well.
13. ↑ In addition to other evidence of Lundbye's mood, his watercolored pen drawing “Perfectum - Præsens - Futurum” from 1844 is known: sitting on a stone, he buries his face in his hands; see. Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, p. 78. See also Ib Ostenfeld, 1977. - The love for Louise Neergård is described by the poet Vagn Lundbye, among others; see. Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, pp. 118–121.
14. ↑ z. B. also Hans Edvard Nørregård-Nielsen : Dansk Guldalder Maleri. Ny Carlsberg Glyptotek [catalog]. Copenhagen 1995, p. 59. - And 2018, p. 10, and with reference to literature from 1998 [he could have known beforehand], Nørregård-Nielsen joins the fact of an accident.
15. ↑ Reports from witnesses, e.g. B. from his close friend and co-volunteer from 1848, Svend Grundtvig, the son of Nikolai Frederik Severin Grundtvig . Grundtvig was standing next to Lundbye ( Tegninger & Huletanker , 1998, p. 116) when he was hit by a bullet from the neighboring company, and he described the accident in a letter to his parents on April 28, 1848. Grundtvig later corresponded with him the lithographer Axel Theodor Kittendorff , who reported in a letter dated May 3, 1851 about his work to illustrate the funeral. Several eyewitnesses described in a similar form [in Danish / with omissions:] “March 26th and stop at Bedsted ... rifles placed in front of the pyramid, Lundby [e] drew a dragoons ... signal to approach, which he followed ... a man from the neighboring company ran between the guns there; the pyramid fell over, a shot was released from one of the rifles ... life was extinguished ... his body was brought to school, a hymn was sung, the pastor was at the grave ... the battalion marched on ... "[Dansk Folkemindesamling, Signature: DFS 172; Danish Royal Library ] However, the myth of suicide also circulated in the family. - Kittendorff's drawing with the report appeared in Illustreret Folkealmanach for 1852 (Copenhagen 1851). Same representation in Madsen, 1895, pp. 234-236, and in Madsen, 1961, p. 60. - The friends Svend Grundtvig, Christian Frederik Lütgen and also Carlo Dalgas were at the grave, the latter drew the funeral as a template for Kittendorff (cf. catalog 1893, no. 493, and Tegninger & Huletanker , 1998, p. 117 with illustration; p. 118 ff. there further testimony and literature references). Ib Ostenfeld, 1977, p. 42 ff., Nevertheless considers it possible that the “stray bullet” came from Lundbye's own rifle; he speaks of an "unexplained death". Should all witnesses and friends immediately agree on an explanatory myth?
16. ↑ Ib Ostenfeld (cf. 1937 and 1977) has repeatedly addressed the relationship between Lundbye and Kierkegaard's philosophy in his numerous works since 1933 ( The term fear in Kierkegaard ). - See also Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, pp. 182–195.
17. ↑ Dirk Schümer: "A pointed cap for Vesuvius". In: Frankfurter Allgemeine Zeitung No. 230 of October 5, 1998, features section. - Here, too, the possibility of death “by one's own hand” is considered. If reality is too simple for you, you obviously need strong myths. And Lundbye's diary provides this too, namely with the entry on April 14, 1848, when he volunteered for the campaign [in Danish:] “Today I joined the army. If a stray bullet ... it would only calm a heart that is suffering from painful wounds. God bless Denmark! And my mother! ”Lundbye had a deep, almost self-destructive, intimate relationship with her mother, which is also reflected in her mother's drawings (Ib Ostenfeld, 1977, p. 15, says that part of Lundbye's fate comes from his mother bond of which he was the victim). When asked by comrades why he had not said goodbye to his mother [in April 1848], he replied: “That was impossible for me because I will not see her again.” Cf. NH Rose, “Et gravsted i Bedsted”. In: Kristeligt Dagblad (Copenhagen) of April 28, 1998 [then also the quotation; same presentation and quotations in Madsen, 1961, p. 59].
