Copenhagen, 09-12-1853-Copenhagen, 21-11-1927
Company: United States, Iceland, Greece, Moscow, Greenland, Germany, England,
Italy, Paris, Spain, Egypt, Denmark, United Kingdom.
Kunstakad. KBH. 1868-afg. Dec. 1872; L. Bonnats SK., Paris, dec. 1875-apr. 1876, 1877-May 31st. 1878.
Scholarships and honours:
Stoltenberg, 1891-92; titular Prof. by Kunstakad. KBH. 1892; Årsmed. 1 1893; Eckersberg. 1894; with. verdensudst., Chicago 1893; Munich 1905.
Travel and stay abroad:
London, St. Malo, Brittany 1875; Paris 1875-76 and 1877-78; Florence, Rome, 1879-80; England, Germany 1886, 1887; Egypt 1889; Palestine 1891-92; Germany, St. Petersburg 1894; Moscow 1896; Spain 1902; Greece, Egypt, Balkans, 1913-14; United States 1918; Iceland, Greenland 1921; California 1924-25.
Exhibitions (inter alia):
Charl. Spring 1874-1926; Juleudst., Cph. 1874, 1883; The salon, Paris 1878, 1884, 1886-88, 1892, 1904, 1907, 1910, 1913; Erste internat. Kunstausst., Vienna, 1882; Artist foren. of 18. Nov., 1882, 1942; North. Kunstudst., Cph. 1883, 1888; Internat. Kunstausst., Berlin 1891; Victorian Exhib., London, 1892; verdensudst., Paris 1889, Chicago 1893; bien., Venezia 1895; Grosse Berliner Kunstaust, Berlin 1895, 1907; North. Kunstausst., Lübeck, 1896; Victorian Era Exhib., London 1897; verdensudst., Paris, 1900; Raadhusudst., Cph. 1901; Victorian Gold Jub. Exhib., Sydney, Melbourne and Bendigo 1902; Internat. Kunstausst., Düsseldorf, 1904; Kopiudst. of older udenl. Masters, Kbh. 1904; Internat. Kunstausst., Munich 1905, 1909; Works by then. Painters, Guildhall London 1907; Kunstudst., Skagen Skagen et al. 1907-08; Landsudst., Aarhus 1909; Painting Artists ' Sammenslutn., Cph. 1911, 1915, 1919, 1923; Dog show. of painted children's portraits, Kbh. 1911; ESPO. Internat., Rome, 1911; Modern Da. Artists, Brighton 1912; KE 1913; Since. Art, London 1913; Sommerudst., Kbh., 1914; Aarhus Kunstbygn. Indvielsesudst. 1917; Martsudst. 1921; Apriludst. 1924-26; Since. NAT. Exhib., Brooklyn Mouse. 1927; L'art anglais, Jeu de Paume, Paris 1928; Since. Art competition in Forum, Copenhagen. 1929; ESPO. Internat., Barcelona 1929; Since. Kunstutst., Oslo 1931
L. Tuxen's desire was already from childhood to become a marine painter, but the teachers at the Academy of fine arts encouraged him to become a figure painter. After his apprenticeship with Léon Bonnat in Paris, he made his breakthrough with Susanne in the bath at the Charlottenborg exhibition in 1879 a repetition of the image he had exhibited at the Salon in Paris the year before. Colleagues, with Kristian Zahrtmann in the lead, invited him to teach them in the valeur painting principles, the Foundation of the French naturalism. The artists ' Studio schools thus began in a taglokale in Søkvæsthuset in 1879, but was expanded by P.S. Krøyer's homecoming in 1882, where the school at the same time, got government subsidies. Tuxen's talent, colouristic endowment and good teaching abilities had placed him in the forefront of his generation. It was indeed him, the choice fell on, as a Committee with Brewer Carl Jacobsen as the President wanted a painting of the Danish Royal family. The picture was supposed to be a gift to Copenhagen and hang in the new town hall. The large group painting Christian IX and Queen Louise with family in the garden room at Fredensborg, 1883, struck in earnest Tuxen's name as a highly competent figure painter who also won him international fame. It was only the radical forces in Copenhagen, led by art critic Karl Madsen, who blasted the Royal image, more because of the motif than the picturesque qualities. Queen Victoria ordered from Tuxen a similar, but smaller, group portrait of himself surrounded by his family påWindsor Castle on the occasion of its 50-year Jubilee in 1887. Tuxen was from then on Queen Victoria's court painter, which meant that the next twenty years he was on the move around Europe in order to paint the princely portraits. Of letters home to his brother, Emil Tuxen, it appears that the civil service Tuxen, son, performed her duty as a figure painter, but of the heart had wanted to join with friends in the artistic thrust, which took form in Skagen during the 1880s and 90s. He married a second time in 1901 with frederikke Treschow Larvik in southern Norway by Fritsøehus from. One of the first, the couple did, was to buy the farm in Vesterby at Skagen, as several kunstnerpar had rented for the summer stay. With Thorvald Jørgensen as an architect, became the farm to an elegant housing. Tuxen understood what value the artistic conditions in the 1880s and 90s had, and had the idea to found a museum of these decades of arts. Skagens Museum was founded in 1908, but it took 20 years before it could be opened. In the past few years had made a hard piece of work, in particular, Tuxen in order to provide the necessary financial resources. Tuxen went on to paint the Prince pictures, but landscapes from Jutland's picturesque peak was his favorite motifs. As a teacher He was highly prized. According to old students ' reports he could correct without having to take the desire from them. At the same time, he continued with the passage of new currents in the case of repeated visits in Paris. In 1911, he painted a Cubist painting for F.L. Riis-30th anniversary. However, he wanted not to unfold as a modernist painter, knowing that he belonged to the natural of epoch from the decades before the turn of the century.