Opdateret november 2026 · rangeret efter vores popularitetsscore (søgninger, besøg og ordrer for hvert værk) · 31 værker af Elisabeth Jerichau-Baumann i vores katalog
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I galleriets øjne er Elisabeth Jerichau-Baumanns mest berømte maleri Mother Poland (Moder Polen) (preliminary study) (1857). An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) (1872) og Self-portrait (1845) fuldender trioen, som ethvert øje genkender. Ud af de 31 værker af Elisabeth Jerichau-Baumann i vores katalog præsenterer galleriet herunder de 31 mest berømte, hver som et originalværk med årstal, museum og det, der gør det unikt.
A woman sits amidst a rugged landscape, her red hair catching the light as she rests her hand against her head. She is lost in a deep, silent thought, her gaze turned inward while the world around her remains in motion. A red cloak drapes over her shoulders, providing a sharp contrast to the grey, unyielding rocks that form her seat. The air feels heavy with her unspoken reflections, a…
An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) is a work by Elisabeth Baumann. Created about 1872, the painting captures a specific moment of quietude within an Italian setting. The piece reflects the artist's engagement with the local life and landscapes encountered during her time in the region.
Elisabeth Baumann's Self-portrait is an oil-on-canvas work created about 1845. The artist, born in Warsaw, Poland, in 1818, produced this intimate study during a formative period of her early career. This work captures the artist in a medium close-up, focusing on the subject from the waist up.
In "A Roman Woman" by Elisabeth Baumann, we encounter a medium close-up that invites a quiet, intimate observation. The subject is positioned slightly off-center, a subtle choice that lends a sense of natural poise to her presence. She is depicted with dark hair pulled back, revealing the contours of her face and the delicate detail of a single gold earring. Her hands hold a closed fan, a quiet gesture that…
Violinist Ole Bull is a portrait executed by Elisabeth Baumann in 1851. The work captures the likeness of the violinist Ole Bull, a prominent figure of the era. Baumann, a Polish-Danish painter, produced this oil on canvas during a period of significant international activity in her career.
A young woman sits in a heavy wooden chair, her form anchored by the weight of dark fabric. The light enters from the upper left, a soft, directional glow that carves the contours of her face against a backdrop of muted earth tones. She is dressed in the deep blacks of mourning, the matte texture of her clothing absorbing the light. Her skin possesses a porcelain quality, smooth and pale…
In this 1851 work, Elisabeth Baumann presents us with Denmark, a painting that functions as a patriotic emblem of the Danish nation. The subject is a female personification of the country, rendered as a young woman. She moves through the landscape with a sense of purpose, embodying the spirit of a nation during a period of significant historical movement. This choice of personification was a common way to manifest national…
In this intimate oil portrait from 1849, we find ourselves looking into the eyes of a four-year-old boy, Holger Aagaard Hammerich. There is a profound stillness here, a sense of a single, fleeting moment captured before the complexities of childhood give way to adulthood. The composition is framed within an oval format, drawing the viewer into a close, bust-length encounter that feels deeply personal. The light, descending softly from the…
In "A happy reunion." by Elisabeth Baumann, we find ourselves drawn into a quiet, domestic moment of profound human connection. Painted about 1850, this genre scene captures a soldier or sailor returning home to his family, bringing with him an infant. The composition is centered upon a woman reclining in a bed, who acts as the emotional and visual anchor of the work. Through an eye-level perspective, the viewer is…
The soft light catches the curve of a profile, illuminating a face that carries the quiet dignity of a future queen. In this 1861 portrait, the young Princess Alexandra of Denmark emerges from a deep, atmospheric darkness, her presence felt through the delicate interplay of shadow and light. She is captured in an intimate, oval vignette, a composition that draws the eye immediately to the porcelain smoothness of her skin…
Self-portrait1858
12
Forfatterinden Emma Kraft1857 · Statens Museum for Kunst
13
Portrætskitse. Formodentlig kunstnerens søn Thorald Jerichau1860 · Statens Museum for Kunst
14
Italy1859 · Ackland Art Museum
15
Queen Olga of Greece1868 · Statens Museum for Kunst
16
Scene from a stranding.1867 · Kunsten Museum of Modern Art Aalborg
17
A young girl reads out the Bible, the grandparents listen devoutly.1867
18
Portrait of Caroline Elisabeth Nanny Jerichau.1871
19
Young Mother and her Child1880 · Nationalmuseum
20
A young nude Egyptian woman with a child.1879
21
A Mermaid (En havfrue)1873 · Ny Carlsberg Glyptotek
22
An Egyptian Fellah Woman with her Child1872 · Statens Museum for Kunst
23
Interior with an Elderly Man who Reads Aloud to a Girl1865
24
The Madonna and Child1881
25
Italian Woman (Italienerinde)
26
The Sculptor Jens Adolf Jerichau, the Artist's Husband1846 · Statens Museum for Kunst
27
Mermaid1873 · Ny Carlsberg Glyptotek
28
Portrait of the Brothers Jacob and Wilhelm Grimm1855 · Alte Nationalgalerie
29
An Egyptian Pot Seller at Gizeh1878 · Statens Museum for Kunst
30
A Wounded Danish Soldier1865 · Statens Museum for Kunst
31
Italian Inn1850 · Nationalmuseum
De fire motiver, der optræder hyppigst i disse originaler, hver med sit fineste eksempel.