18. ↑ Wikimedia Commons = Johan Thomas Lundbye memorial (several photos, also of the memorial at the garrison church in Copenhagen). The gravestone reads "dyrmaler" [without e], "animal painter". The architect of the Thorvaldsen Museum, 1838 - 1847, Gottlieb Bindesbøll , also wrote "dyremaler" [with e] on his design of a tomb for Lundbye, but above all [translated:] "His pictures testify to his homeland sense" [sketch in the Royal Library, Copenhagen].
19. ↑ Jørgen Roed painted the altar panel in 1848 for the village church in Dalby, Sønder Dalby near Faxe on Zealand. He gave Joseph in the stable at Bethlehem the appearance of Lundbye. See Danmarks Kirker , ed. from the National Museum, Volume Præstø Amt , 1st half volume, Copenhagen: Gad, 1933–1935, 578 f. [in Danish:] “It is said that the face of Joseph is the best portrait of Lundbye”, p. 579 [according to Dalby's church book].
20. ↑ https://www.krak.dk/ (January 22, 2019)
21. ↑ Flensburg street names . Society for Flensburg City History, Flensburg 2005, ISBN 3-925856-50-1 , article: Johan-Thomas-Lundbye-Weg. On request, confirmed with an email from the Flensburg City Archives on January 25, 2019.
22. ^ Nørregård-Nielsen, Hans Edvard: Dansk Guldalder Maleri. Ny Carlsberg Glyptotek [catalog]. Copenhagen 1995, p. 15 with illustration.
23. ^ Nørregård-Nielsen, HE: Dansk Guldalder Maleri . 1995, p. 43.
24. ^ Nørregård-Nielsen, HE: Dansk Guldalder Maleri . 1995, p. 54. - Already at the age of 14 Lundbye first went to the painting school with JL Lund, later with the animal painter Christian Holm; see. Madsen, 1895, p. 20 ff.
25. ↑ Brockhaus attributes it to "romantic realism" and sees it as influenced by CD Friedrich; see. Brockhaus Enzyklopädie , 17th edition, Volume 11, Wiesbaden: Brockhaus, 1970, p. 687. Same text in: Der Kunst Brockhaus , Volume 2, Wiesbaden: Brockhaus, 1983, p. 62. See also Caspar David Friedrich og Danmark ( ... and Denmark), Copenhagen: Statens Museum for Kunst, 1991.
26. ↑ Only in the last few years, after returning from Italy in 1846, was he able to sell almost all of his paintings; see. Brünniche, 1953, p. 10.
27. ↑ Good examples of Lundbye's joy in ornament are the sketches for the large murals (these have not survived) for the student association, which organized a “Nordic festival” in 1845 and had the hall decorated with images of Nordic gods. Lorenz Frølich provided the figures of the gods, Lundbye the 'Old Norse' ornament as a frame. See Svenningsen: Seks år af et liv , 2018, p. 146, with the image of Odin. The same applies to the god Heimdall , in Wikipedia Commons = Heimdal (1907) by JT Lundbye.jpg, incorrectly stated as a work by Lundbye ("1907" is a later woodcut based on the template from 1845). The ornamental band Lundbyes has not survived, Frølich's colored drawing “Heimdal” is in private ownership. Other websites such as B. "Heimdal. Rework of a drawing by Johan Thomas Lundbye published in 1907. #manufactus “take over [2019] this error (there as a linocut). - See also F. Hendriksen: Lorenz Frølich. […] , 1920–1921, pp. 138 ff. To p. 143 with the Nordic gods, 1845; P. 141 Lundbye did not draw the Heimdall figure, but all the frames, see illustration on p. 142. - See also Mindeblade… 1845.
28. ↑ [in Danish:] “As a draftsman he has the finest stroke [line] in Danish art, either a tree, the structure of which he reproduces with a master's hand, or one of our pets, which he depicts with a feeling that borders on tenderness. “(KF [Kai Flor], 1935, p. 246).
