Principle and Practice in Nineteenth‐Century Danish Landscape Painting

Abstract

Only after 1800 did landscape painting emerge as a viable category of artistic endeavor in Denmark; by the 1840s, however, it had become the most significant visual art genre. The pedagogical and rhetorical approach to landscape painting at the Royal Danish Academy, at this time, was consistent with the theory of landscape aesthetics proposed by John Gottfried Herder and developed by his followers. Until recently, nineteenth-century Danish landscape painting has thus been recalled more as a Romantic phenomenon than as an index of sociological, scientific, or structural trends. Nonetheless, these paintings also indicated changing attitudes in the popular consciousness toward emerging political, technological, scientific, and economic modernity. Where once the Danish landscape had been the custodian of the past, by the late nineteenth century it had become the symbol of a prosperous future.

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