Copenhagen, 30-11-1825-Copenhagen, 15-11-1910, painter
In painter learn; recorded at the Academy of fine arts, Copenhagen April 1839, model school 4.7.1842; learned history painting by J.L. Lund and later of C.W. Eckersberg; small silver medal 29.12.1843; large silver medal March 1845.
Scholarships and awards
Neuhausens Prize 1847; Thorvaldsen's Medal 1853; Academy Award 1857-58; Member of the Academy of fine arts. KBH. 1864; Member of the Academy. Stockholm. 1866; Treschow 1887.
Travel and stay abroad:
Dresden, Vienna, Venice, Parma, Florence, Rome, Naples, Switzerland, Paris, 1857-58; Sweden several times, inter alia. 1863-64.
Exhibitions (inter alia):
Charl. Spring 1844-54, 1856-57, 1860-61, 1863-67, 1869-74, 1876-1901, 1903-10; Academy., Sth. 1850, 1866; North. Kunstudst., Cph. 1872, 1883, 1888; verdensudst., Paris, 1878; North. Konstutst., Gothenburg, 1881; Erste internat. Art-Ausst., Vienna, 1882; Internat. Kunstausst., Berlin 1891; Raadhusudst., Cph. 1901; KE 1905; L'art anglais, Jeu de Paume, Paris 1928; Since. Artist genera, Charl. Castle 1952; Charl. borg-device. through 100 years, 1957; Foren. for the Night. Art, Charl. borg 1966.
Julius Exner idyllic scenes of rødkindede Danish peasants in colorful regional costumes and interiors are well known. Well into the 20th century has his portrayals, especially the visit with Grandpa from 1853 through graphic reproductions enjoyed wide circulation and popularity. Exner had originally decided to become history painter. The prevailing national feeling in the 1800-century and a buy skillfully trade however, genre painting did to the citizenship of the most popular form of expression, and Exner was as several of his contemporary artists genre painter. The cult of the national with peasant booth as a player was known as genre in contemporary literature and theatre. CHR. Winther's Woodcuts (1. UDG. 1821) and vaudeville A Sunday at Amager of Johanne Louise Heiberg (1848) are examples of this. Within the picture art's area was the art historian N.L. Høyen encouraged to depict people's life in the national cause. It was also him who did Exner attention Amager peasant character. From the beginning of the 1850erne he downloaded his motives from here. These narratives was initially a kind of ethnographic recording of characteristic and not least picturesque costumes and interiors. But the Idyll soon became icenesat and fitted with an anecdote which rule of humorous art. The actual fremstillingsformen was the theatre scene, which, among other things. Celebrity from Marstrand's Holberg representations. Its goal was through the actors ' movements and facial expression to make articulated over the narrative easy fattelig. Exner mastered the figure rich performances, and fleet created consistency between the characters. Local koloritten with more consistent colors in clothing and Interior gave picturesque context in the richness of the judgment. And finally, the overall incident light from a window or a sweet open door the scenery in a soft mood conducive tinge. Exner images with single characters immersed in everyday pursuits and his lysvirkninger attest to his study of the Dutch genremaleri. In the design of the larger genre scenes he downloaded inspiration in peasants ' livsskildringer. In addition to designs from Amager and some Hedeboegn came from the so-called Fano to constitute the second major motif group. Here he found at the end of the 1870s, the remains of a remote and dying regional culture, which provided new picturesque fabric for his pictures up to his death. Despite demand for the popular depictions of Amager and Fanø painted Julius Exner also occasionally portraits and individual genre scenes from, among other things. Italy (1857-58) and from Vadstena and Dalarna (1863 and 1864), if displaced cultural Marstrand had previously grown. Finally, Exner Venetian picture a gondola from 1859 is highlighted. Along with the early From the Royal figursal, 1843, documenting these images a more versatile talent than peasant livsskildringerne suggest.