Randers, 01-11-1856-Hellerup, 18-02-1935, painter, graphic designer, the form provides
Cand. Phil.; Stud. with.; ship's doctor (military service); private student of Fr. Rohde and Wenzel Prakash; Kunstakad. KBH. 1881-82; Artists ' Studiesk. (P.S. Krøyer and l. Tuxen) 1883-87.
Travel and stay abroad:
Paris 1887, 1892; Spain 1887; Netherlands, Belgium, Northern Italy, 1892; Rome, Civita d'Antino, Florence 1895-96; Sicily 1899; Italy 1901-02; Greece 1901-02, 1934; Rome 1911.
Scholarships and honours:
Raben-Levetzau 1899; Hielmstierne-Rosencrone 1899; bronzemed., Paris, 1900; Academy. 1903; Hirschsprung 1909; Grand prix, Paris 1925 (furniture); Thorvaldsen's With. 1934.
Exhibitions (inter alia):
Charl. Castle 1888, 1890; North. Kunstudst., Cph. 1888; Kleis ' Kunsthdl., Kbh., 1891; Internat. Kunstausst., Berlin, 1891; The free Device. 1891-95, 1898, 1900-35, 1966; verdensudst., Chicago 1893, Paris 1900, 1925; North. Kunstausst., Lübeck, 1895; Artists ' Studiesk. Dog show. 1896; Civita d'Antino, Art foren., CPH. 1908; Landsudst., Aarhus 1909; Dä. Ausst., Berlin 1910-11; ESPO. internaz., Rome, 1911; Works by Modern Da. Artists, Brighton 1912; The glass palace, Munich 1913; Liljevalchs Konsthal, Sth. 1919; Since. NAT. Exhib., Brooklyn, 1927; Since. Målarkonst, Helsingfors 1928; Since. Art Forum Conference, 1929. Solo exhibitions: own Studio 1888 (s.m. among other things. V. Hammerhøi); Kleis ' Kunsthdl., Cph. 1890; Winkel & Magnussen, Kbh. 1903, 1911, 1923; Kunstindustrimus., 1908; Arhus Art foren. 1915; Sth. 1917 (s.m. Karen Hanover).
Johan Rohde was a versatile talent, whose efforts in the field of painting and design was of seminal importance, like several of his initiatives in the arts policy. He was first and foremost a painter, but from 1890erne, he increasingly dealt with furniture drawing and worked from 1906 that form gives the corpus silver. In response to an outdated educational form left Rohde in 1882 Academy after barely a year's course of study, and he then went along with like-minded young artist colleagues initiative for the creation of the artists ' Studio school. In 1891 was Rohde also initiator of the formation of the free Exhibition, a consequence of the Charlottenborg exhibitions stagnated vision of art. The Rohdes merits belongs also his dissemination of van Gogh-images for the legendary exhibition of Gauguin and van Gogh at the free Exhibition in 1893. Rohdes early images from the end of the 1880s were within the framework of today's dominant social realistic expressions with subjects such as poor children brings together coal Harbour and Sunday on a Copenhagen boulevard (1887-88). His breakthrough as an artist got Rohde after the meeting with the European symbolism during a trip to the Netherlands, Belgium and Paris in 1892. It was particularly in touch with Maurice Denis and the impression of his art, which experienced a decisive influence on Rohde Through summer evening in Tönningen and main plant Giant evening at the pier in Hoorn, both of 1893, he manifested himself as one of the first Symbolist painters at home and was thus helps to introduce and disseminate knowledge of symbolism in Danish art. A special mood and reflection conducive atmosphere pervades these twilight images where well-defined flat color fields and stylized elements with organic decorative lines are influenced by Japanese woodcuts. Symbolism dominates preferably Rohdes pictures in 1890erne. Occasionally however, Symbolist, decorative effects that pops up in his later works, typically in the channel-or water motifs from Christianshavn and Randers with buildings and sky Arabesque-like reflections in the surface of the water. Individual works, among other things. Summer evening at Christianshavns Canal at Børnehus bridge (1904) and the port in Randers (1906) also shows influence from the old hollænderes tone painting, which he had studied during his stay in 1892. Rohdes depictions of landscapes and urban scenes alternate between atmospheric nature sceneries and more soberly recording topographical renderings. The early landscapes have motif from West Jutland, bybillederne either from Copenhagen, Ribe, or at the latest until his 91st Randers and Fanø. The Italian countryside cultivated Rohde on his many trips to Italy, especially from 1896. Along with individual Roman prospectuses separates these landscapes by a freer way of painting and a more lysstemt color. Portrait painting make up a smaller share of total production, and they portrayed Rohdes stands out with a particularly present clout and plasticity. This applies to single portraits of Henrik Pontoppidan (1895) depicted with lush, Symbolist flower background, Kr. Zahrtmann, painted in Civita d'Antino (1896) with a cross flower, and the contemplative J.F. Willumsen in his Studio (1899). It is incoming personality depictions, which emphasizes the portrætteredes spiritual strength and masculine power. In addition group portraits Painter Kr. Zahrtmann in his Studio (1910), surrounded by his students Peter Hansen Syberg and Johannes Larsen, Frits, Karl Schou, and Three painters (1911) with Poul s. Christiansen, who plays violin for Niels Larsen Stevns and a Edvard Weie, where the actual situation demonstrates the collegial conviviality. Rohdes interest for design can be seen as a consequence of the Symbolist form language decorative aspects and contemporary general trend to transfer aesthetic art standards for craftsmanship. His first attempt was in force own and friends ' furniture, later he performed furniture to order. His style is distinguished by both a classic and a empireagtig lightness of gravity combined with the passage of organic decorative lines. In addition akcentuering of detail and, above all, respect for the tree's structure. Rohdes enthusiasm for design took him on to silver and finally came to full expression in 1906-08, when he began a fruitful collaboration with Georg Jensen Silversmiths. Remarkable is the gradual simplification of form and line to the point where form combined with the functional. In several works, he anticipates with its simple and unostentatious style later design. A typical example is wine second (sign 1920), whose organic curving platforms: style is seen right up until the 1950s. Rohde has previously been best known as a painter, but is today recognized as one of the pioneers of modern Danish design.