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Ukratko
Kunstnerens mormoder (1828) je slika autora Jørgen Roed koja privlači najviše pažnje; original se nalazi u muzeju Statens Museum For Kunst, Kopenhagen. Nakon toga, pogled se seli na Portrait of Colonel von Darcheus (1834) i Charlotte Bartholin (1836). Među 42 dela umetnika Jørgen Roed u našem katalogu, ovih 42 su najpoznatija, od kojih je svako jedinstveni original predstavljen sa godinom nastanka, muzejom i razlogom zbog kojeg je i danas neprocenjivo.
In this 1828 portrait, we are invited into a private, somber space occupied by an elderly woman. The composition is an intimate bust-length study, presented within an oval format that focuses our attention entirely on her character. There is a profound stillness here. The subject gazes out with a calm, steady expression, her eyes carrying a hint of melancholy that suggests a lifetime of endurance. She is framed against a…
In this 1834 oil portrait, we are invited to meet Colonel von Darcheus through a gaze that is both steady and deeply experienced. The subject is presented in a bust-length composition, his body turned slightly to the right while his eyes remain fixed upon us. There is a quiet gravity in his expression, a sense of stoicism that seems to emanate from the fine lines etched into his skin. The…
In this 1836 portrait, we find ourselves in the presence of Charlotte Bartholin, captured in a moment of profound stillness. The composition is a centered, bust-length study that focuses our attention entirely on her character. She is positioned slightly off-center, her gaze directed toward the right of the frame with an expression that suggests a calm, internal composure. The lighting, descending softly from the upper left, carves her features out…
The room feels quiet, held in a stillness that only a formal portrait can command. An elderly gentleman, I.C. Drewsen, sits with a quiet dignity, his gaze directed slightly away from the viewer toward an unseen horizon. He is a man of substance, his presence anchored by the heavy, dark velvet of his frock coat and the crisp, stark white of his high collar. The light enters from the upper…
The painting titled The Marine Painter Emil Wilhelm Normann in his Uniform as a Naval Officer is a portrait executed by the artist Jørgen Roed. This work depicts the subject, Emil Wilhelm Normann, in his capacity as a naval officer. The piece was created in 1830.
A young woman turns her gaze away, her profile etched against a world of shifting shadows. The light catches the delicate curve of her forehead and the bridge of her nose, leaving the rest of her features to melt into a soft, monochromatic depth. There is a stillness here, a moment caught in the breath between a thought and a word. Her hair, a complex architecture of dark, coiled curls,…
In this 1881 oil on canvas, we find ourselves in the presence of Caroline Amalie Meldahl, née Ræder. The portrait, painted by Jørgen Roed, captures a woman of significant social standing, a chamberlainess whose very posture commands the space around her. She is positioned centrally, her hands clasped in a gesture of composed restraint. The lighting, soft and directional from the upper left, carves her features out of the shadows,…
A somber, three-quarter length portrait from 1849 captures Ellen Roed, the artist's mother, in a moment of quiet contemplation. Seated slightly off-center, she faces the viewer directly, her expression marked by a calm, steady presence. The composition relies on a grayscale palette, utilizing a range of tones from the deep blacks of her shawl to the bright whites of her lace cap. Lighting enters from the upper left, casting gentle…
A young girl sits in the quiet center of the frame, her gaze meeting the viewer with a steady, calm innocence. She holds a woven basket, a vessel filled with the heavy, waxy textures of fruit. Light spills from the upper left, catching the curve of her cheek and the smooth skin of the produce, while the rest of the room retreats into a soft, dark shadow. The colors are…
Interior. Ribe Cathedral1836 · Hirschsprung Collection
12
An Artist Resting by the Roadside1832 · Statens Museum For Kunst
13
Miss Ida Wilhelmine Trock1835 · Nationalmuseum
14
Portrait of Ane Elisabeth (Elise) Gurlitt, né Saxild (1817-39)1836 · Nationalmuseum
15
Portrait of Ludvig Holberg. Copy after Johan Roselius1847 · National Museum of Art, Architecture and Design
16
