Edvard Frederik Petersen stands as a notable figure in the landscape of 19th and early 20th-century Danish art. Born in Copenhagen on February 4, 1841, and passing away on December 5, 1911, Petersen carved a niche for himself primarily as a painter of landscapes, deeply rooted in the Romantic tradition, yet responsive to the emerging currents of Realism that characterized the latter half of his career. His work captures the serene beauty of the Danish countryside as well as the burgeoning life of its capital, Copenhagen.
Early Life and Artistic Formation
Petersen's formal artistic journey began in 1851 when he enrolled at the prestigious Royal Danish Academy of Fine Arts in Copenhagen. This institution, profoundly shaped by the legacy of Christoffer Wilhelm Eckersberg, often hailed as the "Father of Danish Painting," provided the foundational training for generations of Danish artists. While Eckersberg himself had passed away in 1853, his emphasis on direct observation, clear composition, and meticulous rendering continued to influence the Academy's pedagogy.
During his time at the Academy, Petersen likely studied under figures such as Johan Ludwig Lund, another significant professor who, alongside Eckersberg, had guided many artists of the Danish Golden Age. The environment was steeped in the ideals of the Golden Age (roughly the first half of the 19th century), which celebrated Danish nature, everyday life, and a sense of national identity through art characterized by harmonious compositions and a keen sensitivity to light and atmosphere.
Influence of Vilhelm Kyhn and Romantic Landscapes
A pivotal influence on Petersen's development, particularly during the 1860s and 1870s, was the landscape painter Vilhelm Kyhn. Kyhn was a prominent figure in Danish Romantic landscape painting, known for his atmospheric depictions of the Danish countryside, often imbued with a sense of poetic melancholy or national sentiment. Under Kyhn's influence, Petersen produced numerous landscape paintings that echoed this Romantic sensibility.
His landscapes from this period often focus on the idyllic aspects of Danish nature – rolling hills, tranquil lakesides, dense forests, and coastal views. These works typically emphasize mood and atmosphere, capturing the changing effects of light and weather. While adhering to the representational accuracy valued by the Academy, Petersen, like Kyhn, sought to convey an emotional response to the landscape, a hallmark of Romanticism. His style during this phase could be described as somewhat conservative, adhering to established traditions of landscape painting.
Engagement with Realism and Urban Scenes
While maintaining his dedication to landscape painting, the 1880s saw Petersen engaging more directly with contemporary life, particularly the urban environment of Copenhagen. This shift reflects the broader influence of Realism, which had gained traction across Europe, advocating for the depiction of modern life and society without idealization. French Realism, in particular, had a significant impact on artists looking beyond purely Romantic or academic subjects.
Petersen created a series of paintings depicting street life and harbor scenes in Copenhagen. Among his most recognized works from this period are Emigrants on Larsens Plads (Udvandrere på Larsens Plads), painted in 1880, and A Return, the America Liner at Larsens Plads (En Hjemkomst, Amerika-Linjens Damper ved Larsens Plads) from 1894. Larsens Plads was a significant quay in Copenhagen's harbor, particularly associated with the ships sailing to and from America, making it a poignant site of departure and arrival for thousands of emigrants and returning Danes.
These paintings capture the bustle and human drama of the harbor, depicting crowds, ships, and the specific atmosphere of this transitional space. They showcase Petersen's ability to handle complex compositions with multiple figures and architectural elements, rendered with a detailed observation characteristic of Realism. These works provide valuable historical snapshots of Copenhagen life and the significant phenomenon of emigration during that era.
Notable Works and Artistic Range
Beyond the well-known Larsens Plads paintings, Petersen's oeuvre includes numerous landscapes that continued to form the core of his output. An example like Landscape by Lake Arresø (Landskab ved Arresø), a modestly sized work (26 x 39 cm), exemplifies his continued interest in capturing the specific character of Danish natural settings. Lake Arresø, Denmark's largest lake, offered rich subject matter for a landscape painter interested in water, light, and expansive views.
His works often display a careful attention to detail and a solid, traditional technique. While perhaps not as innovative as some of his contemporaries who embraced Impressionism more fully, Petersen's strength lay in his consistent quality and his ability to evoke the distinct character of the Danish landscape and cityscape. His portfolio also included subjects drawn from his travels abroad, indicating an interest beyond purely national themes, even if his overall style remained relatively grounded in Danish traditions.
Travels and Friendship with Theodor Philipsen
Personal relationships and travel experiences often enrich an artist's perspective, and this was true for Edvard Petersen. He maintained a close friendship with the painter Theodor Philipsen, a significant figure in Danish art who became one of the country's foremost Impressionists. Philipsen's work is noted for its focus on light, atmosphere, and often, animal subjects, particularly cattle.
