Grumstrup, 27-03-1859-Copenhagen, 25-10-1921, painter
Painter learn in Aarhus; Technical. SK., cinematographer; Kunstakad. KBH. Sept. 1880, modelsk. Oct. 1882-april 1884.
Travel and stay abroad:
Netherlands, Belgium, France 1889; Italy april-Oct. 1890; foreign travel 1907.
Scholarships and honours:
Academy. 1885, 1887, 1889-90; Hielmstierne-Rosencrone 1886; sølvmed., Paris, 1889; Raben-Levetzau 1893; with., Chicago 1893; Antwerp, 1894; Aarsmed. 1 1893, 2 (Eckersberg.) 1894; Neuhausens per 1895; bronzemed., Paris, 1900; Ancker 1907; with., Munich 1913.
Posts and duties:
Eration. of the Academy. Plenarforsaml. 1894; Charl. borg Fur. censurkom. 1894-96, 1912-14; Academy. Council 1907-17; The Baltic fur. jury 1914.
Decemberudst., Cph. 1883; Charl. Spring 1884-1922; KE 1908-09; North. Kunstudst., Cph. 1888; verdensudst., Paris, 1889, 1900, Chicago 1893; A Collect. modern da. Art, Art foren., Cph. 1890; Internat. Kunstausst., Berlin 1891; Expo. Universal, Antwerp, 1894; The Glasgow School Artists of Denm., Chicago, 1895; North. Kunstausst., Lübeck, 1895; bien., Venezia 1895; Raadhusudst., Cph. 1901; Works by then. Painters, Guildhall, London 1907; Civita d'Antino, Art foren., CPH. 1908; Landsudst., Aarhus 1909; Internat. Kunstausst., Munich 1909, 1913; ESPO. internaz., Rome, 1911; The Baltic device., Malmö 1914; Artist foren. of 18. Nov., 1921, 1942; Foren. for the night. Art 1926; Since. Art Event, Forum, Copenhagen. 1929; What Forum deleted, Charl. borg 1931; North Jutland Art competition, Ålborg 1933; Since. Artist genera, Charl. Castle 1952; Jyll. in da. Painting, 1956; Charl. dog show. through 100 years, Charl. borg 1957; Charl. dog show. Artist portraits, cinematographer 1977. Solo Exhibitions: Art foren., Cph. 1889 (s.m. L.a. Ring), 1893; Foren. for the night. Art 1908, 1959.
N.p. Mols belonged to the generation of landscape and figurative painters who also spoke and H.A. brendekilde, L.A. Ring that broke with the previous decades of sometimes simplistic depiction of rural life. From the capital and the bourgeoisie distancing, ennobling and idylliserende efforts shifted attention onto more reality close representations of rural population's living conditions. As well as Ring and Mols brendekilde stemmed from poor conditions and portraying a population and an environment, they were familiar with, without the ideological, educative and aesthetic filters that was dominant for the publication of her painting of its predecessors. Poverty, the wearisome work, illness and death was portrayed usentimentalt, but in edited form, selected, interpreted and artistically worked. In his breakthrough work Roeoptagning from 1886 Mols with a motif worked cutting, Viewer involvement and detail realism, which in a Danish context was introduced by Carl Bloch, but the staging of Mols is used to achieve realistic and not idealistic intentions. Instead of Samson in treadmill produced Mols portrays the incessant and laborious work, but it was with a seriousness and dignity, which promises the monumental motif from the individual to the mainstream, to a statement about naturforbundethed and correlation between human, animal and landscape. Mols established themselves first and foremost as an animal painter and was not unaffected by the great predecessors J.Th. Lundbye and Th. Philipsen, but he placed them in particular, as his peers colleague Mols T, in continuation of a French tradition of monumental animal images, as they are especially known from the slightly older contemporary French artist Rosa Bonheur. Mols ' favorite motifs were cattle and from growing up well-known midtjyske landscapes, but he has also done several West Coast motifs with fishermen and rescue boats as well as a number of portraits. Enthusiastic, he rarely moved away from a enstonet mood intermediate grey palette, apart from individual preferably later sunny images, if at times glaring colors bear witness to certain colouristic limitations.
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