Larsen, Johannes(1867-1961)

Johannes Larsen

Kerteminde, 27-12-1867-kerteminde, 20-12-1961, painter, graphic artist

Education:

Technical School, Copenhagen (H. Grønvold); The artists ' Studio School (Frans Schwartz, Kristian Zahrtmann) 1884-93; employee at Joakim Skovgaard (Viborg Cathedral) 1899; learned etching technique by Tom P 1902; woodcut with such Hendriksen 1904.

Scholarships and honours:

Bielke 1897; Raben-Levetzau 1905; Academy. 1903, 1905, 1907, 1909; Honorable mention, Paris 1900; Diplôme d'honneur, Paris 1925; eration. of the Academy. in Sth.

1939; Thorvaldsen's With. 1941; The Fries Artist scholarship 1946; honorary citizen of kerteminde 1947; Winkel and M bequest, 1953; Blicher-Prize 1957; Bogvennernes Draw price 1958; æresmedl. by, among other things. Since. Magazine Illustrators, Graphic Kunstnersamf. and Danm. Wildlife foren.; set for life-time honorary gift on the Finance Act 1961.

Travel and stay abroad:

Germany 1890 (together with Karl Madsen, Alb. Gottschalk, with more); Northern Italy 1898; Paris 1905; United States (Boston) 1907; Stockholm 1910; Danish Islands

1921-24 (along with Achton Friis); Greenland, 1925; Iceland 1927, 1930; The Canary Islands, etc. 1928; England 1934 (along with Lamar. V. Jensen); Bornholm 1948; Netherlands 1954.

Exhibitions (inter alia):

Charl. Spring 1891-92; Kleis ' Høstudst., Cph. 1892; The free Device. 1894-98, 1900-14, 1926, 1931, 1934, 1938.0, 1940-41, 1943-44, 1947, 1951, 1953-54, 1958, 1962 (mindeudst.); Artists ' Studiesk. Dog show. 1896; verdensudst., Paris, 1900, 1925; Dä. Ausst., Royal. Kunstgewerbemus., Berlin 1910-11; Contemp. Art in Scand., Brown Stone Gal., N.Y. 1912; Works by Modern Da.

Artists, Public Art GAL., Brighton 1912; The Baltic device., Malmö 1914; Later then. Art, Liljevalchs, Sth. 1919; Zahrtmann and his students 1926; Since.

NAT. Exhib., Brooklyn Mouse. 1927; Since. Målarkonst, Helsingfors 1928; L'art en., Jeu de Paume, Paris 1928; Since. Kunstudst., Oslo 1931; Amsterdam, 1934; Riga, 1936; Hungary 1936; Bucharest 1936-37; Belgrade 1937; North. Const, Gothenburg, 1943; Charl. OJ. 1946, 1952; Since. Art Treasures, the Victoria and Albert Mouse., London 1948; Since. Painting from His Smidth to J.L., Charl. borg 1959.

Biography:

Johannes Larsen grew up in an art interested environment on his father's merchant House in kerteminde. In the city's streets as he as a boy His Smidth work, and met through him, among other things. Theodor Philipsen. The 2 was, together with L.A. Ring, the nearest access point for Larsen to the foregåendegenerations art. There were already two painters in his family. His uncle was the painter Christian Eckardt and another uncle, Johan Peter Bless, was a portrait painter. In his memoir "I remember" (a very precise expression of L's legendary recall ability) allows L a number of intriguing descriptions of his observations in the natural area, especially as regards bird colors and feathers splendor. Already in 8-9 years of age, he was able to characterize a bird in drawing and water colour, and at the age of 11, he painted under the tutelage of "Uncle Bless" her first oil painting, "Kitty". In beyond painting he learned a bolder use of color and got a more immediate relationship to the subject. In parallel, he acquired an extensive knowledge of nature, animals, flowers and birds. At home in the summer, he painted, among other things. a number of fine, characterful portraits. His ability in this direction resulted in the young years he was described as a portrait painter. In more landscape and figure studies show L his early understanding of the importance of light, and developed a characteristic of these works is the color's mild lysholdighed. Main plant among La's major works from the beginning of the century is "Hailstorm weather in april", 1901-07. L was deeply fascinated by the changing of the seasons, and noted carefully in his diary every day, what the weather was, and what birds he had seen or heard. Numerous titles bear the imprint of this unfailing security in the depiction of the Danish weather. In addition to home in kerteminde, he painted by Båxhult in Småland, where in 1905 he took over one of the father's property. Childhood interest in birds began already in the 1890s resulted in numerous studies of dead birds, often in watercolor. However, it is only in the period 1910-20, that the birds really seizing a head space in La's art. The spring of 1914 he painted for the first time by Filsø by At in West Jutland. Here he found motifs for a number of images by kolorittens audacity and the depiction of the great natural scenery should be counted among his main works, URf.eks. "The Swans letter". He was able to capture the characteristic in the birds ' movements through the air in a convincing way, often as a hidden "cartoon", where a Phlox movements are reproduced specifically for each bird, so that the whole picture in the escape, one feels. At the same time with the breakthrough as "bird painter" experimented L in the period 1908-20 under impression of modernism with more color strong, simplified landscape renderings, where target is the increasingly subordinated to composition and color position. However, difficulties had to combine this enthusiastic seeker landscape painting with the more accurate bird studies. Perhaps due to the poor economic conditions of artists in the 1920s, however, the future L chose to concentrate on landscapes and birds illustration tasks which came a number of large Commisions. L's graphic work is of a scale and powerfully in his art in a class of its own. Early on, he was a master of drawing and watercolour, often work together. 32 years old, he performed his first etching etching or lithography, but neither came to weigh heavily in his production in relation to the woodcut itself. He received no guidance of f. Haddad, through whom he came in contact with the tradition of the English woodcarver Thomas Bewick. L devoted much of his time to the preservation of natural and cultural values. Since the forces were run out to the major tasks in oil, like the physical hard work Carver was shelved, concentrated L in the last year with an undiminished creates force on the watercolor technique, which through Fynboernes real got a crucial breakthrough.