Albert Gottschalk (1866–1906)
Chestnut Avenue at the Hermitage, 1905?
Oil on canvas
Albert Gottschalk found his motifs all over Denmark, and he was unafraid to focus on lesser-known locations. Most often, however, he turned to places located on the outskirts of Copenhagen, where he lived, or in North Zealand, where he often came to find inspiration. Chestnut Avenue at the Hermitage is believed to be one of his last paintings from Dyrehaven, which he repeatedly visited to paint over a period of several years.1
Four tall trees lead the eye diagonally into the picture from the right. The long shadows run almost parallel to the lower edge. The reddish-brown foreground is painted by means of unusually long, unbroken brushstrokes, a contrast to the short strokes seen in the crowns of the trees. In the centre of the picture, past the avenue and the distant group of trees, rose-coloured clouds form a pronounced contrast to the green meadow and the surrounding treetops with their hues of yellow and brown.
Chestnut Avenue at the Hermitage testifies to Gottschalk’s talent as a painter and colourist. Despite his gifts, Gottschalk sold very few paintings during his lifetime. Many found his works too sketch-like and unfinished, which meant that they struggled to recognise them as ‘proper’ works of art.2
Most of the paintings by Gottschalk that C.L. David incorporated into his collection were acquired in 1949. These are mainly late works from the artist’s hand, as five out of the total of six works were created during the last six years of Gottschalk’s short life.
Four tall trees lead the eye diagonally into the picture from the right. The long shadows run almost parallel to the lower edge. The reddish-brown foreground is painted by means of unusually long, unbroken brushstrokes, a contrast to the short strokes seen in the crowns of the trees. In the centre of the picture, past the avenue and the distant group of trees, rose-coloured clouds form a pronounced contrast to the green meadow and the surrounding treetops with their hues of yellow and brown.
Chestnut Avenue at the Hermitage testifies to Gottschalk’s talent as a painter and colourist. Despite his gifts, Gottschalk sold very few paintings during his lifetime. Many found his works too sketch-like and unfinished, which meant that they struggled to recognise them as ‘proper’ works of art.2
Most of the paintings by Gottschalk that C.L. David incorporated into his collection were acquired in 1949. These are mainly late works from the artist’s hand, as five out of the total of six works were created during the last six years of Gottschalk’s short life.