Anna Maria Elisabeth Jerichau-Baumann (21 November 1819 – 11 July 1881) stands as a significant, if sometimes overlooked, figure in 19th-century European art. A Polish-born artist of German descent who became a Danish citizen by marriage, her life and work traversed national boundaries and artistic conventions. She is celebrated for her contributions to Romanticism and, most notably, Orientalism, bringing a unique female perspective to genres often dominated by male artists. Her extensive travels, prolific output, and engagement with prominent cultural figures of her time paint a portrait of a determined and talented woman navigating the complex art world of her era.
Early Life and Artistic Formation
Elisabeth Baumann was born in Żoliborz, a borough of Warsaw, then part of Congress Poland within the Russian Empire. Her parents, Philip Adolf Baumann, a mapmaker, and Johanne Frederikke Reyer, were of German origin. This multicultural upbringing likely sowed the seeds for her later cosmopolitan outlook. Her early artistic inclinations were strong, and at the age of nineteen, she pursued formal training, a path less commonly available to women at the time.
Her artistic education began in Germany, specifically at the prestigious Kunstakademie Düsseldorf (Düsseldorf Academy of Art). This institution was a powerhouse of the German Romantic movement, known for the Düsseldorf school of painting, which emphasized detailed, often narrative, landscapes and historical scenes. Here, she would have been exposed to the teachings and works of influential artists such as Wilhelm von Schadow, the director of the Academy, and painters like Karl Friedrich Lessing and Andreas Achenbach, known for their dramatic landscapes and meticulous technique. The Düsseldorf environment, with its emphasis on technical skill and romantic sensibilities, undoubtedly shaped her early artistic development.
Roman Interlude and a Fateful Union
In 1845, seeking further artistic growth and inspiration, Baumann moved to Rome. Italy, particularly Rome, was a vital destination for artists from across Europe, a living museum of classical antiquity and Renaissance mastery. The city's vibrant international artistic community provided a stimulating environment. It was here that she met Jens Adolf Jerichau (1816-1883), a promising Danish sculptor.
Their connection blossomed, and in 1846, Elisabeth Baumann married Jens Adolf Jerichau, thereby becoming Elisabeth Jerichau-Baumann and, eventually, a Danish citizen. This marriage was a pivotal moment, linking her destiny to Denmark. Jens Adolf Jerichau was a highly regarded sculptor, associated with the legacy of Bertel Thorvaldsen, the great Danish Neoclassical sculptor. His work often drew on classical themes, and he would later become a professor at the Royal Danish Academy of Fine Arts in Copenhagen.
Copenhagen: A New Home, New Challenges
Following their marriage, the couple settled in Copenhagen. Denmark, at this time, was experiencing the lingering effects of its artistic "Golden Age," a period in the first half of the 19th century that saw a flourishing of painting, with artists like Christoffer Wilhelm Eckersberg, Christen Købke, and Wilhelm Marstrand defining a distinct national style. However, Jerichau-Baumann, as a foreign-born woman with an artistic style influenced by German Romanticism and an international outlook, found the Danish art scene somewhat insular and, at times, resistant to her work.
Despite these challenges, she established herself as a portrait painter, a genre that provided consistent commissions. She painted members of Danish society, including royalty and prominent figures. Her personal life was also demanding; she and Jens Adolf had nine children. Her husband suffered from periods of ill health and depression, which sometimes incapacitated him, placing the significant burden of financially supporting their large family on Elisabeth's shoulders through her art. This resilience in the face of personal and professional hurdles is a testament to her character.
The Allure of the Orient: Travels and Masterpieces
A defining characteristic of Elisabeth Jerichau-Baumann's oeuvre is her deep engagement with Orientalism. This artistic and cultural movement, prevalent in 19th-century Europe, involved the depiction of subjects and themes from the Middle East, North Africa, and Asia, often filtered through a romanticized and exoticizing Western lens. Jerichau-Baumann, however, brought a more personal and often empathetic approach to her Orientalist subjects, partly due to her extensive travels.
She undertook significant journeys to the Ottoman Empire, including Turkey and Egypt, as well as Greece. These travels, undertaken in 1869-1870 and again in 1874-1875, provided her with firsthand experiences and a wealth of visual material. Unlike many male Orientalist painters, such as Jean-Léon Gérôme or John Frederick Lewis, whose access to female spaces like harems was often restricted or based on fantasy, Jerichau-Baumann, as a woman, was granted rare access. She was notably permitted into the harems of the Ottoman Empire, allowing her to paint portraits and scenes of women's lives with a degree of authenticity that was unusual for the time.
