Jørgen Valentin Sonne (1801-1890) stands as a significant, if sometimes understated, figure in the rich tapestry of 19th-century Danish art, a period often celebrated as the Danish Golden Age. While perhaps not possessing the same international household recognition as some of his contemporaries, Sonne carved a distinct niche for himself through his evocative depictions of Danish peasant life, his stirring battle scenes, and his contributions to monumental public art. His journey from a prospective military career to a dedicated artist reflects a deep-seated passion, and his oeuvre provides invaluable insights into the cultural, social, and political currents of his time. This exploration will delve into his life, his artistic education, his stylistic evolution, his key works, and his enduring place within Danish art history.
Early Life and a Change of Course
Born on June 24, 1801, in Birkedø, Denmark, Jørgen Valentin Sonne’s initial path seemed set for the military. He was, for a time, enrolled at the Royal Danish Military Academy. However, the allure of the arts proved stronger. After about a year, he made a pivotal decision to redirect his ambitions towards painting, a choice that would define the remainder of his long life. This transition led him to the prestigious Royal Danish Academy of Fine Arts in Copenhagen, the epicenter of artistic training in Denmark.
His early education at the Copenhagen Academy laid the foundational skills necessary for any aspiring painter. It was here that he would have been exposed to the prevailing neoclassical ideals championed by figures like Christoffer Wilhelm Eckersberg, often dubbed the "Father of Danish Painting." Though Sonne was not a direct pupil of Eckersberg in the same intimate way as artists like Christen Købke or Wilhelm Marstrand, Eckersberg's emphasis on direct observation of nature, clear composition, and meticulous technique undoubtedly permeated the Academy's atmosphere.
During this formative period, Sonne also worked in the studio of Christian David Gebauer (1777-1831). Gebauer was known for his animal paintings and battle scenes, often drawing inspiration from Dutch Golden Age masters. Working under Gebauer, Sonne engaged in copying works by these 17th-century Dutch artists, an exercise common in academic training that honed technical skill and an understanding of light, texture, and composition. This early exposure to genre scenes and depictions of conflict would resonate throughout Sonne's later career.
The Grand Tour: Munich and Rome – Broadening Horizons
Like many ambitious artists of his era, Sonne sought to broaden his artistic horizons through travel and study abroad. In 1828, a travel scholarship enabled him to journey to Munich, then a burgeoning art center in Germany. There, he became a student of the renowned history painter Peter von Cornelius (1783-1867). Cornelius was a leading figure of the Nazarene movement, which sought to revive the spiritual honesty and monumental style of early Renaissance art, particularly that of artists like Raphael and Perugino. Under Cornelius, Sonne would have been immersed in the principles of large-scale historical and allegorical compositions.
While in Munich, he also studied under Peter von Hess (1792-1871), a painter particularly noted for his battle scenes and genre paintings. Hess's influence likely reinforced Sonne's interest in depicting historical events and everyday life with a degree of narrative clarity and dynamism. During his time in Munich, Sonne produced numerous works depicting scenes of daily life, absorbing the German Romantic and Biedermeier sensibilities prevalent in the city.
Following his studies in Munich, Sonne traveled to Italy, spending approximately three years in Rome, from roughly 1831 to 1841, with some sources suggesting a slightly different timeframe for his extended Italian sojourn. Rome, with its classical ruins, vibrant contemporary culture, and picturesque countryside (the Campagna), was an essential destination for artists. Interestingly, while in Rome, Sonne did not primarily focus on classical antiquity in the manner of Eckersberg's Roman views. Instead, he became deeply engaged with depicting the romanticized scenes of Italian rural life. He was captivated by the local peasantry, their customs, and their connection to the land. His Roman works often feature lively genre scenes, imbued with a warm palette and a keen observation of local color. He also drew inspiration from hunting trips in the Roman Campagna, a theme that combined his love for nature with dynamic figural compositions.
This focus on romanticized folk life in Italy, while not directly under Eckersberg's tutelage, shows an independent artistic spirit. It also prefigured his later dedication to Danish peasant themes, suggesting an early interest in capturing the essence of a people through their everyday existence.
Return to Denmark and a National Focus
Sonne returned to Denmark around 1841, his experiences in Germany and Italy having significantly shaped his artistic vision. He brought back numerous studies and a matured style, ready to apply his skills to Danish subjects. Upon his return, he began to create a series of paintings centered on Danish peasant life, drawing upon the romantic and ethnographic interests he had cultivated in Italy.
This shift towards national themes was also in tune with the prevailing cultural climate in Denmark. The influential art historian Niels Laurits Høyen (1798-1870) was a powerful advocate for a distinctly national Danish art. Høyen encouraged artists to turn away from purely classical or foreign subjects and instead find inspiration in Denmark's own landscapes, history, and, crucially, its folk life. He believed that the Danish peasantry embodied the authentic spirit of the nation. Sonne's depictions of Danish farmers, their festivals, and their daily labors aligned perfectly with Høyen's call, though Sonne developed his approach more from his own inclinations than as a direct disciple of Høyen's programmatic ideas.
