Edvard Lehmann, born in Copenhagen in 1815 and passing away in 1892, stands as a significant, if sometimes overlooked, figure in 19th-century Danish art. He carved a distinct niche for himself primarily as a painter of portraits and engaging genre scenes, contributing to the rich artistic tapestry of Denmark during a period of national and cultural flourishing. His works are characterized by a meticulous attention to detail, an elegant linearity, and a profound ability to capture the essence of his subjects and the narratives he depicted.
Lehmann's artistic journey began in his native Copenhagen, a city that was, during his formative years, a vibrant center of artistic and intellectual activity, often referred to as the Danish Golden Age. This period saw the rise of prominent artists who sought to define a national artistic identity. While specific details of his earliest training are not always exhaustively documented in easily accessible summaries, it is typical for aspiring artists of his era in Denmark to have studied at the Royal Danish Academy of Fine Arts in Copenhagen. This institution, under the influence of figures like Christoffer Wilhelm Eckersberg, known as the father of the Danish Golden Age, emphasized rigorous training in drawing, perspective, and the study of classical art.
Formative Influences and European Sojourns
Like many ambitious artists of his time, Lehmann recognized the importance of broadening his artistic horizons through travel and study abroad. Italy, particularly Rome, was a traditional destination for Danish artists, offering a direct encounter with classical antiquity and Renaissance masterpieces. The city was a melting pot of international artists, and the Danish community there was particularly strong, fostered by luminaries such as the sculptor Bertel Thorvaldsen, whose Neoclassical works had achieved international fame.
Paris, however, also played a crucial role in Lehmann's development. The French capital was rapidly becoming the epicenter of the European art world, a stage for new artistic movements and a place of intense academic training and vibrant salon culture. It was in Paris that Lehmann encountered the powerful influence of Jean-Auguste-Dominique Ingres, one of the leading figures of French Neoclassicism. Ingres's emphasis on the purity of line, smooth finish, and idealized forms left an indelible mark on Lehmann's approach to painting, particularly visible in the elegance and precision of his portraiture.
Lehmann's time in Paris also exposed him to other artistic currents. The Romantic movement, with its emphasis on emotion, individualism, and often dramatic subject matter, was a powerful force. Artists like Eugène Delacroix, with his vibrant color and dynamic compositions, and Ary Scheffer, known for his sentimental and literary subjects, were prominent. Lehmann's own work would show a capacity to absorb and synthesize these varied influences, blending classical precision with a sensitivity to character and narrative that resonated with Romantic sensibilities.
Artistic Style and Thematic Concerns
Edvard Lehmann's artistic style is a compelling blend of meticulous craftsmanship and expressive insight. He was renowned for his fine attention to detail, ensuring that every element within his compositions was rendered with care and precision. This is particularly evident in the textures of fabrics, the rendering of facial features, and the careful articulation of settings. His lines are often described as elegant, contributing to a sense of grace and refinement in his figures.
A hallmark of Lehmann's work is its realistic expression. He possessed a keen ability to capture not just the physical likeness of his sitters in portraits, but also a sense of their personality and inner life. In his genre scenes, this translated into a believable depiction of human interaction and emotion. His use of color was often carefully considered, employed not just for descriptive accuracy but also to enhance the mood and emotional tone of the piece. This combination of precise depiction and nuanced color work allowed him to convey a strong sense of realism and often a palpable atmosphere.
While deeply influenced by the classical ideals of Ingres, particularly in the pursuit of formal elegance and meticulous finish, Lehmann's work was not devoid of the dramatic and infectious quality often associated with the broader Romantic currents of his time. He managed to imbue his subjects with a vitality and presence that engaged the viewer, whether in the dignified portrayal of a society figure or the lively depiction of a theatrical scene.
Masterpieces of Portraiture
Portraiture formed a significant part of Edvard Lehmann's oeuvre, and it was a field in which his skills truly shone. He was adept at capturing the likeness and status of his sitters, often prominent figures of his time. One of his notable portraits is that of the Comtesse d'Agoult, painted in 1843 and now housed in the Musée Carnavalet in Paris. Marie d'Agoult was a significant literary figure and salonnière, known for her relationship with Franz Liszt. Lehmann's portrayal would have aimed to capture her intellectual and social standing.