29. ↑ CW Eckersberg also taught to draw from nature and in nature and to sketch planned pictures.
30. ↑ See e.g. B. Wikimedia Commons = En dansk kyst. Motif from Kitnæs ved Roskilde Fjord.jpg, where in this famous picture from 1841/42 the break from the coast to the fjord appears elevated compared to nature. The picture is analyzed by Kasper Monrad (1952 - 2018; Danish art historian), cf. Johan Thomas Lundbye 1818–1848… at male det kjære Danmark , 1994, pp. 140 - 150; see. also HE Nørregård-Nielsen: Danske kyster , 1986, pp. 48 - 57, but also already Madsen, 1895, pp. 91 - 94. Madsen calls the Kitnæs picture Lundbyes last large landscape picture (p. 100); after that he concentrated mainly on animal painting and drawings. - Another motif with a tumulus cf. Wikimedia Commons = Johan Thomas Lundbye 001.jpg. - In the case of the painting “Zealand Landscape” from 1842, Lundbye told Frølich himself that it was a “pure composition”, that is, the result of work in the studio based on studies and sketches in various places; see. Svenningsen: Seks år af et liv , 2018, p. 67.
31. ↑ [Dung heap] “In front of a cowshed in Vejby”, 1843; see. Nørregård-Nielsen, HE: Dansk Guldalder Maleri . 1995, p. 59 and p. 230 f., Figure 81. - Cf. also Wikimedia Commons = Johan Thomas Lundbye - A Cowshed on a Farm at Vejby, Zealand - KMS446 - Statens Museum for Kunst.jpg
32. ↑ Wikimedia Commons = J. Th. Lundbyes monogram fra Brølende køer ved et stænge.jpg
33. ↑ ZB 'Landschaft am Arresee', 1838; see. Nørregård-Nielsen, HE: Dansk Guldalder Maleri . 1995, p. 210 f. with illustration 71. He also wrote his name with runes in a poetry album from 1837 [privately owned]; he signed a self-portrait from 1836 with “Johan Lundbye” in cursive (Nørregård-Nielsen, HE: Dansk Guldalder Maleri . 1995, p. 56 with illustration), in 1834 with “JTL” in cursive (“Et æsel, plaget af fluer”, Drawing of the donkey afflicted by flies, dated on the reverse). At artsignaturedictionary.com (27. 01. 2019) the monogram is wrongly resolved with “TL” because the I in the middle with a dot above for “J” is not recognized.
34. ↑ Alongside Constantin Hansen , 1836, Lundbye is considered to be the 'inventor' of the appearance of this figure, who, however, conspicuously lent Lundbye his own face and identified himself with him. His Nisse in Flinch's Almanak for 1842 became famous and often copied ; see. Wikimedia Commons = Lundbye nissen 1842.jpg. - On Andreas Christian Ferdinand Flinch's woodcuts since 1840 cf. Madsen, 1895, p. 110 ff .: Frølich, Skovgaard and Lundbye worked for him.
35. ↑ Gunnar Jespersen: “En lille nisse rejste. Og længtes grueligt hjem “(A little Nisse traveled [… nursery rhyme]. And longed for home). In: Berlingske Tidende (Copenhagen) of December 21, 1969, 3rd section, p. 3.
36. ↑ Wikimedia Commons = Hunden ved Stranden.jpg. - On Læssøe cf. Madsen, 1895, p. 23 f .; on Jerichau ditto, pp. 24 - 26; to Købke ditto, pp. 27 - 29, p. 36 fu ö .; to Skovgaard, probably Lundbye's closest friend, ditto, pp. 39 - 41, etc .; to Frølich, ditto, p. 70 ff.
37. ↑ Høyen, for his part, was enthusiastic about Lundbyes Vognserup and the landscape between Vallekilde and Holbæk in Northwest Zealand in lectures; see. Madsen, 1895, p. 146 ff.