De 8 museer, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Elisabeth Jerichau-Baumann | Malerier fra denne liste |
|---|---|---|---|
 Statens Museum for Kunst |
København | 9 | A Roman Woman, Portræt af Holger Aagaard Hammerich som 4-årig, Forfatterinden Emma Kraft |
 Ny Carlsberg Glyptotek |
København | 3 | Denmark, A Mermaid (En havfrue), Mermaid |
 Royal Collection |
London | 2 | 'The Norwegian Widow', Princess Alexandra of Denmark, later Queen Alexandra (1844-1925) |
 Nationalmuseum |
Stockholm | 2 | Young Mother and her Child, Italian Inn |
 Nationalmuseet for kunst, arkitektur og design |
Oslo | 1 | Violinist Ole Bull |
 Ackland Art Museum |
Chapel Hill | 1 | Italy |
 Kunsten Museum of Modern Art Aalborg |
Aalborg | 1 | Scene from a stranding. |
 Alte Nationalgalerie |
Berlin | 1 | Portrait of the Brothers Jacob and Wilhelm Grimm |
Vælg et årti for at se det originale værk, der definerer det.
Elisabeth Baumann's Self-portrait is an oil-on-canvas work created about 1845. The artist, born in Warsaw, Poland, in 1818, produced this intimate study during a formative period of her early career. This work captures the artist in a medium close-up, focusing on the subject from the waist up.
A woman sits amidst a rugged landscape, her red hair catching the light as she rests her hand against her head. She is lost in a deep, silent thought, her gaze turned inward while the world around her remains in motion. A red cloak drapes over her shoulders, providing a sharp contrast to the grey, unyielding rocks that form her seat. The air feels heavy with her unspoken reflections, a…
The soft light catches the curve of a profile, illuminating a face that carries the quiet dignity of a future queen. In this 1861 portrait, the young Princess Alexandra of Denmark emerges from a deep, atmospheric darkness, her presence felt through the delicate interplay of shadow and light. She is captured in an intimate, oval vignette, a composition that draws the eye immediately to the porcelain smoothness of her skin…
An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) is a work by Elisabeth Baumann. Created about 1872, the painting captures a specific moment of quietude within an Italian setting. The piece reflects the artist's engagement with the local life and landscapes encountered during her time in the region.
Young Mother and her Child is an oil painting by the artist Elisabeth Baumann. Known in its original context as Ung moder med sitt barn, the work is cataloged under the alternative name 18347. It was executed in 1880.
Mother Poland (Moder Polen) (preliminary study) (1857). Derefter følger An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming) (1872) og Self-portrait (1845).
39 år gammel: Mother Poland (Moder Polen) (preliminary study) er fra 1857, og Elisabeth Jerichau-Baumann blev født i 1818.
Mother Poland (Moder Polen) (preliminary study), An Italian Maiden Mending Nets on the Bay of Naples (also known as Daydreaming), Self-portrait, A Roman Woman, Violinist Ole Bull, 'The Norwegian Widow', Denmark, Portræt af Holger Aagaard Hammerich som 4-årig, A happy reunion. og Princess Alexandra of Denmark, later Queen Alexandra (1844-1925). Ranglisten ovenfor viser det enkelte værks årstal og museum.
Vores katalog indeholder 31 værker af Elisabeth Jerichau-Baumann, dateret fra 1845 til 1881.
Primært i Statens Museum for Kunst (København), Ny Carlsberg Glyptotek (København) og Royal Collection (London). Museumslisten ovenfor viser dem alle.
