Poul S. Christiansen (1855–1933)
View from a Window, 1913
Oil on canvas
58 x 42.5 cm
Inventory number B 280
Although Poul S. Christiansen lived on Funen throughout his youth, and is considered part of the artists’ group known as the Funen Painters, he did not paint a single landscape from the island after he began studying, in 1885, at the Artists’ Independent Study Schools in Copenhagen. Instead, he favoured Zealand landscapes, among others locations around Roskilde Fjord and Odsherred.
In the summer of 1913, Poul S. Christiansen painted at Bjergene near Fårevejle Beach by the Sejerø Bay. He had acquired a caravan equipped with a kitchen, alcove and living room. With his living arrangements sorted in this manner, he was free to settle wherever he pleased and enjoy nature to the fullest for as long as it suited him.1 During this long and productive summer, from mid-June to mid-September 1913, Poul S. Christiansen created a large number of landscape paintings.
In View from a Window, Poul S. Christiansen has painted a view seen from a partially open window looking out over the beach. The flat landscape awash with bright summer light forms a clear contrast to the dark room in which the artist did his painting. A white towel hangs from a hook in the open window, and a vase of flowers stands on the windowsill. With these combinations, the picture points to the harmonious relationship between the artist and nature, which he obviously enjoys and welcomes inside.
Exactly where Poul S. Christiansen found this scene is unknown. It has been suggested that he painted this view from inside his caravan.2 However, its windows were small and had single panes, so the subject matter depicted here must have been found elsewhere. It might show the view from the tenant farm Rødegaard, which Poul S. Christiansen briefly visited in 1913, or from the beach hut he also rented in the summer of 1913.3
In the summer of 1913, Poul S. Christiansen painted at Bjergene near Fårevejle Beach by the Sejerø Bay. He had acquired a caravan equipped with a kitchen, alcove and living room. With his living arrangements sorted in this manner, he was free to settle wherever he pleased and enjoy nature to the fullest for as long as it suited him.1 During this long and productive summer, from mid-June to mid-September 1913, Poul S. Christiansen created a large number of landscape paintings.
In View from a Window, Poul S. Christiansen has painted a view seen from a partially open window looking out over the beach. The flat landscape awash with bright summer light forms a clear contrast to the dark room in which the artist did his painting. A white towel hangs from a hook in the open window, and a vase of flowers stands on the windowsill. With these combinations, the picture points to the harmonious relationship between the artist and nature, which he obviously enjoys and welcomes inside.
Exactly where Poul S. Christiansen found this scene is unknown. It has been suggested that he painted this view from inside his caravan.2 However, its windows were small and had single panes, so the subject matter depicted here must have been found elsewhere. It might show the view from the tenant farm Rødegaard, which Poul S. Christiansen briefly visited in 1913, or from the beach hut he also rented in the summer of 1913.3
Published in
Published in
Fortegnelse over Kunstværkerne paa Den frie Udstilling, København 1917, cat.no. 73;
S. Danneskjold-Samsøe: Maleren Poul S. Christiansen, Copenhagen 1935, cat.no. 372, p. 146;
Erik Zahle: ”Billedkunst” in C.L. Davids Samling. Nogle Studier, [1], Copenhagen 1948, pp. 210, 258-259;
Susanne Thestrup Truelsen in Kjeld von Folsach and Nana Lund (eds.): Dansk kunst i Davids Samling – fra Philipsen til Saxbo, Davids Samling, Copenhagen 1995, cat.no. 48, pp. 124-125;
Hanne Honnens de Lichtenberg: Maleren Poul S. Christiansen 1855-1933, Faaborg Museum and Sophienholm, Faaborg 1998, cat.no. 64, p. 38;
Hanne Honnens de Lichtenberg: Maleren Poul S. Christiansen, Valby 2001, fig. 114, pp. 161-162;
S. Danneskjold-Samsøe: Maleren Poul S. Christiansen, Copenhagen 1935, cat.no. 372, p. 146;
Erik Zahle: ”Billedkunst” in C.L. Davids Samling. Nogle Studier, [1], Copenhagen 1948, pp. 210, 258-259;
Susanne Thestrup Truelsen in Kjeld von Folsach and Nana Lund (eds.): Dansk kunst i Davids Samling – fra Philipsen til Saxbo, Davids Samling, Copenhagen 1995, cat.no. 48, pp. 124-125;
Hanne Honnens de Lichtenberg: Maleren Poul S. Christiansen 1855-1933, Faaborg Museum and Sophienholm, Faaborg 1998, cat.no. 64, p. 38;
Hanne Honnens de Lichtenberg: Maleren Poul S. Christiansen, Valby 2001, fig. 114, pp. 161-162;
Footnotes
Footnotes
1.
Other artists also lived in accordance with this ‘nomadic principle’, including L.A. Ring and several Funen Painters, cf. Henrik Wivel: L.A. Ring. Det glasklare hjerte, en biografi om L.A. Ring, Copenhagen 2020, p. 227.
2.
Susanne Thestrup Truelsen in Kjeld von Folsach and Nana Lund (eds.): Dansk kunst i Davids Samling – fra Philipsen til Saxbo, The David Collection, Copenhagen 1995, p. 124.
3.
Hanne Honnens de Lichtenberg: Maleren Poul S. Christiansen, Valby 2001, p. 161.
Paintings and drawings
Poul S. Christiansen (1855–1933)
Winter Evening, 1926–27
Oil on canvas
Winter Evening, 1926–27
Oil on canvas
Albert Gottschalk (1866-1906)
From Sct. Jørgensbjerg near Roskilde. Grey Winter’s Day, 1894
Oil on canvas
From Sct. Jørgensbjerg near Roskilde. Grey Winter’s Day, 1894
Oil on canvas
Albert Gottschalk (1866–1906)
A Summer’s Day at Nivaa, 1903
Oil on canvas
A Summer’s Day at Nivaa, 1903
Oil on canvas
Albert Gottschalk (1866–1906)
Ruins in Campagna, 1904
Oil on canvas
Ruins in Campagna, 1904
Oil on canvas