Carl Ludvig Thilson Locher
Flensburg, 21-11-1851-Skagen, 20-12-1915, painter, raderer
Company: Denmark, Skagen
First under Impr. in marinemaleri with the father; a pupil of Carl B; by Holger Drachmann for a few months in 1872; dimitt. from Technical. Inst., Kbh.; Kunstakad. KBH. 1872-74; a pupil of Carl Neumann; Léon Bonnats SK., Paris 1875-76, 1878-79; taught art with Hans Mayer rader, Berlin 1893-96.
Travel and stay abroad:
Ship cruises: Caribbean, home of London 1870-71; with the frigate Jutland to Madeira, Cherbourg, London, Antwerp, Hamburg, 1875; Faroe Islands and Iceland 1879-80, 1907 (King journey); Greenland 1906; OPH. at Skagen regularly from 1872, permanent residents from 1910; Paris and Normandy, 1875-76, 1878-79, repatriation of Netherlands; residing in Hornbæk 1880-89; in CPH. 1890-1910.
Scholarships and honours:
Conclusion. to Neuhausens per 1875, 1877 without success; Ancker 1886; Academy. 1887, 1893; Raben-Levetzau 1893; tit. Prof. 1899; bronzemed., Paris, 1889, 1900; Aarsmed. 1 1903; 2 (Eckersberg With.) 1904.
1870, 1873-75, 1877-78, 1881-95, 1897-1901, 1903-15; Artist foren. of 18. Nov., 1882, 1942; North. Kunstudst., Cph. 1883, 1888; verdensudst., Paris, 1889, 1900, Chicago 1893; Internat. Kunstausst., Berlin 1891; North. Art-Ausst., Lübeck, 1895; Raadhusudst., Cph. 1901; Works by then. Painters, Guildhall, London 1907; Landsudst., Aarhus 1909; ESPO. Internaz., Rome, 1911; Since. Art Forum Conference, 1929; North Jutland Art competition, Ålborg 1933; Sønderjysk Device., Charl. borg 1937; Since. artist genera, Charl. Castle 1952; Jyll. in da. painting, 1956; Skagen Painters, Then. Centralbibl., Flensburg 1977; Storm and quiet, Orlogsmus., Valdemarsslot 1980; From Michael, Anna and Helga Anchers Collect., Skagen Town Hall and Art foren., CPH. 1983; Künstlerkolonie, Altonaer Mouse. 1989; Landschaft im Licht, Cologne and Zurich 1990; Skagen, North. collect.-place the Nordic House, Reykjavík 1993. Solo Exhibitions: Winkel & Magnussen, Kbh. 1904, 1910; Hans Frandsen, Kbh. 1919 (graphics); Aarhus 1920; Art foren., Cph. 1942; Skagen's Mouse. 1955, 1983.
Carl Locher grew up with an interest in ships and received his first instruction from his father. After his death a short time his business Locher led as ship portraitist on. Several times traveled Locher on long voyages by Navy ships. Trip to Western India 1870-71 was decisive for his later iconography, since he got an impression of the Atlantic Gush, which never left him. Despite other training figured Locher for a pupil of Holger Drachmann, whose poetic naturalism constantly inspired Locher On Drachmann's instigation he took in 1872 to Skagen, where he found motifs and picturesque challenges that corresponded with his temperament. He was one of the province's earliest members, artist and growing camaraderie and mutual exchange of ideas and experiences with particular Karl Madsen gave Locher the confidence and belief in their own artistic instruments which brought him further. Study stay in Paris 1875-76 and 1878-79 was crucial for Lochers picturesque development. The teaching of Léon Bonnat and impressions of the work of older French artists such as c. Corot and g. Courbet caused Locher share the meticulous painting way danger for the benefit of the total colouristic effect. His first two successes, Ageposten between Skagen and Frederikshavn, 1876, and Rescue the boat goes out, 1877, is both the Skagen designs and both painted in Paris. The distance in time and place created the simplification in the expression, which is both the frame strength. Julius Long called the "Art of silence". Since then the lifeboat went out many times from the Lochers Studio and was probably instrumental in the belittling of his artistic legacy. Lochers artistic strength is his unrivaled ability to capture the weather over the sea and reproduce it in all its changing color tones. He documented the early impressions of the Impressionists, particularly Claude Monet, and in his best pictures as stormy weather at the mound, 1895, and Skagen sønderstrand beach at the end of november after sunset, 1905, reached Locher a honesty and an artistic sophistication in the depiction, which is unusual in Danish art. Both at Skagen and in Hornbæk knotted Locher more fishermen than to the artists. He had the sea with the fishermen in common among artists, he was a loner. Encouraged by Carl Bloch began Locher in the 1880s to etched. On a State scholarship, he studied art in Berlin 1893-96 rader, but the professorship, which the Ministry of public worship was made by him in view, was abandoned. Instead got Locher State aid to set up a private school, which was searched by rader, inter alia. P.s. Krøyer, Anna and Michael Ancher, Louis Moe and Peter Ilsted. Locher performed about 60 etchings with motifs from the sea and beach, each very large, and all free from the sentimentality that otherwise characterizes future rader art. His leaves in vernis-mou-technique, performed after 1897, was at the time highly praised for their sketchy freshness and secured him an award at the world exhibition in Paris 1900.