The Courtyard of the Palazzo del Bargello. Florence1842 · Statens Museum For Kunst
17
Familieliv i et lille fiskerleje nord for Helsingør1855 · Statens Museum For Kunst
18
Sjællandske høstpiger ved en brønd1850 · Statens Museum For Kunst
19
Haven med den gamle døbefont1850 · Statens Museum For Kunst
20
Andreas Munch1853 · Oslo Museum
21
The Actor Kristian Mantzius1854 · Nationalmuseum
22
The Artist's Son Holger at the Age of Ten1856 · Statens Museum For Kunst
23
Emilie Mathilde Roed, f. Kruse, kunstnerens hustru1871 · Statens Museum For Kunst
24
The Choir of St. Bendt's Church, Ringsted1829 · Sorø Art Museum
25
Olive Grove from Tivoli near Rome1839 · Nivaagaards Malerisamling
26
Klosteret San Lorenzo fuori le mura i Roma1837 · National Museum of Art, Architecture and Design
27
Ribe Cathedral1836 · Statens Museum For Kunst
28
The Temple of Hercules at Cori1838 · Statens Museum For Kunst
29
The Temple of Hera at Paestum, Italy1838 · Statens Museum For Kunst
30
A View of Casamicciola, Ischia1838 · Statens Museum For Kunst
31
The Market Place in Priverno1838 · Statens Museum For Kunst
32
The Interior of Ribe Cathedral1836 · Statens Museum For Kunst
33
Udsigt mod Roskilde fra et husmandssted1835 · Statens Museum For Kunst
34
Street in Roskilde. In the Background the Cathedral1836 · Statens Museum For Kunst
35
From Collin's Garden in Copenhagen1833 · Nationalmuseum
36
The Coast at Hellebæk. Study1850 · Nationalmuseum
37
La Scala Santa at the Monastery San Benedetto near Subiaco1857 · Nivaagaards Malerisamling
38
Scene from the Garden of the Villa Borghese in Rome1839 · Nivaagaards Malerisamling
39
Selecting Trees for FellingNivaagaards Malerisamling
40
A Bearded Man. StudyNationalmuseum
41
Italian CloisterNivaagaards Malerisamling
42
Drawn Study for Scene from the Garden of the Villa Borghese in Rome
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
7 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Jørgen Roed | Slike iz ovog spiska |
|---|---|---|---|
 Statens Museum For Kunst |
Kopenhagen | 24 | Kunstnerens mormoder, Charlotte Bartholin, Industrimanden og politikeren I.C. Drewsen |
 Nationalmuseum |
Стокхолм | 7 | Portrait of Colonel von Darcheus, Miss Ida Wilhelmine Trock, Portrait of Ane Elisabeth (Elise) Gurlitt, né Saxild (1817-39) |
 Nivaagaards Malerisamling |
Nibe | 5 | Olive Grove from Tivoli near Rome, La Scala Santa at the Monastery San Benedetto near Subiaco, Scene from the Garden of the Villa Borghese in Rome |
 National Museum of Art, Architecture and Design |
Oslo | 2 | Portrait of Ludvig Holberg. Copy after Johan Roselius, Klosteret San Lorenzo fuori le mura i Roma |
 Hirschsprung Collection |
Kopenhagen | 1 | Interior. Ribe Cathedral |
 Oslo Museum |
Oslo | 1 | Andreas Munch |
 Sorø Art Museum |
Sorø | 1 | The Choir of St. Bendt's Church, Ringsted |
Izaberite deceniju da biste videli original koji je definiše.
In this 1828 portrait, we are invited into a private, somber space occupied by an elderly woman. The composition is an intimate bust-length study, presented within an oval format that focuses our attention entirely on her character. There is a profound stillness here. The subject gazes out with a calm, steady expression, her eyes carrying a hint of melancholy that suggests a lifetime of endurance. She is framed against a…
In this 1834 oil portrait, we are invited to meet Colonel von Darcheus through a gaze that is both steady and deeply experienced. The subject is presented in a bust-length composition, his body turned slightly to the right while his eyes remain fixed upon us. There is a quiet gravity in his expression, a sense of stoicism that seems to emanate from the fine lines etched into his skin. The…
The room feels quiet, held in a stillness that only a formal portrait can command. An elderly gentleman, I.C. Drewsen, sits with a quiet dignity, his gaze directed slightly away from the viewer toward an unseen horizon. He is a man of substance, his presence anchored by the heavy, dark velvet of his frock coat and the crisp, stark white of his high collar. The light enters from the upper…
The oil portrait titled Emilie Mathilde Roed, f. Kruse, kunstnerens hustru was painted by Jørgen Roed in 1871. The subject of this work is Emilie Mathilde Kruse, a woman who shared a life with the artist. They were once engaged, and their union was formalized when they married on 22 May 1842. This painting captures her long after those early years of courtship.
