Laurits Regner Tuxen (1853–1927) stands as a significant figure in Danish art history, a painter and sculptor celebrated particularly for his grand portraits of European royalty and his integral role within the influential Skagen Painters colony. Born in Copenhagen, Tuxen navigated the transition from traditional academic training to the burgeoning influences of Realism and Impressionism, carving a unique path that earned him international acclaim. His life and work offer a fascinating glimpse into the artistic currents of the late 19th and early 20th centuries, the demands of royal patronage, and the vibrant creative energy of the Skagen artists' community.
Early Life and Artistic Formation
Laurits Regner Tuxen was born in Copenhagen on December 9, 1853. His father was Nicolai Elias Tuxen, a naval officer, and this maritime background initially steered young Laurits towards aspirations of becoming a marine painter. The sea, its moods, and its vessels held an early fascination for him, a theme that would occasionally resurface in his later work, though his career would ultimately take a different direction.
His formal artistic training began at the Royal Danish Academy of Fine Arts (Det Kongelige Danske Kunstakademi) in Copenhagen. During his time there, from 1868 to 1872, he studied alongside Peder Severin Krøyer, another future luminary of Danish art. Both Tuxen and Krøyer were recognized as exceptionally talented students, absorbing the rigorous academic training focused on drawing, composition, and historical subjects, yet already showing signs of the independent spirit that would later define their careers. The Academy, under figures like Vilhelm Marstrand and Niels Simonsen, provided a solid foundation, even as younger artists began to look towards new artistic movements emerging elsewhere in Europe, particularly France.
The Lure of Paris and New Influences
Like many ambitious artists of his generation, Tuxen felt the pull of Paris, the undisputed center of the art world in the latter half of the 19th century. He traveled extensively throughout the 1870s and 1880s, spending significant time in the French capital. From 1875, he studied in the atelier of Léon Bonnat, a highly respected portraitist and history painter known for his realistic style and mastery of technique. Bonnat's influence, emphasizing strong draftsmanship and a sober realism, was profound and complemented Tuxen's academic background while exposing him to a more modern sensibility than that prevalent in Copenhagen.
During his time in Paris, Tuxen engaged with the latest artistic developments. While he never fully embraced Impressionism in the manner of Claude Monet or Edgar Degas, he absorbed aspects of its attention to light, color, and contemporary life. His style evolved into a sophisticated blend of academic precision, particularly in portraiture, with elements drawn from Realism and a more modern, looser handling of paint in certain passages, especially visible in his landscapes and less formal studies. He exhibited at the prestigious Paris Salon, gaining valuable exposure on the international stage.
Skagen: A Northern Haven for Artists
Tuxen's connection with Skagen, the remote fishing village at the northernmost tip of Jutland, Denmark, began relatively early. He first visited in 1870, drawn by the unique quality of light, the dramatic coastal landscapes, and the authentic life of the local fishing community. Though his initial visits were sporadic, the place left a lasting impression. He returned more frequently after 1878, becoming an integral part of the burgeoning artists' colony known as the Skagen Painters.
This group, which included his former classmate P.S. Krøyer, Michael Ancher, Anna Ancher, Christian Krohg, Oscar Björck, Viggo Johansen, and Karl Madsen, among others, shared a commitment to painting modern life and capturing the special Skagen light en plein air (outdoors). They sought to break away from the perceived constraints of academic historical painting and embrace a more naturalistic, often socially aware, depiction of their surroundings. Tuxen, alongside Krøyer, became a central figure in this community.
While his international career often took him away for extended periods, Skagen remained a vital anchor. In the 1880s, he acquired property there, eventually building a summer residence. Skagen provided a counterpoint to the formality of his royal commissions. There, he painted landscapes capturing the dunes, beaches, and seascapes, intimate portraits of family and fellow artists, and vibrant depictions of his garden flowers, particularly rhododendrons. These Skagen works often show a freer brushstroke and a more personal engagement with the subject matter compared to his official portraits.
The Royal Portraitist: Documenting Europe's Elite
Despite his deep connection to Skagen, Laurits Tuxen became most famous internationally for his monumental group portraits of European royalty. His skill in capturing likenesses, managing complex compositions involving numerous figures, and conveying an appropriate sense of dignity and occasion made him highly sought after by the royal courts of Denmark, Great Britain, and Russia. These commissions required not only artistic talent but also considerable diplomatic skill and stamina, involving extensive travel and sittings with some of the most powerful individuals of the era.
