Simon Ludvig Ditlev Simonsen stands as a notable figure in Danish art history, particularly recognized for his dedication to animal painting. Active during a vibrant period of artistic development in Denmark, his work captured the essence of the animal world with sensitivity and skill. Though born outside Denmark, his career unfolded within the Danish art scene, contributing to its rich tradition of realism and natural observation.
Biographical Outline
Simon Simonsen entered the world in Munich, Germany, on January 1st, 1841. Despite his German birthplace, his artistic identity and career were firmly rooted in Denmark. His life spanned a significant era of change, concluding in Copenhagen on February 22nd, 1928. The available records confirm these fundamental biographical details, placing him squarely within the late 19th and early 20th-century European art landscape.
While his birth in Munich, a major European art center, is documented, specific details regarding his early upbringing and the precise nature of his artistic training are not extensively covered in the provided sources. It is known, however, that another prominent Danish artist, Niels Simonsen (1807-1885), also a painter and sculptor known for historical and genre scenes, studied in both Copenhagen and Munich. Given the shared surname, profession, Munich connection, and generational timing, it is highly probable that Niels was Simon's father or a close relative, likely providing an early artistic environment or influence, although the exact relationship requires further confirmation beyond the scope of the provided materials. Simon Simonsen's eventual establishment in Copenhagen signifies his integration into the Danish artistic milieu.
The World of Animals: Simonsen's Chosen Subject
Simon Simonsen carved a distinct niche for himself through his focused exploration of animal life. His oeuvre is dominated by depictions of domestic and wild animals, rendered with meticulous attention to detail and anatomical accuracy. Dogs, particularly hunting breeds, feature prominently in his work, often shown in moments of rest, interaction, or engaged in activities like hunting. Horses are another frequent subject, depicted in various settings, from rural landscapes to village scenes.
His interest extended beyond dogs and horses to include farm animals like poultry and cattle, as well as other creatures encountered in the Danish countryside. Simonsen typically worked in oil on canvas, a medium well-suited to his detailed and realistic style. The sources also mention his practice of creating preparatory sketches, often in pencil, capturing the form and movement of his subjects. These sketches, many bearing his signature, served as studies for his more finished oil paintings, demonstrating a rigorous approach to his craft.
His paintings are characterized by fine brushwork and a keen observational eye. He didn't just paint animals; he captured their character, their interactions, and their place within their environment. Whether depicting the tender bond between a mother dog and her pups or the quiet presence of horses outside a smithy, his works convey a sense of empathy and deep understanding of his subjects.
Representative Works and Recognition
Several specific works highlight Simon Simonsen's skill and thematic interests. An early piece mentioned is Good friends (1864), suggesting his focus on animal subjects was established early in his career. This painting reportedly depicted a charming scene involving geese, a dog, a crow, and ducklings, showcasing his ability to portray inter-species interactions.
One of his most recognized works is Heste udenfor en landsbysmedie (Horses Outside a Village Smithy), dated 1867. This painting earned him the prestigious Neuhaus Prize in the same year it was exhibited at the Charlottenborg Spring Exhibition in Copenhagen. This award signifies early recognition from the Danish art establishment and underscores the quality of his work.
Other notable paintings include Fra Massa's Vogn (From Massa's Cart) from 1877, suggesting narrative elements potentially involving animals and human transport or life. A work titled Deiligheden (The Loveliness or Cuteness), dated 1883, likely focused on the charming aspects of animal life, perhaps young animals. Another title mentioned from the same year is Stille Stunder (Quiet Moments), which could potentially be an alternative title or a related work emphasizing tranquility. Also from 1883 is En lille Dreng fodrer Hønsene (A Small Boy Feeding the Hens), indicating his interest in depicting interactions between humans and animals in everyday rural settings.
Later works confirm his continued dedication to animal themes. En Hønehund med sine Hvalpe (A Pointer with her Puppies) captures a classic, intimate animal scene, while Prideful Mother and Pups likely explores similar maternal themes. Andejagtens Begyndelse (The Start of the Duck Hunt), dated 1898-1900, was exhibited at Charlottenborg in 1900 (catalogue number 423), placing the viewer within a specific moment of a hunt, a common genre involving animal depiction. A later piece, Teck 1917, Jagtscene i Skovly (Drawing 1917, Hunting Scene in Woodland Clearing), dated 1917, shows his continued engagement with hunting scenes and possibly indicates a work based on a drawing or a sketch itself elevated to a finished piece.