Another significant work in this genre is his portrait of Princess Belgiojoso. Cristina Trivulzio di Belgiojoso was an Italian noblewoman, writer, and revolutionary, a fascinating and unconventional figure of the 19th century. Lehmann's portrait of her is considered one of the outstanding examples of modern portraiture from that era, praised for its ability to convey her strong personality and intelligence. These commissions underscore Lehmann's reputation and his ability to attract high-profile sitters, even beyond Denmark. His portraits were not mere likenesses; they were character studies, rendered with an elegance that appealed to the tastes of the time.
Engaging Genre and Historical Scenes
Beyond portraiture, Edvard Lehmann excelled in genre painting – scenes of everyday life, often with a narrative or anecdotal quality – and historical or literary subjects. His painting Casino Teatret captures a scene from the popular Copenhagen theatre, showcasing his ability to depict lively social gatherings and the specific ambiance of a place. Such works provide valuable visual records of contemporary life and entertainment.
Another notable genre scene is Pas des Trois Cousines, dated 1848 and held in the Theatre Museum in Copenhagen. This work likely depicts a ballet or theatrical performance, a subject that allowed Lehmann to explore movement, costume, and the interplay of figures in a dynamic composition. His interest in the theatre reflects a broader 19th-century fascination with performance and public spectacle.
Lehmann also ventured into subjects inspired by literature and history. His painting Hamlet shows the influence of the Romantic interpretation of Shakespeare, likely drawing inspiration from artists like Delacroix who famously depicted scenes from the play with dramatic intensity. Similarly, his work Mignon, based on the character from Goethe's "Wilhelm Meister's Apprenticeship," reflects the Romantic era's fondness for literary heroines and themes of longing and sensibility. This subject was also popularised by Ary Scheffer, whose sentimental style Lehmann seems to have emulated here.
The oil painting Der Traubendieb (The Grape Thief), measuring 82 x 56.5 cm, is another example of his genre work, likely depicting a charming or humorous anecdotal scene, characteristic of the Biedermeier sensibility that valued intimate, everyday narratives. These works demonstrate Lehmann's versatility and his engagement with the popular artistic themes of his day.
Contemporaries and Artistic Milieu
Edvard Lehmann operated within a vibrant Danish and European art scene. He maintained connections with several contemporary artists. Among them was Julius Friedländer, a fellow artist with whom Lehmann was friends and participated in exhibitions. One such instance, though a modern retrospective, was the exhibition "Nivaaggaard Collection, Venskabportrættter fra Rom" (Friendship Portraits from Rome) held in 2016 at the Circolo Scandinavo in Rome, which featured a self-portrait by Lehmann, highlighting the camaraderie among artists.
Constantin Hansen (1804-1880) was another prominent Danish Golden Age painter with whom Lehmann had close contact. Their relationship involved commissions and correspondence. For instance, Hansen completed a work titled Summer day in 1846, possibly at Lehmann's behest or for his collection. Lehmann reportedly admired Hansen's work and even proposed that Hansen undertake a series of ambitious works reflecting Danish history and progress, particularly focusing on Nordic themes, though this grand project did not come to fruition. Their letters reveal Lehmann's active engagement with Hansen's artistic endeavors.
P.C. Skovgaard (1817-1875), a leading national romantic landscape painter, was also an artist Lehmann admired and commissioned. As early as the 1840s, Lehmann sought works from Skovgaard for his private collection. One such commissioned piece was Summer day, painted in 1846, intended to embody the emerging style of Danish national painting and support Lehmann's advocacy for establishing a Danish national gallery. Another significant commission was View of Vejle (1852). These interactions show Lehmann not only as a creator but also as a discerning patron and supporter of Danish art.
The broader Danish art scene during Lehmann's active years included figures like Wilhelm Marstrand (1810-1873), known for his lively genre scenes and historical paintings, often imbued with humor and a keen observation of human nature. Martinus Rørbye (1803-1848) was another key figure, celebrated for his travel paintings and genre scenes that captured diverse cultures and landscapes. J.Th. Lundbye (1818-1848) was a pivotal painter of the national romantic movement, focusing on Danish landscapes and imbuing them with poetic sentiment. Ditlev Blunck (1798-1854), another contemporary, was part of the Danish artists' colony in Rome and known for his portraits and genre scenes.