I 1850s: 10 af de 31 værker på denne side blev skabt dengang, herunder Mother Poland (Moder Polen) (preliminary study).
På denne side er det tidligste Self-portrait (1845) og det seneste The Madonna and Child (1881).
Woman (17), Dark background (7) og Child (6), fordelt på de 31 værker på denne side.
Oil On Canvas, for 19 af de 31 værker på denne side.
Düsseldorf school, baseret på originalerne på denne side.
A Roman Woman, Portræt af Holger Aagaard Hammerich som 4-årig og Forfatterinden Emma Kraft: Statens Museum for Kunst, København har 9 af værkerne på denne side.
Elisabeth Jerichau-Baumann blev født i 1819 i Warszawa, som dengang var en del af det, der i dag er en del af den europæiske kulturhistorie. Som datter af korttegneren Philip Adolph Baumann og Johanne Frederikke Reyer, blev hun tidligt præget af en verden i forandring. Hendes kunstneriske rejse tog for alvor fart i 1838, da hun påbegyndte sine studier ved Kunstakademie Düsseldorf, et af Europas mest betydningsfulde kunstneriske centre på det tidspunkt. Hendes tidlige værker trak inspiration fra det slovakiske liv, hvilket afspejlede hendes omgivelser, og hun blev tæt knyttet til den anerkendte Düsseldorf-skole inden for malerkunsten.
Hendes vej mod international anerkendelse begyndte i Düsseldorf, hvor hun i 1844 vakte stor offentlig opmærksomhed med sine udstillinger. En flytning til Rom markerede et nyt kapitel, hvor hendes penselstrøg rettede sig mod det lokale italienske liv. Denne internationale nysgerrighed førte hende til stor succes i udlandet, især i Frankrig, hvor hun blev repræsenteret ved verdensudstillingen to gange, i både 1867 og 1878.
Hendes talent blev også bemærket af de kongelige; i 1852 udstillede hun i London og modtog en privat præsentation for Dronning Victoria, hvilket blandt andet inkluderede hendes portræt af Hans Christian Andersen. En af de mest bemærkelsesværdige perioder i hendes liv var hendes orientalistiske periode. Gennem omfattende rejser i det østlige Middelhav og Mellemøsten (1869-1870 og 1874-1875) skabte hun malerier, der skildrede livet i haremmet. Dette var en sjælden bedrift for en kvindelig kunstner på den tid, og hun opnåede denne unikke adgang til haremmerne gennem beskyttelse fra prinsesse Alexandra af Danmark. Hendes stil var ofte dekorativ og sentimental, præget af en sublim sans for farver og lys, og hun udforskede undertiden sensuelle temaer, som i samtiden vakte kontrovers.
Blandt hendes mest markante værker finder vi portrættet af Hans Christian Andersen fra 1850, som blev givet til Dronning Victoria og cementerede hendes tidlige succes. Hendes harem-scener er bemærkelsesværdige, fordi de er baseret på direkte observation frem for ren fantasi, og de indeholder blandt andet portrætter af tyrkiske prinsesser som Nazlı. En anden central del af hendes produktion er hendes serie af havfruer, herunder det berømte værk "Mermaid" fra 1873, som i dag findes på Ny Carlsberg Glyptotek – et værk inspireret af de magiske fortællinger og folklore fra Hans Christian Andersen. Desuden mestrede hun genrebilleder, der skildrede det daglige liv, ofte med et intenst fokus på kvindeskikkelser i deres mange forskellige roller.
I 1846 indgik hun ægteskab med billedhuggeren Jens Adolf Jerichau. Parret fik ni børn, og det er værd at bemærke, at flere af dem selv fulgte i deres moders fodspor som kunstnere. Blandt de mest fremtrædende var landskabsmaleren Harald Jerichau, de impressionistiske landskabsmalere Holger Hvitfeldt Jerichau og den modernistiske maler J.A. Jerichau.
Som en pioner i en mandsdomineret kunstverden udviste Elisabeth Jerichau-Baumann en enorm modstandskraft og et ekstraordinært talent. Hendes adgang til de lukkede haremmer gav hende et unikt perspektiv på det Osmanniske Riges samfund, selvom hendes skildringer til tider var påvirket af europæiske forventninger. Hun navigerede succesfuldt i den internationale kunstscene og opnåede anerkendelse og mæcenat på tværs af Europa. Hendes eftermæle er i dag i stigende grad anerkendt for både dens kunstneriske værdi og historiske betydning, og hendes mangfoldige motiver og unikke blik fortsætter med at fascinere.