His paintings from this period are characterized by a sympathetic, often idealized, portrayal of rural existence. He captured the dignity of labor, the communal aspects of village life, and the picturesque qualities of the Danish countryside. Works like A Rural Scene (1848) exemplify this, often showcasing a harmonious blend of figures and landscape, bathed in a gentle, natural light.
The Artist as War Correspondent: Documenting Conflict
Sonne's early, albeit brief, military inclination found a powerful outlet in his art, particularly during times of national conflict. He became one of Denmark's foremost battle painters. His involvement was not merely as a studio artist reconstructing events from afar; he actively sought to witness events firsthand.
During the First Schleswig War (1848-1851), a conflict pivotal to Danish national identity, Sonne accompanied Danish troops. He made numerous sketches on the front lines, capturing the immediacy and drama of military engagements. These sketches later formed the basis for larger, more finished oil paintings. His battle scenes are noted for their attempts at historical accuracy in terms of uniforms and troop movements, combined with a dynamic sense of action and often a focus on the human element within the chaos of war.
One of his most famous works in this genre is The Battle of Dybbøl, depicting a key engagement from the Second Schleswig War in 1864. While these works served a patriotic function, celebrating Danish valor, they also provided a visual record of significant historical events. His approach to battle painting was less about grand, heroic allegories in the old academic style and more about conveying a sense of lived experience, albeit still within a broadly romantic-realist framework.
An amusing anecdote, possibly related to his dedication as a "battle painter," is captured in his humorous self-portrait Jørgen Sonne in his Studio. This work reportedly depicted the artist grappling with the practical challenges of his profession, perhaps using makeshift props like a straw man for a soldier or a horse's head model due to a lack of resources. This offers a glimpse into the less glamorous realities of artistic production and Sonne's own sense of humor.
Monumental Aspirations: Public Art and Illustrations
Beyond easel painting, Sonne also undertook significant public commissions, most notably the exterior frieze for the Thorvaldsen Museum in Copenhagen. This museum, designed by Michael Gottlieb Bindesbøll (1800-1856) to house the works of the celebrated Danish neoclassical sculptor Bertel Thorvaldsen (1770-1844), is itself a landmark of the Danish Golden Age.
Sonne was tasked with creating a sgraffito frieze depicting Thorvaldsen's Homecoming from Rome in 1838, showing the triumphant return of the sculptor's works to Copenhagen. The sgraffito technique, involving scratching through a layer of wet plaster to reveal a different colored layer underneath, was a challenging medium suited to exterior decoration. Sonne's frieze, wrapping around the museum, is a lively and detailed narrative, capturing the excitement of the event and paying homage to one of Denmark's greatest cultural heroes. This work demonstrates his ability to handle large-scale compositions and adapt his style to the demands of architectural decoration. It remains one of his most visible and enduring contributions to Danish public art.
He also contributed murals for Copenhagen Cathedral (Church of Our Lady), a building closely associated with C.F. Hansen (1756-1845), its architect, and Thorvaldsen, who created the iconic statues of Christ and the Apostles within. Additionally, Sonne produced illustrations for literary works, including a Danish edition of Kālidāsa's classical Indian play Shakuntala, showcasing a versatility that extended beyond painting.
Artistic Style: A Blend of Romanticism, Naturalism, and Historicism
Jørgen Sonne's artistic style is a complex amalgamation of several 19th-century currents. It is primarily rooted in the Danish Golden Age tradition, with its emphasis on careful observation and clear rendering, but it also incorporates strong elements of Romanticism and a commitment to historical and ethnographic naturalism.
His genre scenes, whether set in Italy or Denmark, often display a romantic sensibility. He was drawn to the picturesque and the characterful, imbuing his subjects with a sense of warmth and vitality. While he aimed for a degree of realism in depicting costumes, settings, and activities, his portrayal of peasant life often carried an idealized undertone, emphasizing harmony, community, and a connection to nature, aligning with the broader Romantic fascination with folk culture.
In his battle paintings, the historicist aspect comes to the fore. He meticulously researched uniforms, weaponry, and military tactics to ensure accuracy. However, these scenes are not dry, academic reconstructions. They are infused with drama, movement, and often a palpable sense of the human cost of conflict, though typically framed within a patriotic narrative. His compositions are often dynamic, with strong diagonal lines and carefully orchestrated groups of figures.
His use of color evolved from the richer, warmer tones of his Italian period to a palette that, while still vibrant, often captured the specific light and atmosphere of the Danish landscape. His brushwork was generally controlled and detailed, allowing for a clear articulation of form and texture, though in some battle scenes, a greater sense of painterly energy is evident.