In this 1881 oil on canvas, we find ourselves in the presence of Caroline Amalie Meldahl, née Ræder. The portrait, painted by Jørgen Roed, captures a woman of significant social standing, a chamberlainess whose very posture commands the space around her. She is positioned centrally, her hands clasped in a gesture of composed restraint. The lighting, soft and directional from the upper left, carves her features out of the shadows,…
Kunstnerens mormoder (1828), Statens Museum For Kunst, Kopenhagen. Slede Portrait of Colonel von Darcheus (1834) i Charlotte Bartholin (1836).
20 godina: Kunstnerens mormoder datira iz 1828, a Jørgen Roed je rođen/a 1808.
Kunstnerens mormoder, Portrait of Colonel von Darcheus, Charlotte Bartholin, Industrimanden og politikeren I.C. Drewsen, The Marine Painter Emil Wilhelm Normann in his Uniform as a Naval Officer, Portræt af en ung pige, Kammerherreinde Caroline Amalie Meldahl, f. Ræder, Ellen Roed, f. Jensen, kunstnerens moder, A Girl with a Basket of Fruits i Amtsprovst i Sorø, senere biskop i Århus, P.H. Mønster. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 42 dela umetnika Jørgen Roed, datiranih od 1828 do 1881.
Većinom u Statens Museum For Kunst (Kopenhagen), Nationalmuseum (Стокхолм) i Nivaagaards Malerisamling (Nibe). Tabela muzeja iznad sadrži njih sve.
U 1830s: 20 od 42 dela na ovoj stranici nastalo je tada, od čega je Portrait of Colonel von Darcheus.
Na ovoj stranici, najstarije delo je iz Kunstnerens mormoder (1828), a najnovije iz Kammerherreinde Caroline Amalie Meldahl, f. Ræder (1881).
Woman (6), Portrait (4) i Man (3), kroz svih 42 dela na ovoj stranici.
Oil On Canvas, za 6 od 42 dela na ovoj stranici.
Danish golden age, sudeći po originalima na ovoj stranici.
Kunstnerens mormoder, Charlotte Bartholin i Industrimanden og politikeren I.C. Drewsen: Statens Museum For Kunst, Kopenhagen čuva 24 dela sa ove stranice.
Jørgen Roed (1808–1888) predstavlja značajnu figuru unutar živopisnog tapisa danske umetnosti 19. veka, posebno priznat po svojim upečatljivim prikazima svakodnevnog života i izvrsnom portretizmu. Rođen u Ringstedu, u Danskoj, kao sin Pedera Jørgensena Roeda i Ellen Hansdatter, njegovo ranije detinjstvo bilo je prožeto ruralnim tradicijama – njegov otac je bio član lokalnog veća, baveći se poljoprivredom i destilacijom. Ovakvo utemeljeno iskustvo u praktičnim realnostima danskog društva duboko će uticati na njegovu umetničku viziju, oblikujući njegovu sposobnost da sa izuzetnim detaljem uhvati nijanse ljudske interakcije i lepotu prirodnog sveta.
Roedov umetnički put započeo je pod mentorstvom učitelja J.J. Fyhna, što je bio skroman početak koji je pokrenuo doživotnu strast prema crtanju i slikarstvu. Prepoznajući njegov talenat, njegovi roditelji su mu 1822. godine obezbedili mesto na Kraljevskoj danskoj akademiji umetnosti u Kopenhagenu, gde je dobio formalno obrazovanje od cenjenih umetnika poput Hansa Hansena (oca Constantina Hansena), a kasnije i Christoffera Wilhelma Eckersberga – ključnog uticaja koji je oblikovao Roedov pristup kompoziciju, boji i prikazu ljudske forme. Ovaj period označio je ne samo njegov umetnički razvoj, već i stvaranje trajnih prijateljstava sa kolegama studentima, uključujući i Eckersbergovog sina, što je doprinelo dinamičnom kreativnom okruženju koje je definisalo „Zlatno doba“ danske slike.
