KRISTIAN ZAHRTMANN 1843-1917 Ronne, Denmark - Video

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Peder Henrik Kristian Zahrtmann, known as Kristian Zahrtmann, (31 March 1843 – 22 June 1917) was a Danish painter. He was a part of the Danish artistic generation in the late 19th century, along with Peder Severin Krøyer and Theodor Esbern Philipsen, who broke away from both the strictures of traditional Academicism and the heritage of the Golden Age of Danish Painting, in favor of naturalism and realism.[1]
He was known especially for his history paintings, and especially those depicting strong, tragic, legendary women in Danish history. He also produced works of many other genres including landscapes, street scenes, folk scenes and portraits. He had a far-reaching effect on the development of Danish art through his effective support of individual style among his students during the many years he taught. In addition, his bold use of color dazzled contemporaries and has been seen as an anticipation of Expressionism by art historians.

After graduating he came to Copenhagen, where during the winter 1863-1864 he studied drawing at the Technical Institute under Christian Hetsch and architect Ferdinand Vilhelm Jensen. He also received private instruction from genre painter Wenzel Ulrich Tornøe during this same time. He then began his studies in October 1864 at the Royal Danish Academy of Art (Danish: Det Kongelige Danske Kunstakademi) where he studied under Johan Adolph Kittendorff, Wilhelm Marstrand, Jørgen Roed, Niels Simonsen, and Frederik Vermehren, a fellow graduate of Sorø Academy. Classmates included August Jerndorff, Peder Severin Krøyer, and Rasmus Frederik Hendriksen
Late in life Zahrtmann produced a number of paintings of nude men, including Prometheus (1906), Sokrates og Alkibiades (1907, 1911), and Adam i Paradis (in two versions, 1913–14). In an era that was still shaken by the Great Scandinavian Sexual Morality Debate of the outgoing 19th century, these works were immediately scored as scandalous violations of public decency. The treatment of Adam is particularly provocative, with its vital, young, muscular Adam casually concealing his manhood with a sprig of fig leaves while leaning back in a lush, vividly colored botanic paradise, the snake arched halfway up his leg and darting its tongue. Museums primly declined to purchase these homoerotic works, and most are still in private hands. Zahrtmann never married, and rumors were rife in Copenhagen society concerning his sexual proclivities.[5]
Zahrtmann also painted a number of self-portraits in his later years, including one painted in 1913 that is considered one of his finest works. It is in the collection of the National Historic Museum at Frederiksborg Palace.
He bought land on Fuglebakken in Frederiksberg and built a house, which was designed by Hans Koch and Zahrtmann himself. He called the house "Casa d’Antino" and moved in autumn 1912.
Zahrtmann appeared in a 1913 silent-era documentary film about himself entitled Kristian Zahrtmann, which was directed by Sophus Wangøe, also known as Sophus Wangöe.
In June 1917 he was hospitalized with appendicitis. After an apparent improvement his condition worsened, and he died on 22 June in Frederiksberg. He was buried in Vestre Cemetery, Copenhagen. A relief with the theme of "Leonora Christina Leaves the Prison" decorates his grave. The relief was drawn by architect Thorvald Bindesbøll and painter Joakim Skovgaard, and was carved from Bornholm granite by Larsen Stevns.
In Civita d’Antino a memorial plaque was set into the wall of the Cerroni house near the town gate. A monument with a statue of Zahrtmann was erected on the open plaza in front of his house, and the plaza is named after him.


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