323:. He and Johann Winckelmann studied ancient sculptures together, and Winckelmann advised the younger Wiedewelt, encouraging him to use these sculptures as a base for his drawings and to use his knowledge of ancient art as the basis for his artistic production. Wiedewelt made many drawings and sketches of these ancient sculptures during his Roman residence. The two were inseparable. Wiedewelt's friendship and admiration for Winckelmann left a deep impression on him, especially in regards his acquired knowledge and appreciation for Ancient Greek artifacts and art. During his time in Rome he also managed to take excursions to
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In 1769 he completed the monument to
Frederik V in Roskilde Cathedral which includes a large sarcophagus resting on footpieces and decorated by numerous sculptures, behind which is a column topped of an urn, a medallion with the king's portrait, and on each side of the sarcophagus, sitting approx. 9'
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His works are a part of the royal households and gardens. Those in the gardens are the largest collections of his works in one place. He viewed his garden decorations as creating an outdoors theatre presentation relating to the surrounding trees of various types, to figure groups of sculptures and
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From this point on, although
Wiedewelt remained court sculptor until his death, his commissions came primarily from private patrons, and were mostly grave monuments and sarcophaguses. He received many such commissions, and during a thirty-year period he produced over 36 such works. Among these are
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Wiedewelt, along with architect
Harsdorff, was one of the primary figures responsible for introducing Neoclassicism to Denmark. He was highly esteemed by his contemporaries and by those artists who followed. He is considered an important transitional figure leading to future generations of Danish
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Starting in the early 1770s, the reaction to
Struensee led to a wider distrust of foreigners in positions of power in Denmark. This included the foreign-born artists, especially French artists, in the King's service who lost power and influence in Denmark's official artistic and Academic circles.
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He also worked until the end, even though his own financial means worsened drastically, and he lived in abject poverty. During his many years of good economy he lived a festive life with no restrictions, and he was very generous. When times became rough, as it did not only for him but also for
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Wiedewelt was chosen eight times as
Director of the Art Academy; the last time he held the position was 1793–1794. He worked hard to keep the academy running well, facing often-shifting attitudes from the court and uncertain royal financial support. He was committed to the end, in spite of ill
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Hardly six months after his return
Wiedewelt was named member of the newly organised Art Academy, as well as being named royal sculptor to the Danish Court in 1759, inclusive gratis studio at Materialgaarden near Frederiksholm's Canal. He was known for his good taste in art and his knowledge of
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in
Copenhagen. Work was started August 31, 1792 and it was erected in 1797. It is still on public display although in a new location. The monument was 20 meters high and consisted of an obelisk of red sandstone, a pedestal of grey marble and a base on three steps of red sandstone before the
475:) with no less than 64 figures and 30 reliefs. Due to the scale of the royal projects, the time constraints and the common practices of the time Wiedewelt often left the direct work of sculpting be carried out by his studio assistants from sketches, which he delivered.
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He had a rich fantasy, and his compositions were easy and natural. His works were tasteful, and influenced by both his French
Baroque training and his careful study of and appreciation for late Greek and Roman art. He was well-versed in the use of classical
249:(1721–1764). Poisson introduced the technique of drawing from antiquities, especially architecture, sculpture and landscapes, instead of from models. This technique was based on his experiences in Italy visiting the recently excavated archeological sites.
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others who were accustomed to royal support, he suffered along with the royal house's financial problems. In spite of his meager economy he continued to support two elderly sisters, a servant man, as well as a poor cousin. He had never married.
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When Miani left
Denmark in 1745 to return to Italy, the elder Wiedewelt took a stronger hand in training the boy, apprenticing him in his workshop. At the same time the young Wiedeweldt continued at the academy, drawing under
230:(1716–1760), medallionist who was at the time studying under a royal stipend from the Danish Court. Wiedewelt won a silver medallion from the French Academy of Art (Académie Royale de Peinture et de Sculpture) in 1753.
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to royal sculptor to the Danish Court, Just
Wiedewelt (1677–1757) and his wife Birgitte Lauridsdatter. The elder Wiedewelt recognised his son's talents early, and the boy trained under the Italian history painter
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By the end Wiedewelt had pawned most of his belongings, when a final catastrophe proved to be too much for him; a shipload of marble blocks he had purchased with borrowed money went to the bottom of the sea near
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He served as Treasurer of the Academy 1767–1772, and served as Director of the same 1772–1778, 1780–1789, and 1793–1795. He exhibited at the Salon for the first time in 1769, and subsequently in 1778 and 1794.
806:, who collaborated with Wiedewelt on several projects. He also made illustrations for a book by Peder Topp Wandal on the Jægerspris Castle project in 1783. Clemens also engraved these illustrations,
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the Younger, where from 1750 to 1754 he worked partially as a student and partially as an assistant. He later received a yearly royal allowance from King Frederik, which was doubled after two years.
121:, introducing neoclassical ideals to Denmark in the form of palace decorations, garden sculptures and artifacts and, especially, memorial monuments. He was undoubtedly the best known
780:, and made many drawings based on these. Sculptures and reliefs attributed to him and his studio have been lost to time, and are sometimes only evidenced by sketches and engravings.
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high above the floor, are two crowned, grieving female figures representing Denmark and Norway. The memorial chapel was created as a collaboration between Wiedewelt and architect
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In 1761 he became a professor at the Art Academy. He also took on a leading position with Fourniers Porcelain Factory 1761–1766. Wiedewelt wrote a small manifesto in 1762 entitled
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and put his cost-cutting reforms into place between 1769 and 1771. These cutbacks also resulted in Jardin's losing his position with the Church after this same two-year travel.
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In 1760 he began work on another comprehensive project, sculptural groups, individual sculptures and decorations for the gardens at the French-inspired baroque
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261:. Although Coustou tried to convince Wiedewelt to stay in Paris longer, the young sculptor left for Rome in May 1754. His trip took him over
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Struensee was widely disliked, and between 1770 and 1772 Wiedewelt created a series of drawings satirizing Struensee and his associate Count
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Wiedewelt was the first to receive a travel stipend from the newly established Danish Academy of Art in 1754 and used the funds to travel to
211:(1709-1787) who would become a patron of the young sculptor. With Wasserschlebe's help, Wiedewelt was taken into the studio of the renowned
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in the late 1760s. His outdoor sculptures here and at other gardens have come to comprise the greatest assembled collections of his works.
731:. This apparently proved to be more than he could handle, and shortly thereafter on 17 December 1802 he drowned in an apparent suicide in
615:, placing these pieces in the open parkland. He took advantage of his recent studies of foreign gardens, especially the English garden
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591:, theologian and historian. The commission consisted of fifty-four monuments to be set up on the expansive grounds of Crown Prince
501:, plus additional decorative pieces. These were all lost in the fire of 1794. Some of the medallions are evidenced in engravings.
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There was a sweeping artistic interest during those times for the study of ancient art. This rage originated in the discoveries of
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179:(169-1748). He began already to produce his own works early, and had produced in Spring 1750 two small busts cast in tin of King
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published in 1777. He decorated the park with monuments and memorial stones in honour of exceptional Danes, Norwegians, and
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Commissions soon followed. As a first commission he was requested to sculpt a memorial monument to the long deceased king
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The only large order he received from the court after that time was one for Høegh-Guldbergs National Historical Garden (
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As professor at the academy he introduced his Neoclassical theories to artistic students. Among his many students was
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Wiedewelt left Rome on 1 July 1758, when his financial support was running out, and after he had been ordered home to
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442:. This was the first neoclassical sarcophagus in Denmark, and is considered to be neoclassicism's start in Denmark.
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A letter of recommendation from Wasserschlebe introduced Wiedewelt to the Director of the French Academy in Rome (
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He had a large library of books covering many subjects, which often served as a source of inspiration.
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who arrived in Rome 1755. At the academy he, along with other students, came under the influence of
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Several months later at nineteen years of age he ventured out on a student travel that took him over
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His memorial monuments are spread out in churches throughout Denmark, with the royal monuments at
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Johannes Wiedewelt: Dänemarks erster klassizistischer Bildhauer. Ein Anhänger von Winckelmann
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Between 1785 and 1801, Wiedewelt created fifteen monuments for the day's important people at
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in August 1750. There he met the Danish Legation secretary to the French Court in Paris
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He contributed to the decoration of Frederiks Church, also known as the Marble Church (
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in 1748, and was fanned by the directorship of the French Academy, Marquis de Marigny
175:(1708-1762) and he presumedly also trained under royal sculptor to the Danish Court,
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Large commissions from the court slowed down drastically after this foreign tour, as
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by the academy. He traveled back in the company of friend, neoclassical painter
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In 1768-1769 Wiedewelt traveled to Paris and London in the company of architect
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663:) on his estate, prior to the land-wide reforms that followed on 20 July 1788.
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Johannes Wiedewelt - A Danish Artist in Search of the Past, Shaping the Future
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renovation of 1998–1999. Wiedewelt contributed to this piece with the statue
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where they studied the local art collections and churches, and on through the
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in Copenhagen. In 1782 he designed coin cabinets for the Royal Coin Museum (
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antiquities. He became quickly the judge of artistic good taste in Denmark.
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His drawings are also highly esteemed. He illustrated a deluxe edition of
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Friend Jardin resigned his professorship at the Academy on 26 March 1771.
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near Buckingham which he had visited, and created a new visual language.
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603:. They were sculpted between 1777 and 1789. Wiedewelt was inspired by
426:. The marble monument was completed in 1768, but was not installed at
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to decorative columns and obelisks. He had a sense of the developing
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in Copenhagen. His grave monument was made by friend and colleague
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288:(1700-1777). He lived and studied at the academy, lodging at the
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collection, as well as the publicly accessible ones such as the
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802:'s "Peder Paars" in 1772, engravings for which were made by
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679:. The other artists who contributed to the monument were
540:'s took over control of the country from the weak, young,
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Store og gode Handlinger af Danske, Norske og Holstenere
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monument included a sarcophagus and two female figures,
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1140:. Kunstindeks Danmark & Weilbach Kunstnerleksikon
1095:. Kunstindeks Danmark & Weilbach Kunstnerleksikon
1050:. Kunstindeks Danmark & Weilbach Kunstnerleksikon
1004:. Kunstindeks Danmark & Weilbach Kunstnerleksikon
981:. Kunstindeks Danmark & Weilbach Kunstnerleksikon
820:, future Director of the academy and instructor for
659:, who had early-on instituted agricultural reforms (
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Additionally his studio produced reliefs in 1773 of
897:Round the old man's temples, his silver-grey hair.
580:, statesman and high official at the Danish Court.
1345:Directors of the Royal Danish Academy of Fine Arts
311:Wiedewelt visited private collections such as the
1277:Director of the Royal Danish Academy of Fine Arts
1250:Director of the Royal Danish Academy of Fine Arts
1223:Director of the Royal Danish Academy of Fine Arts
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630:for the Hercules Pavilion in the King's Garden (
576:made in 1779, and another for the first wife of
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683:, who designed the overall monument, colleague
1162:Annette Rathje & Marjatta Nielsen (eds.),
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666:These land-wide reforms led to the monumental
466:Tanker om Smagen udi Kunsterne i Almindelighed
1191:KID Kunst Index Danmark ("Art Index Denmark")
903:Yonder on Freedom's Monument the lark sounds.
300:, and German archeologist and art theorist
1180:, (Hamburg: Johann Trautmann Verlag) 1933.
958:. An Introduction to Nineteenth Century Art
252:
190:
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80:Learn how and when to remove this message
1350:Royal Danish Academy of Fine Arts alumni
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910:Cold and pale, the proud gracious maiden
585:Høegh-Guldbergs nationalhistoriske anlæg
453:, with whom he would travel together to
347:Return to Denmark and an artistic career
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43:This article includes a list of general
647:In 1783 he created Bernstorff Column (
245:(1727–1781), brother of royal mistress
14:
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1027:. Dansk Biografisk Leksikon, Gyldendal
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864:Hist paa Frihedsstøtten Lærken slaaer.
556:. He also designed several coins for
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764:, especially those having to do with
493:kings to the sumptuous Knights Hall (
852:om den gamle Tindings sølvgråe Haar.
653:Count Johan Hartvig Ernst Bernstorff
651:), a memorial for Foreign Minister
478:In 1765-1766 he delivered a plaster
29:
1196:Danish Biographical Encyclopedia ("
916:She stares out onto the dark lake.
24:
529:, now known as the Marble Church (
107:(1 July 1731 – 17 December 1802),
49:it lacks sufficient corresponding
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877:Kold og bleg, den ranke hulde Mø.
165:Det Kongelige Danske Kunstakademi
137:
96:Johannes Wiedewelt as painted by
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1166:(Museum Tusculanum Press) 2010.
1070:"Joachim Wasserschlebe, 1709-87"
34:
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889:stirrer hun henpå den sorte Sø"
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167:) established ten years later.
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934:"Johannes Wiedewelt 1731–1802"
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222:In Paris he also came to know
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1330:18th-century Danish sculptors
936:. Yale Center for British Art
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1115:"Johann Joachim Winckelmann"
719:health in his advanced age.
7:
1340:Artists who died by suicide
908:In its white marble clothes
834:Adam Gottlob Oehlenschläger
282:l´Academie de France á Rome
161:Royal Danish Academy of Art
155:) in Copenhagen along with
10:
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1260:Nikolaj Abraham Abildgaard
1198:Dansk biografisk Leksikion
1072:. Dansk biografisk Lexikon
818:Nikolaj Abraham Abildgaard
768:. He was also inspired by
681:Nikolaj Abraham Abildgaard
538:Johann Friedrich Struensee
306:Giovanni Battista Piranesi
302:Johann Joachim Winckelmann
1335:18th-century male artists
1315:Sculptors from Copenhagen
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1243:Caspar Frederik Harsdorff
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1233:Caspar Frederik Harsdorff
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1025:"Johan Christoph Petzold"
642:Det kongelige Møntkabinet
511:Caspar Frederik Harsdorff
1093:"Magnus Gustavus Arbien"
750:
407:. They arrived back to
253:Continued travel to Rome
153:Tegne- og Malerakademiet
1176:Karl Wilhelm Tesdorpf,
901:The pale day runs out.
895:The mild waves close in
885:Aldrig aldrig trøstet,
873:I de hvide Marmorklæder
848:Bølgen mildt sig lukker
420:Christian VI of Denmark
357:Johan Edvard Mandelberg
191:Student travel to Paris
173:Johan Christof Petzoldt
132:
64:more precise citations.
1320:Neoclassical sculptors
914:Never, never comforted
828:In memory of Wiedewelt
804:Johan Frederik Clemens
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677:Retfærdighedens Genius
644:) at the same castle.
359:. They traveled over
286:Charles-Joseph Natoire
101:
1360:Danish male sculptors
1138:"Andreas Weidenhaupt"
1091:Jørgen Steen Jensen.
525:, then architect for
499:Christiansborg Palace
422:by his widowed wife,
243:Abel-François Poisson
224:Jean-Baptiste Pigalle
209:Joachim Wasserschlebe
157:Louis August le Clerc
95:
1023:Bredo L. Grandjean.
956:"Johannes Wiedewelt"
860:Dagen bleg oprinder;
523:Nicolas-Henri Jardin
451:Nicolas-Henri Jardin
228:Magnus Gustav Arbien
1270:Andreas Weidenhaupt
745:Andreas Weidenhaupt
685:Andreas Weidenhaupt
578:Adam Gottlob Moltke
411:on 6 October 1758.