38. ↑ See Svenningsen, 2018, p. 244 f., With the description of how this line etching was created, entry in the diary of December 25, 1844. Size of the template 16 x 23.5 cm.
39. ↑ z. B. Wikimedia Commons = Johan Thomas Lundbye - En tyrekalv bundet til en ledstolpe.jpg (a bull calf tied to a gate post; line etching 1844); in contrast z. B. on NL Høyen, who assessed the value of the drawings as lower when he was asked to make a selection from the work for the Royal Copper Engraving Collection in 1851 (cf. Tegninger & Huletanker , 1998, p. 12). Accordingly, the sketchbooks were unfortunately cut up and their contents scattered around the family (ditto p. 13). - The Danish Wikipedia entry (February 2019; on which the present article is not based) has three large and characteristic sections: "The animal lover", "Landscape and animals" and "Longing and life in the country".
40. ↑ The trip to Italy began in June 1845 and led via Germany and Switzerland to Marseille, from there by ship to Rome, and later to Naples, among other places. The return trip went via Florence and Milan to Belgium and Holland; In mid-July 1846 Lundbye was back in Copenhagen. Cf. Brünniche, 1953, p. 9. - Madsen, 1895, p. 180 and p. 180 ff., Estimates the yield from the trip to Italy to be extremely low: “The pictures and drawings from the trip mean so little [artistically] in Lundbye's production… “Lundbye remained 'himself'; he painted again in Vognserup and was happy (Madsen, 1895, p. 194; Tegninger & Huletanker , 1998, pp. 256-265 with many illustrations). - The nisse in these drawings is a new motif after 1844, Lundbye identified with the shy troll who lived in the ancient burial mound; see. Brünniche, 1953, p. 15 f. Accordingly, he called the travel diary "Trolling / sorcery and [grave] hill thoughts"; 78 pages with 40 drawings: watercolors, ink, pen and pencil; today in the Hirschsprung collection, Copenhagen. - According to Ib Ostenfeld, 1977, p. 37 ff., The figure of the hill dweller is an expression of Lundbye's “melancholy resignation” and reinforced his homesickness during his trip to Italy.
41. ↑ "Den Hirschsprungske Samling" has around 600 Lundbye drawings alone; see. the 1998 catalog.
42. ↑ [in a selection:] Charlottenborg Copenhagen, spring 1835 (and several times until 1848 and 1850); University of Copenhagen 1843; London 1862; Nordic Art Exhibition Copenhagen 1872; Charlottenborg Copenhagen 1888; World Exhibition Paris 1889; Kunstverein Copenhagen 1893 [see: Literature; Catalog by Karl Madsen, 1893]; City Hall Exhibition Copenhagen 1901; Charlottenborg Copenhagen 1902 [catalog by Emil Hannover {1864 - 1923, Danish art historian and first director of the Hirschsprung collection, cf. Wikipedia.dk}]; Guildhall London 1907; National Museum Stockholm 1918; Jeu de Paume Paris 1928 [catalog by Karl Madsen]; Kunstverein Copenhagen 1931 (and 1954 and 1975); Statens Museum for Kunst Copenhagen 1941; Victoria & Albert Museum London 1948; Kunstverein Copenhagen 1954 [see: Literature 1954]; National Museum Stockholm 1964; London and Paris 1984; Munich 1985; Statens Museum for Kunst Copenhagen 1989 (Lundbye and Skovgaard); Statens Museum for Kunst Copenhagen 1991 (CD Friedrich and Denmark); Los Angeles and New York 1993; Thorvaldsens Museum Copenhagen 1994 (catalog with extensive bibliography); Cologne 1995; New York 1995/96; Hirschsprung Copenhagen 1998/99 and Hamburg-Altona 2000. - For further catalogs see: Literature.
43. ^ With M. Saabye, author of a basic work on the painter Wilhelm Bendz , 1996, a contemporary of Lundbye.