Theodor Philipsen

Theodor Esbern Philipsen ( born June 10, 1840 in Copenhagen, † March 3, 1920 ) was a Danish painter.

Life

Philipsen grew up in a culture -knit family and learned drawing at a young age. His greatest interest was animals, so it was natural to take up an agricultural training with his uncle at Højagergård. In the 1860s he met through his brother, the painter Hans Smidth know what convinced him that he wanted to be himself an artist. He studied at the Royal Danish Academy of Fine Arts in Copenhagen and continued his artistic training after a short break in the continuous model school where Frederik Vermehrens ideals in terms of the study of reality and its respect for the past should have a major impact on Philipsens artistic development.

Among the public collections in Copenhagen Philipsen already knew J.Th. Lundbyes study of animals. He had also learned to appreciate the Dutch paintings of animals and landscapes of the 17th century. Despite his training, nature and animals were the main influences on his work.

Philipsen found his artistic identity in painting in the great outdoors of 1880'er years. Due to its closeness to the French Impressionism Philipsen gained great importance for the following generations of Danish artists.

Philipsen saw nature realistic than his artistic role models they had seen. Therefore, it was logical for him to seek inspiration in Paris, and together with Lauritz Tuxen he went into the synagogue of Leon Bonnat. There Philipsen worked intensively with the croquis and soon learned to show the characteristic of a movement in his works.

Philipsen learned the radical French art through the Belgian painter Rémy Cogghe, with whom he was in Spain and in the following year in Rome in 1882. Later Philipsen developed his characteristic art with the light and the colors of nature and animals, with which his name and the names of the islands Saltholm and Amager were closely linked.

His interest in French Impressionism was reinforced by his relationship with the French painter Paul Gauguin, who was in Copenhagen in winter 1884-1885. They became close friends, and Gauguin learned Philipsen the use of small brush and small, firm brush strokes to make.

Through his art, which presented itself never spectacular, Philipsen played an important role as a mediator of the ideas of the French impressionism, which has dominated almost up to the present day large parts of the Danish painter art.

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