These titles, dates, and exhibition records paint a picture of a consistent and dedicated career focused on capturing the animal world with realism and sensitivity. His works often bear his signature and the date of creation, aiding in their identification and study.
Simonsen in the Context of Danish Art
Simon Simonsen worked during a period when Danish art was evolving from the Golden Age towards Realism, Naturalism, and eventually Impressionism and Symbolism. The legacy of the Danish Golden Age, with masters like Christoffer Wilhelm Eckersberg and his pupils such as Christen Købke, emphasized meticulous observation and realistic depiction, often focusing on Danish landscapes and everyday life. This tradition certainly informed the artistic environment Simonsen operated within.
Contemporaries and near-contemporaries who also engaged with landscape and animal painting include Johan Thomas Lundbye, known for his romantic landscapes often featuring animals, and P.C. Skovgaard and Vilhelm Kyhn, both significant landscape painters. The Skagen Painters, including Michael Ancher, Anna Ancher, and Peder Severin Krøyer, rose to prominence during Simonsen's active years, focusing on realist depictions of fishermen and coastal life, though their style often incorporated Impressionist influences.
Theodor Philipsen is another important contemporary, considered one of Denmark's foremost Impressionists, who frequently painted animals, particularly cattle, with a distinct focus on light and atmosphere. Laurits Tuxen, also associated with Skagen but known for his royal portraits and historical scenes, represents another facet of the era's art. Carl Bloch was a major figure known for his historical and religious paintings, showcasing the academic tradition. If Niels Simonsen was indeed his father or relative, Simon would have been closely connected to an artist known for historical and military scenes, providing a contrast to his own focus. Simon Simonsen's dedication to animal subjects places him alongside figures like Lundbye and Philipsen, though his style appears more rooted in detailed realism than the romanticism of Lundbye or the impressionism of Philipsen. He contributed significantly to the specific genre of animal painting within this broader, dynamic Danish art scene.
Market Presence and Collections
Simon Simonsen's works have maintained a presence in the art market, appearing frequently at auctions, particularly in Denmark. Auction houses like Bruun Rasmussen (formerly Jesper Bruun Rasmussen), Hørscholm Auktioner, and others have handled sales of his paintings. The prices realized vary, ranging from modest sums for smaller works or sketches to significant amounts for major oil paintings, with estimates sometimes reaching DKK 30,000-50,000 or even DKK 60,000-80,000 for important pieces like Heste udenfor en landsbysmedie, Prideful Mother and Pups, Stille Stunder, and Good friends, according to auction records cited in the source materials. This indicates a consistent collector interest in his work.
Despite his recognized status and market activity, the provided sources explicitly state a lack of clear information regarding whether his works are held in the permanent collections of major public museums or art institutions. While it is common for artists of his standing to be represented in national collections, confirmation for Simon Simonsen requires further investigation beyond the supplied texts. His presence is primarily documented through exhibition records (like Charlottenborg and Den Frie) and the secondary art market (auctions).
Legacy and Academic Study
Simon Simonsen's legacy lies in his dedicated and skillful portrayal of animals. He is recognized as an important figure within the tradition of Danish animal painting, admired for his technical proficiency, observational accuracy, and ability to convey the character of his subjects. His work provides valuable insight into the rural life and fauna of Denmark during his time.
However, the sources consulted suggest that dedicated academic research specifically focused on Simon Simonsen and his oeuvre might be limited. While his works are documented in auction catalogues, biographical dictionaries (like Weilbachs Kunstnerleksikon, though not explicitly cited for details here), and exhibition records, there appears to be a scarcity of in-depth scholarly monographs or articles solely devoted to his life and art. Much of the readily available information seems derived from the descriptions accompanying sales of his works. This suggests an opportunity for further art historical research to fully assess his contributions and context within Danish art history.
Conclusion
Simon Simonsen (1841-1928) remains a respected name in Danish art, celebrated for his mastery in depicting the animal world. Born in Munich but flourishing in the Danish art scene, he developed a distinctive realistic style focused on capturing the anatomy, behaviour, and spirit of animals, from beloved pets and working horses to wildlife. His award-winning work Heste udenfor en landsbysmedie and numerous other paintings exhibited at venues like Charlottenborg attest to his skill and recognition during his lifetime. While perhaps overshadowed in academic discourse by artists focused on grander historical themes or modernist innovations, Simonsen's consistent dedication to animal painting secured him a significant place within his chosen genre. His works continue to be appreciated by collectors and offer a window into the natural and rural heritage of Denmark through the eyes of a keen and empathetic observer.