Her Orientalist paintings are among her most celebrated. An Egyptian Fellah Woman with her Child (1872), now in the Statens Museum for Kunst (SMK), Copenhagen, is a tender and dignified portrayal that avoids many of the common stereotypes. The rich colours, detailed rendering of textiles, and the empathetic gaze of the mother capture a sense of humanity. Another significant work, An Egyptian Pottery Seller at Gizeh (1876-1878), also in the SMK, showcases her skill in depicting vibrant market scenes and character studies, imbued with the atmosphere of the East. These works demonstrate her keen observational skills and her ability to convey the textures, light, and cultural nuances of the regions she visited.
International Recognition and Royal Patronage
While Jerichau-Baumann may have faced a mixed reception in Denmark, her talent found considerable recognition on the broader European stage. She exhibited her work widely and successfully in major art centres like Paris, London, and Berlin. Her participation in significant international exhibitions further solidified her reputation. She exhibited at the Paris World's Fair in 1857 and 1867, the London World's Fair in 1862, and the Vienna World's Fair in 1873.
A notable early success was her painting The Mermaid (1861). Inspired by the famous fairy tale by her friend, the Danish author Hans Christian Andersen, she painted several versions of this subject. One version exhibited at the Paris Salon in 1861 garnered attention from French art critics. The subject, blending mythology with romantic sensibility, resonated with the artistic tastes of the period.
Her work also attracted royal patronage, a crucial element for an artist's success in the 19th century. Queen Victoria of the United Kingdom was an admirer. Jerichau-Baumann painted portraits for the British Royal Family and was even invited by Queen Victoria to hold a private exhibition at Buckingham Palace. Her painting, A Wounded Danish Soldier (1865), a poignant nationalistic image created in the aftermath of the Second Schleswig War, was acquired by Queen Victoria and remains in the Royal Collection. This work, depicting a Danish soldier being tended by a young woman, struck a chord with its patriotic sentiment and emotional depth. It is said that Napoleon III and Empress Eugénie of France also acquired a copy of one of her works, which eventually found its way to the Hope Gallery via the French Embassy.
In Denmark, despite some critical reservations, she did achieve a measure of official recognition. In 1861, she became one of the first women to be granted membership in the Royal Danish Academy of Fine Arts, a significant milestone for a female artist at the time.
Key Works and Evolving Artistic Style
Jerichau-Baumann's artistic style evolved throughout her career but remained rooted in a Romantic sensibility, characterized by emotional expression, rich colour palettes, and often dramatic compositions. Her technical skill, honed in Düsseldorf, was evident in her meticulous attention to detail, particularly in fabrics, textures, and facial expressions.
Mother Denmark (Danmarks Moderen), painted in 1851, is one of her most iconic works. This allegorical painting depicts a blonde woman in ancient Danish attire, holding a Dannebrog (Danish flag) and a sword, with a Viking-era jewel on her forehead, striding through a cornfield. Created during a period of heightened national sentiment (the First Schleswig War), the painting became a powerful symbol of Danish national identity and resilience. It embodies the spirit of National Romanticism, an artistic current that swept through many European countries in the 19th century.
Her portraits, while sometimes conforming to the conventions of the genre, often revealed a psychological depth and an ability to capture the sitter's personality. She painted numerous portraits of her friend Hans Christian Andersen, capturing different facets of the famed author. Her portrait of her husband, The Sculptor Jens Adolf Jerichau (1846), painted shortly after their marriage, is a sensitive and insightful portrayal, showcasing her early command of the genre.
The Orientalist works, as discussed, form a major part of her legacy. Beyond the Fellah Woman and the Pottery Seller, she painted numerous harem scenes, portraits of individuals she met on her travels, and depictions of daily life in the East. These works often display a fascination with exotic costumes, intricate patterns, and the play of light in different environments. While working within the broader Orientalist tradition, her personal experiences and female perspective often lent her depictions a unique quality, sometimes challenging the more objectifying gaze found in the work of some of her male contemporaries like Eugène Fromentin or Lawrence Alma-Tadema.
Personal Life, Literary Endeavors, and Advocacy
Elisabeth Jerichau-Baumann's life was one of constant activity, balancing a demanding artistic career with the responsibilities of a large family. Her husband, Jens Adolf Jerichau, while a respected sculptor, faced personal struggles, and Elisabeth's artistic income was often crucial for the family's well-being. This dynamic, where the wife was a primary breadwinner through her professional artistic practice, was relatively uncommon in the 19th century.
