August Heinrich Georg Schiott stands as a significant figure in 19th-century Danish art, a period that saw the nation's artistic identity flourish. Born in 1823 and passing away in 1895, Schiott's career spanned a dynamic era of artistic development in Denmark, bridging the Golden Age with later trends. He was particularly renowned for his sensitive portrayals of figures, especially children, and his evocative landscapes, capturing the essence of Danish life and nature with a refined touch. His contributions extend beyond his canvases, as he was also an active member of the Danish art establishment and even held a notable position in public service.
Early Life and Artistic Formation
August Schiott was born into a Denmark that was still basking in the afterglow of its artistic Golden Age. The precise details of his birth month and day remain elusive to historical records, but the year 1823 is firmly established. His artistic inclinations led him to the prestigious Royal Danish Academy of Fine Arts in Copenhagen, the crucible of Danish artistic talent. At the Academy, he initially studied in the plaster school, a foundational step for aspiring artists, learning to draw from classical sculptures.
A pivotal moment in Schiott's early training was his tutelage under Christoffer Wilhelm Eckersberg (1783-1853), widely regarded as the "Father of Danish Painting." Eckersberg was a dominant force in the Danish Golden Age, known for his meticulous observation, his emphasis on realism, and his ability to capture the clear Nordic light. As a private student of Eckersberg, Schiott would have been immersed in these principles, learning the importance of direct study from nature, precise draughtsmanship, and balanced composition. This training provided a strong foundation upon which Schiott would build his own distinct artistic voice. The influence of Eckersberg's generation, including artists like Christen Købke (1810-1848) with his poetic depictions of everyday Copenhagen, and Martinus Rørbye (1803-1848), known for his travel scenes and genre paintings, would have also shaped the artistic environment in which Schiott matured.
Academic Recognition and Early Works
Schiott's talent did not go unnoticed during his academic years. In 1846, while at the Copenhagen Academy, he received two awards, signaling his promise as an emerging artist. A significant early achievement came in 1847 when his work Modelstudie (Nude Model) was exhibited at the prestigious Charlottenborg Spring Exhibition. This piece not only showcased his skill in academic figure drawing but also earned him a silver medal, a considerable honor that would have bolstered his reputation.
The Charlottenborg exhibitions were, and remain, a vital platform for Danish artists to present their work to the public and critics. Schiott's success there at a relatively young age indicates his mastery of the academic standards of the time. His early focus on figure studies, as evidenced by Modelstudie, laid the groundwork for his later proficiency in portraiture and genre scenes involving human figures. This period also saw him begin to explore themes that would recur throughout his career, including the careful observation of human form and the subtle rendering of character. Other prominent artists of the Danish Golden Age, such as Wilhelm Marstrand (1810-1873), known for his lively genre scenes and historical paintings, and Constantin Hansen (1804-1880), celebrated for his mythological subjects and portraits, were established figures whose work would have provided both inspiration and a standard of excellence for younger artists like Schiott.
Development of Artistic Style and Themes
Throughout his career, August Schiott demonstrated a versatile talent, excelling in portraiture, landscape painting, and genre scenes, with a particular fondness for depicting children and the natural beauty of Denmark. His style is characterized by a careful attention to detail, a refined realism, and an ability to convey emotion and atmosphere with subtlety. While rooted in the traditions of the Danish Golden Age, with its emphasis on verisimilitude and the depiction of national identity, Schiott's work also evolved, absorbing contemporary influences.
His portraits, such as the depiction of Frederik VII, reveal a capacity for capturing not just a likeness but also the sitter's presence and status. The Danish Royal family and members of the nobility frequently commissioned works from leading artists, and Schiott was among those entrusted with such tasks. This patronage undoubtedly influenced his approach to portraiture, requiring a blend of formal elegance and insightful characterization. His painting Countess Helga Sophie Charlotte Knuth-Knuthenborg née Countess von Levetzau with Malvina Anna Louise Nielsen is another example of his skill in portraying aristocratic subjects with grace and attention to the details of costume and setting, reflecting the social milieu of his patrons.
Travels and International Influences
Like many artists of his time, Schiott understood the importance of travel for broadening artistic horizons. In the 1850s, he journeyed abroad, and his experiences, particularly in Paris, left a discernible mark on his style. The French capital was a vibrant art center, and the Paris Salon was the preeminent exhibition venue, showcasing a wide range of artistic trends. Schiott was reportedly influenced by the Salon painters, including portraitists such as the Austrian-born Franz von Wackerle (though more commonly known as Franz Xaver Winterhalter, a German painter highly active in Paris with a similar elegant style, or perhaps a lesser-known Wackerle active in Paris) and the French artist Édouard Louis Dubufe (1819-1883).
These artists were known for their sophisticated and often flattering portraits of European aristocracy and high society. Exposure to their work likely encouraged Schiott to adopt a more polished finish, a richer color palette, and perhaps a greater emphasis on the psychological presence of his sitters, moving beyond the sometimes more restrained naturalism of the earlier Danish Golden Age. This international exposure allowed Schiott to integrate contemporary European trends into his fundamentally Danish artistic sensibility, resulting in a style that was both nationally rooted and internationally aware. The work of other Danish artists who travelled, like Elisabeth Jerichau-Baumann (1819-1881), who achieved international fame with her portraits and Orientalist scenes, also highlights the importance of such cultural exchange during this period.
Focus on Childhood and Nature
A recurring and beloved theme in Schiott's oeuvre is the depiction of children, often situated within natural landscapes. Works like Spielende Kinder im Wald (Playing Children in the Forest), dated 1895, and Motiv fra Aasgaard - Børn i vand (Motif from Aasgaard - Children in Water) from 1887, exemplify this aspect of his art. The latter, also known as Badende Barn (Bathing Child) or Badende Babys at Aalsgaard, was exhibited at Charlottenborg (sources vary between 1878 and 1887 for similar-themed works, suggesting a continued interest in the subject). This painting, depicting children at play by the water, is considered one of his significant contributions and once fetched a notable DKK 460,000 at auction, underscoring its lasting appeal.
Schiott's portrayals of children are characterized by a tender observation, capturing their innocence, spontaneity, and absorption in their activities. He avoided overt sentimentality, instead focusing on a naturalistic representation that highlighted the children's connection to their environment. These scenes often evoke a sense of idyllic charm and the simple pleasures of rural Danish life. His landscape elements are rendered with a similar sensitivity, showcasing his appreciation for the Danish countryside. This thematic focus aligns with a broader 19th-century interest in childhood and the picturesque, but Schiott approached it with a distinctly Danish clarity and sincerity. The landscape painter J.Th. Lundbye (1818-1848), a key figure in Danish National Romanticism, had earlier established a strong tradition of depicting the Danish landscape with patriotic fervor, and while Schiott's approach might have been different, the love for the native scenery was a shared trait among many Danish artists.
Historical and Narrative Works
Beyond portraits and genre scenes, Schiott also ventured into historical and narrative subjects, demonstrating his versatility. Two notable examples are The Saga of the Reading, housed in the National Museum of Iceland in Reykjavik, and The Story of the Reading, located in the National Gallery of Denmark (Statens Museum for Kunst) in Copenhagen. These titles suggest an engagement with literary or historical narratives, possibly drawing from Nordic sagas or historical accounts, which were subjects of growing interest in the context of 19th-century National Romanticism across Scandinavia.
While detailed descriptions of these specific works are not readily available in the provided summary, their existence points to Schiott's ambition to tackle more complex compositions and themes. Historical painting was considered a high genre in academic art, and artists who engaged with it often sought to convey moral, patriotic, or culturally significant messages. Schiott's works in this vein would have required considerable research and compositional skill. The "serious and focused" atmosphere noted in some of his works might be particularly evident in these narrative pieces, reflecting a thoughtful engagement with his chosen subjects. Artists like Carl Bloch (1834-1890), though slightly younger, became highly renowned for his historical and religious paintings, indicating the continued importance of these genres in Danish art.