Petersen and Philipsen undertook several journeys together, including two trips to Italy and two to France. These excursions would have exposed both artists to different landscapes, artistic traditions, and contemporary art movements firsthand. While Petersen's style did not undergo a radical transformation towards Impressionism like Philipsen's, these travels undoubtedly broadened his horizons and likely informed the subtle nuances of light and atmosphere in his later works, as well as providing subjects for paintings depicting foreign scenes.
The Stork Fountain: A Public Landmark
Beyond his paintings, Edvard Frederik Petersen made a lasting contribution to the urban landscape of Copenhagen through his design for the Stork Fountain (Storkespringvandet). Located prominently in Amagertorv, one of the city's central squares on the Strøget pedestrian street, the fountain has become an iconic landmark and a popular meeting place.
Commissioned by the Society for the Beautification of Copenhagen, the fountain was inaugurated in 1894 (though some sources mention 1904, 1894 is more commonly cited for its unveiling, possibly related to the silver wedding anniversary of Crown Prince Frederik (later Frederik VIII) and Crown Princess Louise). Petersen provided the design concept, while the sculptural elements, depicting three storks poised for flight around a central column, were executed by the sculptor Vilhelm Bissen. The fountain remains one of Copenhagen's most beloved public artworks, a testament to Petersen's versatility extending into the realm of design.
Petersen in the Context of Danish Art
Edvard Petersen worked during a period of transition in Danish art. He followed the generation that defined the Danish Golden Age – artists like the aforementioned C.W. Eckersberg, Christen Købke, Constantin Hansen, Wilhelm Marstrand, Martinus Rørbye, and J.Th. Lundbye. These painters had established a strong national school focused on realism, meticulous observation, and often, intimate portrayals of Danish life and landscape.
Petersen inherited this tradition through his academic training but was also contemporary with artists who were exploring new directions. His mentor figure, Vilhelm Kyhn, represented a continuation of Romantic landscape painting. His friend, Theodor Philipsen, moved towards Impressionism. Other important landscape painters of the period included P.C. Skovgaard and Dankvart Dreyer, who also focused intensely on the Danish countryside. Later in Petersen's life, the Skagen Painters, such as Michael Ancher, Anna Ancher, and P.S. Krøyer, were bringing a new vitality and focus on light to Danish art, often working in a Naturalist or Impressionist-influenced style.
Petersen occupied a space somewhat between the established Romantic tradition and the newer Realist and Naturalist trends. He adapted his style to encompass urban realism but largely retained a more conservative, detailed approach compared to the burgeoning Impressionist movement. His contemporaries also included figures like Carl Bloch, known for his historical and religious paintings. Petersen's career thus spans the bridge from the late echoes of the Golden Age and Romanticism to the era of Realism and the threshold of Modernism in Denmark.
Later Life, Legacy, and Collections
Edvard Frederik Petersen continued to paint throughout his life. An interesting anecdote, if accurate and pertaining to this specific Edvard Petersen, suggests an interest in art beyond European traditions. It is recorded that in 1908, while in London, he acquired a Chinese court painting from the Kangxi period, attributed to the artist Jiao Bingzhen, which he subsequently brought back to Denmark. This suggests a collector's eye and an appreciation for diverse artistic expressions.
He passed away in 1911 at the age of 70. His legacy rests on his contribution to Danish landscape painting, carrying forward the Romantic tradition while also engaging with the Realist depiction of contemporary urban life. His paintings offer valuable insights into the Danish environment, both natural and urban, of the late 19th and early 20th centuries. Works like the Larsens Plads scenes serve as important historical documents of the emigration era.
Furthermore, his design for the Stork Fountain ensures his continued public presence in the heart of Copenhagen. While perhaps not considered one of the radical innovators of Danish art, Edvard Frederik Petersen remains a respected painter whose work reflects the artistic currents of his time and captures enduring aspects of Danish identity and scenery. His paintings are held in various Danish museum collections and continue to be appreciated for their technical skill and evocative portrayal of his homeland.
Conclusion
Edvard Frederik Petersen was a dedicated and skilled Danish artist whose career spanned a significant period of change in European art. Primarily known for his Romantic landscapes, influenced by Vilhelm Kyhn, he also embraced Realism to capture the dynamic urban scenes of Copenhagen, most notably in his paintings of Larsens Plads. His friendship with Theodor Philipsen and travels abroad broadened his artistic context. As the designer of the iconic Stork Fountain, his contribution extends beyond the canvas into the public realm. Petersen remains a significant figure for his sensitive depictions of Danish nature and life, bridging the gap between the traditions of the 19th century and the dawn of the 20th.