Roedova rana karijera bila je obeležena marljivim proučavanjem utvrđenih tehnika, u početku fokusirajući se na kopiranje dela majstora poput Rafaela. Međutim, brzo se istaknuo sposobnošću da te reprodukcije prožme osećajem života i posmatranja. Njegove prve izložbe na Charlottenborg prolećnoj izložbi pokazale su rastuće samopouzdanje i nastajajući stil – spoj realizma i osetljivosti koji će postati zaštitni znak njegovog rada. Tokom 1830-ih boravio je u Italiji, uranjajući u pejzaže i umetničke tradicije te regije, čime je dodatno usavršio svoje veštine i proširio tematski repertoar.
Ključna prekretnica u Roedovoj karijeri bila je njegova povezanost sa Hansom Hansenom, čiju je radionicu često posećivao. Ovo mentorstvo mu je pružilo neprocenjivo iskustvo u portretizmu, žanru koji će na kraju postati jedno od njegovih najslavnijih dostignuća. Uticaj Eckersberga, u kombinaciji sa praktičnim lekcijama koje je naučio od Hansena, omogućio je Roedu da razvije prepoznatljiv stil – karakterisan preciznim detaljima, atmosferskom perspektivom i sposobnošću da uhvati suštinu svojih subjekata uz istovremenu tačnost i empatiju.
Roedova umetnička produkcija obuhvatala je raznolike teme, ali je posebno prepoznat po svojim očaravajućim žanrovskim slikama. Ove scene iz svakodnevnog života – koje prikazuju poljoprivrednike kako neguju svoja polja, ribare koji se vraćaju s mora ili porodice okupljene oko ognjišta – nude intimne uvide u ritmove i običaje ruralne Danske. Njegove kompozicije su često prožete osećajem tihe dostojanstvenosti i suptilne lepote, odražavajući duboko poštovanje prema jednostavnim uživanjima seoskog života.
Pored svojih žanrovskih slika, Roed je briljirao kao portretista. Njegovi portreti beleže ne samo fizičku sličnost, već i ličnost i karakter njegovih subjekata – od uglednih gospodara do skromnih seljaka. Posedovao je izvanrednu sposobnost da prenese emociju kroz suptilne pokrete i izraze lica, stvarajući slike koje su istovremeno vizuelno upečatljive i psihološki duboke. Značajni primeri uključuju „Valdemar Hjartvar Købke“, portret njegovog brata, koji prikazuje Roedovu tehničku veštinu i talenat za dočaravanje sličnosti članova njegove porodice.
Roedovo umetničko nasleđe čvrsto je utemeljeno u kolekcijama istaknutih muzeja širom Danske, uključujući Nacionalnu galeriju Danske i Muzej umetnosti Horsena. Njegove slike nude dragocen prozor u dansko društvo 19. veka, pružajući uvid u njegovu kulturu, tradiciju i vrednosti. Dela poput „Scene iz Villa Borghese“ (1839) predstavljaju vrhunac njegove majstorstva u arhitektonskom detalju i romantičnom realizmu, dok „Ulica u Roskilde sa katedralom u pozadini“ demonstrira njegovu sposobnost da uhvati atmosfersku lepotu danskih pejzaža.
Doprinos Jørgen Roeda danskoj umetnosti je neosporan. Bio je ključna figura Zlatnog doba danske slike, oličavajući njene ideale realizma, osetljivosti i nacionalnog ponosa. Njegova dela se i dalje dive zbog tehničke veštine, emocionalne dubine i trajnog privlačnosti, osiguravajući mu mesto među najslavnijim umetnicima Danske.
Za više informacija o životu i radu umetnika Jørgen Roed, pogledajte sledeće izvore:
