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focused on the folktypes in various areas of
Denmark, especially those living in the country and on the farm. In the visual arts a generation of artĂsts had been already exploring such themes as typical Danish landscapes, and the depiction of Danish and Nordic themes, mythological stories and history. Many of the artists in the preceding generation were students of Eckersberg, and comprised the group of artists collectively known as the Golden Age of Danish Painting artists. They had been affected by Eckersberg's stress on attentive study and representation of Danish nature, as well as by the technical skills he taught them to achieve those goals.
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373:, the Danish mainland. He came to the island for the first time in 1877. He and his family spent the summers there annually for many years to come. He had a studio at Sønderho Kro. There he found a group of people whose lives interested him deeply, a folk who were fast becoming extinguished in the social changes of that time. These themes made excellent subjects for his painting until his death.
327:" ("Blind Man's Bluff") depicting a farmhouse interior with children at play, in 1866. In an age where industrialisation was fast encroaching on traditional farmlife, Exner depicted a timeless vision of several generations of farm folk, gathered around in their idealised and cheerful house, self-sufficient and happy. A later generation of artists would rebel against this idealisation with their
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an interested public, who was fascinated by this close-up look at the exotic foreigners living in
Denmark side by side with them. It was a chance to come into the home of strangers and see their everyday life. Exner was skilled and portrayed his subjects with affection, interest and gentle humour.
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He painted a number of painting on Amager over a period of years, and his skills grew as he depicted a combination of artistic challenges: increasingly complicated groups of people, a view out to the open land, colorful folk costumes, and the interiors of old farmer homes. These paintings attracted
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He was not only influenced by the national art movement promoted by Høyen, but also by the strong sense of patriotism during those times after the
Napoleonic Wars, and by the general use of particularly "Danish" themes in not only the visual arts, but also in literature and theatre. These themes
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Exner was a master of composition setting up a lively combination of characters, costumes, and interiors, along with an underlying anecdote, that showed an inspiration of Dutch and German paintings. He was interested in the people he portrayed. He idealised their lives, and his work led to the
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He often traveled to the countryside during the summers to do live studies from nature, as was common practice in these times, working up finished paintings in the studio during the winter. And he also began seeking out themes in other locations on
178:, critic, Academy professor and advocate of a national art movement, helped influence Exner's future artistic direction, and Exner began seeking out the unique Danish folktypes living in the county as artistic subjects. This brought him to
128:" ("From the Art Academy's Plaster Cast Collection") painted in 1843; the painting depicts a student sketching a plaster cast of a statue in the Academy's plaster cast collection, another student in the background moves between the figures.
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He painted several self-portraits in his final years, one in 1906 and one in 1910. He died on 15 November 1910 in
Copenhagen two weeks shy of his 85th birthday. He is buried in Holmen's Cemetery in central Copenhagen.
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He also painted portraits of the day's prosperous and prominent, such as Jenny Adler, wife of businessman, banker and politician David Baruch Adler, with her daughters in 1868, and the elderly poet "
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Palace. The Count was generous with Exner, not only paying him well but providing him with a studio for several years. Both of these painting depict an ancient Danish history and legend.
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He won the
Academy's little silver medallion in 1843, and the large silver medallion in 1845. In these early years he exhibited several history paintings as well a number of
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The younger Exner was interested in drawing and painting from an early age and was put in private training after his confirmation. He began to study at the
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His work has been shown posthumously both in
Denmark and internationally in numerous exhibitions of Danish art, including an exhibition in Paris in 1928.
201:" ("A Visit to Grandfather's House") painted in 1853, which assured him a successful career with its wide popularity and many reproductions. He won a
146:" ("Thyra Danebod Tries to Placate Gorm the Elder's Anger with Imprisoned Christians"), was purchased by the Danish Royal Painting Collection, now the
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He was named
Professor at the Danish Academy in 1876 after having been an assistant professor in the School of Model Painting since 1872.
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in 1879, and was named head of the committee in 1890. He served in this capacity five years. He was a member of the School
Council (
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farmers had settled in 1521, but who were still relatively unknown to their fellow Danes. There he painted his masterly, life-size "
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He received a two-year travel stipend from the
Academy (1857–1858) for a student travel to Italy, which took him also to
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But even Exner admitted to having an irrational "emotional desire to become a history painter" ("
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exhibition medallion for the work, and the painting was purchased for the
National Collection.
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His works were exhibited at the Nordic Art Exhibition in Copenhagen (1872, 1883, 1888) and in
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His works are in the collection of many Danish museums including the National Art Museum (
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period, and his wife Karen Jørgensdatter. Exner originally intended on becoming a
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In 1864 he became a member of the Academy in Denmark, and in 1866 the Academy in
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Thyra Danebod forsøger at formilde Gorm den Gamles vrede mod nogle fangne kristne
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several times between 1863 and 1864, and on his travels in Denmark he reached
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annually from 1844 until his death in 1910, with few exceptions.
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depictions of want and need among the same types of people.
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Academic staff of the Royal Danish Academy of Fine Arts
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A follow-up painting to his first Amager painting was "
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Lille pige lader en gammel mand lugte til en blomst
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118:From the Art Academy's Plaster Cast Collection
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188:En Amagerkone, der tæller sine Penge efter
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53:to Johann Gottlieb Exner, a
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23:Julius Exner (date unknown)
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199:Et Besøg hos Bedstefaderen
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108:Father of Danish Painting
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315:A member of the Academy
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139:) in 1847.
604:Categories
564:References
412:Gothenburg
385:SkolerĂĄdet
100:J. L. Lund
63:Napoleonic
51:Copenhagen
542:En Gondol
367:North Sea
329:realistic
325:Blindebuk
321:Stockholm
275:En gondol
133:portraits
595:" (1862)
471:See also
263:Florence
215:Sjælland
31:Exner's
483:Gallery
442:Jutland
430:Randers
371:Jutland
301:Jutland
279:gondola
239:Dresden
233:Travels
59:Bohemia
544:(1859)
529:(1854)
514:(1852)
499:(1853)
438:Amager
426:Aarhus
305:Skagen
297:Sweden
267:Naples
255:Venice
243:Vienna
180:Amager
120:(1843)
44:Danish
35:, 1863
450:Funen
406:Works
259:Parma
251:Paris
184:Dutch
174:").
55:Czech
463:and
448:and
434:Ribe
363:Fanø
288:'s "
271:Rome
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81:Life
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