She was not only a painter but also a writer. She published two volumes of memoirs: Ungdomserindringer (My Youthful Memories) in 1874 and Brogede Rejsebilleder (Varied Travel Pictures) in 1881. These writings provide valuable insights into her life, her travels, her artistic philosophy, and her interactions with the cultural figures of her time. In her memoirs, she also touched upon themes of women's emancipation, critiquing the societal constraints placed upon women and advocating for their right to develop their potential. She believed true freedom lay in realizing one's talents and serving others, a philosophy that seems to mirror her own industrious and purposeful life.
Her circle of acquaintances was wide and included prominent figures beyond the art world. Her friendship with Hans Christian Andersen is well-documented; she painted him on several occasions, and he, in turn, admired her work and character. Such connections underscore her integration into the broader European cultural scene.
Contemporaries and Artistic Milieu
To fully appreciate Jerichau-Baumann's position, it's helpful to consider her alongside her contemporaries.
In Germany, the Düsseldorf school, where she trained, included artists like Wilhelm von Schadow, Karl Friedrich Lessing, and the Achenbach brothers (Andreas and Oswald), who were known for their romantic landscapes and genre scenes.
In Denmark, she was active during a period that followed the Danish Golden Age, whose luminaries included Christen Købke and Wilhelm Marstrand. Her husband, Jens Adolf Jerichau, was a leading sculptor. Later in her Danish period, a new generation of artists, including the Skagen Painters like Anna Ancher and Michael Ancher, would emerge, though their focus and style differed significantly from hers.
In the broader European context of Orientalism, she was a contemporary of French masters like Jean-Léon Gérôme and Eugène Fromentin, and British painters such as John Frederick Lewis and Frederick Arthur Bridgman. While Eugène Delacroix was an earlier pioneer of French Romantic Orientalism, his influence was still pervasive. Jerichau-Baumann's work can be compared and contrasted with theirs, particularly in terms of perspective and access.
As a successful female artist, she was part of a relatively small but growing cohort. In France, Rosa Bonheur achieved immense fame as an animal painter. Berthe Morisot, though associated with the later Impressionist movement, was another prominent female artist navigating the Parisian art world. In Britain, Lady Elizabeth Butler gained renown for her large-scale military paintings. Jerichau-Baumann's international success places her among these pioneering women who carved out significant careers despite the prevailing gender biases.
Legacy and Collections
Elisabeth Jerichau-Baumann passed away in Copenhagen on July 11, 1881. Her legacy is multifaceted. She was a bridge between different European cultures – Polish, German, and Danish. She was a successful female artist in a male-dominated profession, achieving international recognition and royal patronage. Her Orientalist works are particularly important, offering a female perspective on a genre often characterized by male fantasy. She brought an international flavour to Danish art, though her style sometimes clashed with prevailing local tastes.
Today, her works are held in several prestigious collections. The Statens Museum for Kunst (National Gallery of Denmark) in Copenhagen holds a significant collection of her paintings, including key works like Mother Denmark, An Egyptian Fellah Woman with her Child, and An Egyptian Pottery Seller at Gizeh, as well as her portrait of her husband. The Royal Collection Trust in the United Kingdom holds A Wounded Danish Soldier. Other works can be found in various public and private collections across Europe.
In recent decades, there has been a renewed scholarly and public interest in her work, particularly as art history seeks to re-evaluate and give due recognition to female artists and to explore the complexities of Orientalism. Her paintings, once perhaps seen as merely exotic or sentimental, are now appreciated for their technical skill, their emotional depth, and the unique insights they offer into the cultures she depicted and the life of a remarkable woman artist.
Conclusion
Elisabeth Jerichau-Baumann was more than just a painter; she was a cultural force. Her journey from Warsaw to Düsseldorf, Rome, and finally Copenhagen, interspersed with transformative travels to the East, reflects a life lived with artistic passion and unwavering determination. She navigated the complexities of national identity, gender roles, and artistic fashion to create a body of work that is both historically significant and aesthetically compelling. As a portraitist, a chronicler of Danish national sentiment, and a pioneering female Orientalist, Elisabeth Jerichau-Baumann carved a unique and enduring niche in the rich tapestry of 19th-century European art. Her story and her art continue to resonate, reminding us of the diverse voices and visions that have shaped our artistic heritage.