One of his earliest major successes in this genre was The Family of King Christian IX of Denmark (1883-1887). Commissioned to commemorate the silver wedding anniversary of King Christian IX and Queen Louise, the painting depicts the royal couple surrounded by their extensive family, including future monarchs like Tsar Alexander III of Russia, King George I of Greece, and Britain's Alexandra, Princess of Wales. The painting, set in the Garden Hall at Fredensborg Palace, cemented Tuxen's reputation as a master of the dynastic portrait. Christian IX was often called the "Father-in-law of Europe," and Tuxen captured this interconnected web of European royalty.
His services were soon in demand in Great Britain. Queen Victoria commissioned him to paint The Family of Queen Victoria (1887), a large group portrait gathered at Windsor Castle. This was followed by further commissions related to her Diamond Jubilee in 1897, including depictions of the celebrations. Tuxen's portraits of Victoria were noted for their blend of regal formality and a certain human warmth, capturing the aging monarch with sensitivity. His ability to handle the complex protocol and logistics of such large-scale royal projects was exceptional.
Tuxen also traveled to Russia, undertaking significant commissions for the Romanovs. Perhaps his most famous Russian work is The Wedding of Tsar Nicholas II and Alexandra Feodorovna (1895), depicting the opulent ceremony in the Grand Church of the Winter Palace in St. Petersburg in November 1894. He captured the solemnity and grandeur of the event, meticulously rendering the elaborate costumes, uniforms, and architectural setting, populated by a glittering array of Russian and European royalty. He painted other scenes involving the Russian Imperial family, documenting a world on the brink of immense upheaval.
Later, he was commissioned to paint The Coronation of King George V and Queen Mary (1911), capturing the ceremony in Westminster Abbey. These large-scale historical portraits were demanding undertakings, requiring numerous preliminary studies and careful orchestration of figures, light, and space. Tuxen excelled at creating a sense of occasion while maintaining individual likenesses within the crowd. His approach was distinct from the more flamboyant style of contemporaries like John Singer Sargent, often displaying a more sober, detailed realism inherited from his academic and Bonnat training.
Artistic Style: Bridging Tradition and Modernity
Tuxen's artistic style is often characterized as Academic Realism with Impressionistic influences. He possessed a formidable technical skill honed at the Academy and under Bonnat, evident in the precise drawing and solid structure underlying his compositions, especially in his formal portraits. He had a keen eye for detail, accurately rendering textures, fabrics, uniforms, and architectural settings, which was crucial for his historical and royal commissions.
However, Tuxen was not immune to the allure of light and color that captivated the Impressionists and the Skagen painters. In his landscapes, garden scenes, and more intimate portraits, his brushwork often became looser and more visible, his palette brightened, and his attention focused on capturing the effects of natural light. His Skagen paintings, in particular, show this more modern sensibility, aligning him with the plein air practices of his colleagues like Krøyer and the Anchers.
He masterfully controlled light and shadow (chiaroscuro) to create drama and focus attention, a skill evident in both his grand state portraits and his smaller works. His color harmonies were typically rich and carefully considered, contributing to the overall mood and realism of the scene. While Krøyer might be more famous for capturing the ethereal "Blue Hour" light of Skagen evenings, Tuxen's strength lay in a more robust, tangible depiction of reality, whether it was the sunlit brilliance of his garden or the complex interior lighting of a palace ceremony. He remained committed to representational accuracy throughout his career, never venturing into Post-Impressionism or the more radical avant-garde movements that emerged in the early 20th century.
Notable Works Beyond Royal Commissions
While the royal portraits secured his international fame, Tuxen's oeuvre was diverse. His Skagen landscapes, such as views of the beach or dunes, possess a quiet power and sensitivity to the unique atmosphere of the region. These works stand alongside those of Michael Ancher in their depiction of the coastal environment, though perhaps with less focus on the heroic struggles of the fishermen that characterized some of Ancher's work.
His garden paintings, often featuring his second wife, Frederikke Treschow, are particularly charming. Rhododendrons in Tuxen's Garden (c. 1910s) is a fine example, showcasing his skill in rendering flowers with vibrant color and capturing the dappled sunlight of a summer day. These works reveal a more personal, lyrical side to his art, a retreat from the demands of official portraiture.
He also painted genre scenes and other historical subjects. An early work like Susanna i Badet (Susanna and the Elders, 1879) demonstrates his academic training in handling the nude figure and biblical narrative. Leaving the Table depicts children, showcasing his ability to capture informal moments of family life. Later in his career, he traveled to Greece and painted King George I of Greece entering Salonica (1913), returning to the genre of contemporary historical painting. His initial interest in marine subjects also persisted, with occasional seascapes appearing throughout his career.
