Janus la Cour
Timgaard near Ringkøbing, 05-09-1837-Odder, 13-10-1909, painter
Reviewed real class in Aarhus Latin.; Private Sub Impr. in the character. with dyrmaler e. Hoegh-Guldberg, Aarhus, 1850-53; to Ld. in order to become a sheet. After 1853; went for a time with F.C. Kiærschou; drawn with W. M from jan. 1854; Kunstakad. KBH. 1857, modelsk. 1859, participated in during Impr. in the winter of 1864.
Travel and stay abroad:
Paris 1865; The Pyrenees over Marseille and Nice to Italy 1865-67; Switzerland and Italy 1868-70, 1874, 1897-98, 1902; Switzerland 1905; Rome and Tivoli 1908.
Scholarships and honours:
Neuhausens per 1861; Academy. 1865-66, 1868; URUdst.med. 1871; Ancker 1897; eration.
by Kunstakad. KBH. 1872; titular Prof. 1888; eration. by Kunstakad., Sth. 1883; bronzemed. Paris 1900.
Exhibitions (inter alia):
Charl. In spring 1855, 1857-63, 1865-68, 1871-79, 1881, 1883-86, 1888-89, 1891-93, 1895-97, 1900-01, 1903-04, 1906-07, 1910; North. Kunstudst., Cph.
1872, 1883, 1888; Erste internat. Kunstausst., Vienna, 1882; verdensudst., Chicago 1893, Paris 1900; North. Art-Ausst., Lübeck, 1895; Foren. for the night.
Art 1901, 1926, 1928 (mindeudst.), 1960; Raadhusudst., Cph. 1901; Works by then. Painters, Guildhall, London 1907.
Janus la Cour subscribed already as 7-8 year old landscapes. In Copenhagen, he came through the N.L. Høyen in connection with P.C. Skovgaard, which had great importance for his landscape perception and the way he built up an image from the study to the finished result. He can also be regarded as that continued's idyllic view on nature. In his compositions sought la Cour the harmony and the vegetative, quiet atmosphere rather than natural forces unleashing. Brush the treatment is similar smooth, and his value in painting there was a tendency for koloritten is going to be missing filling. La Cour cultivated the pure natural idyll with no shape spot. From the journeys he downloaded refined impression. In particular, his work from, among other things. NEMI Lake and Villa d'Este in Tivoli, as well as by the Alps and Bayern is highlighted. The elegiac mood-bearing element in most of la Cour's images are inspired by the great classical landscape painters such as s. van Ruysdael, h. van Swanevelt and Claude Lorrain. Even in the sunny Italian motifs he retains a coolness in the depiction, as when he highlights løvmassernes silver Sheen and the dead calm water mirror effects. Around 1878 got la Cours palette a richer tone under the influence of French art, in particular c. Corot's mood-painting. He returned, however, after the hand again, back to the old grind manner in all his sobriety was a last, subdued obeisance to golden age painting. The conservative element in his art hangs in some degree with the fact that he with his loner nature avoided any contact with other artists, particularly in the last 25 years of his life, and thus also insulated themselves from the new art currents. La Cour lived
1861-84 with the family S in Copenhagen, but then moved back to Jutland and settled in the surrounding area of Aarhus. When he was not travelling in Switzerland or Italy, he painted landscapes in the area around Aarhus. Here he repeatedly portrayed the surface shrink and the forested, steep slopes.
Also the Jutland Heath attracted his attention as artistic motif.