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Immediate dispatch from Somerset. Nice book in great condition. Pages in excellent condition. Images are beautiful bright and vivid. No notes or highlighting. See images. Fantastic book.

About the book >.>.> The extraordinary outburst of artistic energy that occurred in Denmark between 1790 and 1910 has rarely been rivalled. Within three generations of the founding of the Royal Academy Danish painters developed a national school of art that matched the artistic centres of France Germany and Britain. The range of outstanding works created by Nicolai Abildgaard Jens Juel Christoffer Wilhelm Eckersberg Christen K?bke P. S. Kr?yer and Vilhelm Hammersh?i reflect and refract in unique and compelling ways the great stylistic tendencies of European art of the nineteenth century including Classicism Romanticism Impressionism and Symbolism. Yet surprisingly there have been few studies of this vital school of art. That deficit is now corrected with the publication of this landmark study of Danish art. Preceded by a Neoclassical flowering in the Danish Academy the years between 1810 and 1850 would come to be called Denmark’s Golden Age. Bracketed roughly by the Napoleonic Wars and the European-wide political turmoil of 1848 the first half of the nineteenth century would see the emergence of a generation of artists trained in Denmark who also studied in Rome and then returned home to paint the topography and monuments of Denmark. In ambitious Golden Age works such as Christen K?bke’s glowing Frederiksborg Castle in the Evening Light 1835 artists depicted with a rigorous attention to detail scenes bathed in a penetrating light which even then were understood to signify the Danish temperament of sobriety integrity and resolve. The second half of the century would see Danish artists on the beaches of Skagen (northernmost Jutland) and in new avant-garde institutions in Copenhagen embrace modernity: and the new painting emanating from Paris and elsewhere while continuing to grapple with the theme of Danish identity. Toward the close of the century the historically self-conscious work of Vilhelm Hammersh?i and others would increasingly reflect inwardly turned modes of painting expressing sensitive and sometimes ironic responses to Danish cultural history and topography. (OS)