Compared to some of his Danish Golden Age contemporaries, such as the intensely poetic landscapes of Johan Thomas Lundbye (1818-1848) or the psychologically acute portraits of Christen Købke (1810-1848), Sonne's work might appear more straightforwardly narrative or descriptive. However, his strength lay in his ability to synthesize observation with storytelling, creating vivid and accessible images of Danish life and history. Other notable figures of this era whose work provides a comparative context include P.C. Skovgaard (1817-1875), known for his majestic Danish landscapes; Jørgen Roed (1808-1888), a versatile painter of portraits, architectural scenes, and altarpieces; Wilhelm Marstrand (1810-1873), celebrated for his lively genre scenes and historical paintings; and Christen Dalsgaard (1824-1907), who, like Sonne, dedicated much of his career to depicting Danish folk life. Even artists like Martinus Rørbye (1803-1848), with his travel scenes, or Constantin Hansen (1804-1880), with his historical and mythological compositions, contribute to the rich artistic environment in which Sonne operated.
Key Representative Works
Several works stand out in Jørgen Sonne's extensive oeuvre:
The Thorvaldsen Museum Frieze (completed c. 1846-1850): As discussed, Thorvaldsen's Homecoming from Rome is a monumental achievement in public art. Its narrative clarity, lively figural groups, and successful use of the sgraffito technique make it a significant landmark. It captures a moment of national pride and celebrates artistic achievement.
St. Hans Nat, de Syges Søvn paa St. Helens Grav ved Tisvilde (Midsummer Night, The Sick Sleeping at St. Helen's Grave near Tisvilde, 1847): This painting is often cited as one of his masterpieces. It depicts a traditional folk custom where sick people would gather at a sacred site on Midsummer's Eve, hoping for a cure. The scene is imbued with a mystical atmosphere, blending naturalism in the depiction of the figures and the landscape with the romantic allure of ancient beliefs and traditions. It is a powerful example of his ability to capture the spiritual dimensions of Danish folk life.
En Landlig Scene (A Rural Scene, 1848): This work, or others like it, typifies his sympathetic portrayal of Danish peasant life. Often featuring farmers at work or rest, these paintings emphasize the dignity of rural existence and the harmonious relationship between people and nature. They reflect the national romantic ideals of the period.
Fra Slaget ved Dybbøl (From the Battle of Dybbøl, 1864) and other battle scenes: These works cemented his reputation as a leading battle painter. They are characterized by their dynamic compositions, attention to historical detail, and their attempt to convey the intensity of combat. While patriotic, they also serve as important historical documents.
Jørgen Sonne in his Studio (date unknown): This self-portrait, noted for its humor, offers a rare, personal glimpse into the artist's world and his self-perception, hinting at the practicalities and perhaps frustrations of the artistic profession.
Later Years, Honors, and Legacy
Jørgen Valentin Sonne enjoyed a long and productive career. His contributions to Danish art were recognized with several honors. In 1852, he was made a Knight of the Order of the Dannebrog, a significant Danish order of chivalry. In 1881, he received the Cross of Honour of the Order of the Dannebrog (Dannebrogordenens Hæderstegn), a further acknowledgment of his esteemed position.
In his later years, Sonne's eyesight began to fail, which inevitably impacted his ability to paint with the same intensity as before. His artistic views also tended towards the conservative. In an era that saw the rise of new artistic movements across Europe, such as Realism (as championed by Gustave Courbet in France) and the beginnings of Impressionism, Sonne largely remained committed to the principles he had developed throughout his career. He believed in the importance of traditional artistic values, craftsmanship, and the depiction of subjects with narrative and moral clarity. This conservatism was not uncommon among artists of his generation who had matured within the academic system.
Jørgen Valentin Sonne passed away in Copenhagen on September 24, 1890, at the venerable age of 89. He left behind a substantial body of work that continues to be valued for its historical insights, its celebration of Danish culture, and its artistic merit.
His legacy is multifaceted. As a painter of Danish folk life, he contributed significantly to the visual construction of national identity in the 19th century. His works provided an idealized yet recognizable image of the Danish peasantry, reinforcing notions of national character and tradition. As a battle painter, he chronicled pivotal moments in Danish history, creating images that shaped public memory and understanding of these conflicts. His public art, particularly the Thorvaldsen Museum frieze, remains an integral part of Copenhagen's cultural landscape.
While art historical tastes and critical evaluations evolve, Jørgen Valentin Sonne remains an important figure for understanding the Danish Golden Age and the broader currents of 19th-century European art. He successfully navigated the demands of academic tradition, the allure of Romanticism, and the call for a national art, creating a body of work that is both a product of its time and a lasting testament to his skill and vision. His paintings offer a window into a Denmark grappling with modernity, asserting its national identity, and finding beauty and meaning in its own people, landscapes, and history.
