Other names: Johan Laurentz Jensen
Gentofte, 08-03-1800-Copenhagen, 26-03-1856, painter
Kunstakad. KBH. 1814, from gipssk. to modelsk. Jan. 1817, little sølvmed.
1817, st. sølvmed. 1818; as well as. a pupil of C.W. Eckersberg in figure painting; student
by blomstermaleren C. D. Fritzsch.
Travel and stay abroad:
Paris and Sèvres 1822-23; Southern France (Montpellier) and Italy (Rome, Sorento,
Naples) 1833-35; Paris and Netherlands 1845; Paris 1855.
Scholarships and honours:
Fund ad Usus and Sciences 1821, 1823; agréeret by Kunstakad. KBH. 1824, Member.
1825; titular Prof. 1835.
Exhibitions (inter alia):
Charl. Spring 1818-22, 1824-33, 1835-56; Kunstakad. Sth. 1834, 1850, 1853;
Univ. Device., Cph. 1843; North. Kunstudst., Cph. 1872; Raadhusudst., Cph.
J.l. Jack's talent caught the attention while he was educated at the Academy at a very young age. For a time, he considered portrait art, but chose then to specialize in flower painting. With the support of the Academy's præses, Prince Christian Frederik, the later Christian VIII, he traveled in 1822 through Hamburg and the Netherlands to Paris, where he studied with the Flemish brothers Gérard van Spaendonck and Corneille, who at the time had great success with their floral pieces. At the urging of his patron, he sought further education on the porcelain factory at Sèvres, where he learned to master the variegated overglasur painting and the special rules for blomstermaleri in the small format. After returning was Jensen member of the Academy of fine arts and also employed as a painter at Porcelainsfabrikken. After J.L. Camradt and C.D. Fritzsch created J a renewal in Danish blomstermaleri and won great popularity. To Princess Caroline and Prince Ferdinand, he painted so a larger decoration of the dining room in the couple's new home in Bernstorff Palace. As easel pictures genre its stylistic conventions had passed from the Dutch 1600tals painting, which had been continued and developed by French artists in 1700-century. The flowers were typically organized as a keen bouquet in a vase, placed on a plate. A dark, neutral background, which may be designed as a niche, served to highlight the luminous color splendor. In addition the symbolism. The preferred plant was the rose, often composed with a single flower like other URf.eks. Lily or Myrtle, or with a whole host of other different species. J mastered the perfect natural version, and his admiration for the older forbilleders decorative qualities can be seen throughout his work. It had meaning for him, that in 1843 was acquired a painting by Jan van Huysum for the Royal painting collection. Characteristic of Jensens work is a richness of species and colors, and his distinctive seen arguably the best in colours. J varied the known setups and also painted flowers lying on a stone plate or placed in a woven basket, possibly tied into wreaths. He was among the painters who worked for rare and precious plants in the greenhouses at Rosenborg, but he kept most of that work in the countryside in Gentofte. Also, wild flowers and strawberries could be incorporated into his paintings, like southern fruits, Orange and pineapple, was among his favorite tourist motives. In addition, flowering branches are seen 1840rne with exotic birds and other forms of nature morte, especially birds. He got a wide customer base ranging from the Royal family and the Royal Court to the bourgeoisie. In addition, several artists were among his admirers. Jensen had great importance through his example and the extensive teaching, he gave in his Studio. Among his pupils were quite a number of female painters, among others. Louise of Hesse, Christian IX's later Queen. In the 1980s he got