294:Anton Raphael Mengs
247:Madame de Pompadour
1157:Related literature
906:Faithfulness cries
893:Silently she sighs
822:Bertel Thorvaldsen
793:Roskilde Cathedral
741:Assistens Cemetery
700:Northern City Gate
698:near Copenhagen's
696:Assistens Cemetery
636:), the gardens of
589:Ove Høegh-Guldberg
546:King Christian VII
447:Fredensborg Palace
428:Roskilde Cathedral
317:Capitoline Museums
127:Bertel Thorvaldsen
105:Johannes Wiedewelt
102:
1293:
1292:
1284:Succeeded by
1257:Succeeded by
1230:Succeeded by
1208:Cultural offices
1172:978-87-635-0787-5
1048:"Didrick Gercken"
979:"Hieronimo Miani"
881:Haand paa Brystet
649:Bernstorffstøtten
597:Jægerspris Castle
527:Frederik's Church
430:until 1777. The
217:Guillaume Coustou
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16:(Redirected from
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1281:1793–1795
1267:Preceded by
1254:1780–1789
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1227:1772–1777
1216:Carl Gustaf Pilo
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1185:Other sources
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772:and ancient,
771:
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747:(1738–1805).
746:
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737:Christmas Eve
734:
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689:Nicolai Dajon
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298:Pompeo Batoni
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271:Civitavecchia
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1131:
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1109:
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1000:Hakon Lund.
995:
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950:
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631:
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530:
520:
517:Later career
507:
503:
494:
477:
473:Marmorkirken
472:
470:
465:
463:
444:
439:
435:
432:neoclassical
417:
413:
350:
310:
281:
279:
256:
237:in 1738 and
232:
221:
194:
169:
164:
152:
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112:neoclassical
104:
103:
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70:October 2014
67:
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1310:1802 deaths
1305:1731 births
714:Final Years
613:Holsteiners
605:Ove Malling
550:German-born
495:Riddersalen
485:and twelve
480:allegorical
440:Berømmelsen
333:Herculaneum
235:Herculaneum
62:introducing
1299:Categories
920:References
617:Stowe Park
601:Jægerspris
593:Frederik V
487:medallions
409:Copenhagen
296:, Italian
183:and Queen
181:Frederik V
144:Copenhagen
45:references
1287:Jens Juel
832:In 1803,
810:artists.
708:Nørreport
673:Troskaben
560:in 1771.
491:Oldenborg
361:Caprarola
343:in 1768.
267:Marseille
215:sculptor
98:Peder Als
18:Wiedewelt
1144:April 1,
1121:April 1,
1099:April 1,
1076:April 1,
1054:April 1,
1031:April 1,
1008:April 1,
985:April 1,
962:April 1,
940:April 1,
788:garden.
786:romantic
758:allegory
624:Hercules
607:'s book
568:one for
369:Florence
319:and the
115:sculptor
100:in 1766.
838:Phidias
762:symbols
628:Omphale
489:of the
405:Germany
397:Trieste
385:Bologna
377:Carrara
353:Denmark
341:Trieste
337:Portici
329:Pompeii
313:Farnese
239:Pompeii
213:Baroque
197:Hamburg
125:before
58:improve
1170:
774:Viking
704:Danish
657:Lyngby
483:relief
455:London
436:Sorgen
395:, and
393:Venice
325:Naples
185:Louise
109:Danish
47:, but
766:death
751:Works
497:) at
459:Paris
401:Tyrol
389:Padua
381:Lucca
365:Siena
259:Italy
205:Paris
201:Rouen
1168:ISBN
1146:2019
1123:2019
1101:2019
1078:2019
1056:2019
1033:2019
1010:2019
987:2019
964:2019
942:2019
776:and
760:and
729:Læsø
687:and
626:and
574:Sorø
457:and
438:and
403:and
373:Pisa
335:and
284:),
275:Rome
269:and
263:Lyon
133:Life
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