Johansen, Viggo (1851 - 1935)

Artist Description

Copenhagen, 03-01-1851-Copenhagen, 18-12-1935, painter


Dimitt. from C.V. N's Tegneinst.; Kunstakad. KBH. 30.5.1868 (Jørgen Roed), left the Academy. 1875 without Dept., after fl. times to have appear. into afg. test.

Travel and stay abroad:

Berlin, Dresden, Vienna, 1882; Paris, Netherlands 1885; Paris 1889; 1898, Italy

later in 1904 and of Christian democracy.

Scholarships and honours:

Academy. 1880, 1884, 1885, 1909, 1919-20; Thorvaldsen's With. 1886; Honorable mention, Paris 1887; with. 2. kl., Munich, 1889; guldmed., Paris, 1889, 1900; guldmed. 2. kl., Berlin 1891-92; Raben-Levetzau 1892; With., Chicago 1893; eration. by Kunstakad. in Sth. 1897; Ancker 1898; with. 1. KL., München 1909; Treschow 1914.

Exhibitions (inter alia):

Charl. Spring 1876-99, 1901-06, 1908-10, 1912-14, 1916, 1918, 1920-22, 1926, 1928-29, 1933-36; Dec device., Charl. borg 1882; The salon, Paris from 1885; Artist foren. of 18. Nov., 1882; Erste internat. Art-Ausst., Vienna, 1882; North. Kunstudst., Cph. 1883, 1888; verdensudst., Paris 1889, Chicago 1893, Paris 1900; Munich, 1889; A Collect. modern da. Art, Art foren., Cph.

1890; Internat. KunstAusst., Berlin 1891; The Glasgow School Artists of Denm., Chicago, 1895; North. Art-Ausst., Lübeck, 1895; Raadhusudst., Cph.

1901; Works by then. Painters, Guildhall, London 1907; Landsudst., Aarhus 1909; The glass palace, Munich 1901, 1913; Internat. device., Budapest 1906-07; The Baltic Device., Malmö 1914; Since. NAT. Exhib., Brooklyn, 1927; L'art anglais, Jeu de Paume, Paris 1928; Since. målarkonst, Helsingfors 1928; It then.

Art Forum Conference, 1929; Since. Paintings, Sculpture, Applied Art, Toronto, 1929; The da. Kunstudst., Oslo 1931; bien., Venezia, 1932.


Viggo's earliest images showed dependence on the older tradition in Danish art and was influenced by, among other things. W. Marstrands, j. 's and such.

Vermehrens art. At the beginning of the 1870s he painted some summers in Hornbæk, from which derives some realistic representations from fishing environment.

He also showed an early interest in older Dutch art and cultivated nature morte-manufacture as an independent genre, as seen in the URf.eks.

Cut Lamb's head on a platter, 1880. On the other hand, is the mood of the URf.eks. Confirmation Sunday, Dragør, 1878, in the wake of a late romantic traditions. He first visited Skagen, 1875 and 1880 he married Anna Ancher's cousin, Martha M. In the 1870s shared Jackson his time between Copenhagen, Hornbæk, Dragør and Skagen. At Skagen, it was especially the landscape that interested him as a painter, but also locals painted and in particular drawn he diligently. During a visit to Paris 1885 he founded were personally acquainted with Impressionism. He was displeased so interest for Claude Monet, whose work he saw at an exhibition at the Galerie Georges Petit, where also P.S. Krøyer and his teacher l. Bonnat exhibited. At Skagen was Jackson palette brightening and brush on the market easier, partly under the influence of the other artists in the colony, but especially because of the special lighting conditions, as the site was still problematic. In interior image Christian Bindslev is sick, 1889, is Jack in the luminous colour unmistakably influenced by the CHR.

Krohg. After he had settled in 1890 settled in Copenhagen, was his favorite motifs gradually shapes in an Interior, often with his wife and children as models. This matter, and he aflokkede he cultivated over the years convincing the painterly results. How diverse this theme could be designed, showing examples as kitchen Interior, the artist's wife arranges flowers, 1884, 1888, and washed the children Happy Christmas, 1891.

Interior photos Soirée in the artist's home, 1899, and Between artists, 1902-03, displays a Masterful command of the Moody, subdued lighting effects. In these works, will be released in an intimate and free and easy compositing the psychological games between those present persons, all of which are portraits of Jackson circle of friends. On the other hand, was his colouristic experiments under the influence of the French impressionism in the long run is not always successful. His palette could easily become heavy and colourful in both landscapes as in portraits.

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