Teaching and Influence: The Free Study Schools
Tuxen was not only a practicing artist but also deeply involved in art education. Reacting against what they perceived as the rigid and outdated methods of the Royal Danish Academy, Tuxen, along with P.S. Krøyer and others, founded the Kunstnernes Frie Studieskoler (The Artists' Free Study Schools) in Copenhagen in 1882. This alternative art school aimed to provide a more liberal environment, emphasizing individual development and exposure to contemporary European art trends, particularly French Naturalism and Impressionism.
Tuxen served as a professor at the Studieskoler from 1882 to 1901, alongside colleagues like Krøyer and the sculptor Vilhelm Bissen. The school played a crucial role in shaping the next generation of Danish artists, offering a vital counterpoint to the established Academy. Tuxen's experience, technical mastery, and international perspective made him an influential teacher.
One known student was Knud Edsberg (1911-2003), who approached Tuxen later in the master's life. Tuxen, recognizing the practical challenges of an artistic career, reportedly advised the young Edsberg to first gain experience in commercial art before dedicating himself fully to painting, promising to teach him then. This anecdote suggests a pragmatic aspect to Tuxen's mentorship. His influence extended through his teaching, his role in Skagen, and the example set by his successful international career.
Relationships with Contemporaries
Tuxen's closest artistic relationship was undoubtedly with Peder Severin Krøyer. Friends since their student days, they shared Parisian experiences, co-founded the Free Study Schools, and were both central figures in Skagen. Their careers, while both highly successful, took slightly different paths, with Tuxen focusing more on international royal commissions and Krøyer becoming perhaps more synonymous with the quintessential Skagen style, particularly his evocative evening scenes. While collaborators, a degree of professional rivalry likely existed, as is common among leading artists of a generation.
Within the Skagen group, Tuxen maintained friendships and professional respect with figures like Michael and Anna Ancher, Viggo Johansen, and Christian Krohg. The colony thrived on this mix of collaboration and individual artistic pursuits. Tuxen's more academic grounding and international connections perhaps set him slightly apart, but he remained deeply invested in the Skagen community, purchasing Michael Ancher's house in 1901 after marrying his second wife.
On the broader European stage, his connections were primarily through his commissions and his studies with Bonnat. He operated within the established structures of salons and royal patronage, navigating a world familiar to other successful academic and portrait painters of the era, such as Jean-Léon Gérôme or William-Adolphe Bouguereau in France, or James Sant in Britain, though Tuxen's style incorporated more modern influences than some of the stricter academicians.
Later Life and Personal Details
Tuxen's personal life saw both joy and sorrow. He married Ursule de Baisieux from Belgium in 1886, and they had two daughters, Yvonne and Nina. Ursule tragically died young in 1899 from tuberculosis. Tuxen captured his grief and love for her in poignant portraits.
In 1901, he married Frederikke Treschow (1856–1946), a member of a Norwegian noble family. This marriage brought renewed stability and happiness. Frederikke often featured in his later paintings, particularly the garden scenes at their Skagen home, Villa Dagminne. They purchased the former house of Michael and Anna Ancher in Skagen and renovated it.
Tuxen remained active as a painter well into his later years, continuing to travel and accept commissions, although perhaps at a slower pace. He also worked occasionally as a sculptor. He died in Copenhagen on November 21, 1927, at the age of 73, recognized as one of Denmark's most accomplished and internationally renowned artists of his time.
Legacy and Collections
Laurits Regner Tuxen left a significant artistic legacy. He excelled in the demanding genre of royal and state portraiture, creating invaluable historical documents of European monarchies during a period of transition. His works in this field are characterized by technical brilliance, compositional skill, and a dignified realism. His contributions to the Skagen Painters colony were substantial, both as an artist capturing the unique light and life of the region and as a co-founder of the community and its associated educational initiatives.
He successfully navigated the complex art world of the late 19th and early 20th centuries, bridging the gap between academic tradition and the emerging trends of Realism and Impressionism. His founding role in the Kunstnernes Frie Studieskoler highlights his commitment to progressive art education in Denmark.
Today, Tuxen's works are held in major collections across Europe. The Royal Collection Trust in the United Kingdom holds several of his most important British royal portraits. The State Hermitage Museum in St. Petersburg houses his depictions of the Russian Imperial family. In Denmark, his works are prominently featured at the Statens Museum for Kunst (National Gallery of Denmark), the Skagens Museum, Frederiksborg Castle (Museum of National History), and numerous other institutions. His paintings continue to be admired for their technical mastery, historical significance, and artistic sensitivity. He remains a key figure for understanding the intersection of courtly representation, naturalist observation, and the vibrant artistic life of Scandinavia around the turn of the 20th century.