Internationally, beyond his direct influence Ingres, the art world was populated by figures like Paul Delaroche in France, whose historical paintings achieved immense popularity, and in Germany, the Düsseldorf school of painting was influential. In Britain, the Pre-Raphaelite Brotherhood was beginning to emerge, challenging academic conventions. While Lehmann's style remained more aligned with a refined academic tradition, he was undoubtedly aware of these broader artistic developments. One might also consider the work of Franz Xaver Winterhalter, a German painter who became a favored portraitist of European royalty, whose elegant style had parallels with the sophisticated portraiture Lehmann also produced. Elisabeth Jerichau-Baumann (1819-1881), a Polish-Danish painter, was another contemporary who achieved international recognition for her portraits and Orientalist scenes.
Association with Artistic Movements
Edvard Lehmann's art is primarily associated with the later phases of the Danish Golden Age and demonstrates clear affinities with both Neoclassicism and Romanticism. His training and the profound influence of Ingres firmly root a significant part of his aesthetic in Neoclassical principles: clarity of form, precision of line, balanced composition, and a smooth, polished finish. This is most evident in his portraits, which often convey a sense of order, dignity, and timeless elegance.
However, Lehmann was not immune to the pervasive spirit of Romanticism that characterized much of 19th-century European art. His choice of historical and literary subjects, such as Hamlet and Mignon, aligns with Romantic preoccupations with emotion, individualism, and the past. The dramatic potential of these themes, and his ability to convey character and atmosphere, suggest a Romantic sensibility. His genre scenes, while depicting everyday life, often carry an emotional resonance or narrative interest that goes beyond mere objective recording. His reported success at the Paris Salon with historical and biblical scenes further points to an engagement with themes and an expressive style that appealed to Romantic tastes, particularly in his use of color and emotional depiction.
It is important to clarify that Edvard Lehmann is not associated with later 19th-century movements like Impressionism or Realism in the way these terms are typically understood in art history. His meticulous technique and idealized forms differ significantly from the Impressionists' focus on capturing fleeting moments and the effects of light and color with visible brushwork. Similarly, while his genre scenes depict "real life," they generally lack the socio-political critique or unvarnished depiction of the working classes often associated with the Realist movement championed by artists like Gustave Courbet. Lehmann's realism was more in the service of verisimilitude within an established academic framework.
Exhibitions and Recognition
Throughout his career, Edvard Lehmann would have exhibited his works regularly, a crucial practice for artists to gain recognition, attract patrons, and sell their art. In Denmark, the primary venue for this was the annual Charlottenborg Spring Exhibition in Copenhagen, organized by the Royal Danish Academy of Fine Arts. Participation in Charlottenborg was a standard part of a Danish artist's career.
His time in Paris suggests he also sought recognition on the international stage. The Paris Salon, organized by the Académie des Beaux-Arts, was the most prestigious art exhibition in the world during much of the 19th century. The provided information indicates that Lehmann did exhibit at the Paris Salon and received awards for his historical and biblical scenes. Success at the Salon could significantly enhance an artist's reputation and career prospects.
Legacy and Conclusion
Edvard Lehmann's legacy resides in his contribution to Danish portraiture and genre painting during the 19th century. He skillfully navigated the prevailing artistic currents of his time, blending the linear precision and elegance of Neoclassicism, particularly as championed by Ingres, with the thematic concerns and expressive potential of Romanticism. His portraits offer valuable insights into the personalities and social standing of his sitters, while his genre scenes provide charming and informative glimpses into contemporary life, theatre, and literary imagination.
While perhaps not as widely known internationally as some of his Danish Golden Age predecessors like Eckersberg or contemporaries like Marstrand or Skovgaard in their respective specializations, Lehmann's work consistently displays a high level of technical proficiency and artistic sensitivity. He was a master of detail, an elegant draftsman, and a painter capable of imbuing his subjects with life and character. His paintings, such as Comtesse d'Agoût, Princess Belgiojoosio, and Casino Teatret, remain important examples of their respective genres.
Edvard Lehmann represents a dedicated artist who absorbed the best of his Danish training and the vital influences of European art capitals like Paris. He contributed to the rich artistic heritage of Denmark, leaving behind a body of work that continues to be appreciated for its refinement, its narrative charm, and its skillful portrayal of the people and stories of his time. His art serves as a testament to the enduring appeal of well-crafted, insightful painting that captures both the external likeness and the inner spirit.