The Danish Artistic Milieu and Contemporaries
August Schiott operated within a vibrant Danish art scene. His career overlapped with the later Golden Age figures and extended into a period where new artistic currents began to emerge. While direct collaborations are not extensively documented in the provided information, his participation in exhibitions and his membership in the Copenhagen Academy placed him in contact with numerous contemporaries.
Auction records and exhibition lists sometimes group his works with those of artists like Frederik Rohde (1816-1886), a landscape and architectural painter; Peder Knudsen (likely referring to Peder Severin Krøyer, 1851-1909, a leading figure of the Skagen Painters, or perhaps another contemporary Peder Knudsen); and Christian Zacho (1843-1913), a landscape painter known for his depictions of Danish forests and coastlines. While such listings primarily indicate market association rather than direct artistic collaboration, they help situate Schiott within the broader artistic marketplace of his time.
The Skagen Painters, including P.S. Krøyer, Michael Ancher (1849-1927), and Anna Ancher (1859-1935), emerged in the later part of Schiott's career, bringing a new dynamism with their plein-air techniques and focus on light and the lives of the fishing community in Skagen. While Schiott's style remained more rooted in academic traditions, the evolving artistic landscape would have been part of his professional environment. Other notable contemporaries whose careers intersected with Schiott's include Vilhelm Kyhn (1819-1903), a landscape painter and influential teacher, and Julius Exner (1825-1910), known for his charming genre scenes of rural life.
Later Career, Public Service, and Legacy
August Schiott remained an active artist throughout his life. He continued to exhibit his work, contributing to the cultural life of Denmark. His status within the art world was affirmed by his membership in the Copenhagen Academy, referred to by the title "fylde akademiet." This indicates a respected position among his peers and a role in the academic structures that governed artistic training and exhibition in Denmark.
Interestingly, Schiott's contributions were not confined to the art world. He also held a significant administrative position as "Fuldmagtig og Expeditionssecretar," essentially a head or authorized representative and expedition secretary, within the Danish Post Office. This dual career, while perhaps unusual, suggests a man of diverse talents and a capacity for public service. It's not uncommon for artists to have other means of support or engagement, but a prominent role in a state institution like the postal service is a noteworthy aspect of his biography.
August Heinrich Georg Schiott passed away in 1895, leaving behind a substantial body of work that reflects the artistic currents and cultural values of 19th-century Denmark. His paintings, particularly his portraits, landscapes, and depictions of children, continue to be appreciated for their technical skill, sensitivity, and historical value. His works are found in important public collections, including the National Gallery of Denmark and the Charlottenborg Art Museum, ensuring his continued visibility. The auction success of pieces like Badende Babys at Aalsgaard further attests to the enduring appeal of his art.
Conclusion
August Heinrich Georg Schiott was a dedicated and skilled Danish painter whose career successfully navigated the transition from the Golden Age to later 19th-century artistic developments. Trained under the legendary C.W. Eckersberg, he mastered academic principles while also absorbing international influences, particularly from French Salon painting. His oeuvre is distinguished by its refined realism, evident in his elegant portraits of Danish royalty and nobility, his charming and naturalistic depictions of children at play, and his evocative landscapes. Works such as Frederik VII, Spielende Kinder im Wald, Motiv fra Aasgaard - Børn i vand, and his historical saga paintings showcase his versatility and his deep engagement with Danish culture and identity.
Schiott's contributions as an academician and his somewhat unusual role in the Danish Post Office add further dimensions to his profile. He was an artist who not only created a significant body of work but also participated actively in the institutional and public life of his nation. While perhaps not as revolutionary as some of his contemporaries who pioneered newer movements, Schiott's consistent quality, his sensitive portrayals, and his ability to capture the spirit of his time secure his place as a respected and important figure in the rich tapestry of Danish art history. His legacy endures through his paintings, which offer a window into the aesthetic sensibilities and social fabric of 19th-century Denmark.
