Ludvig August Smith, 1839 - Woman plaiting her hair - fine art print

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• The poster print on canvas material: The poster print is a UV printed flat canvas paper with a granular surface texture, which reminds the original artwork. It is appropriate for placing the art print with the help of a custom-made frame. Please bear in mind, that depending on the absolute size of the poster we add a white margin of something between 2 - 6cm around the print motif, which facilitates the framing with your custom frame.
• Canvas print: The canvas direct print is a printed cotton canvas mounted on a wooden stretcher. Furthermore, a printed canvas makes a cosy, comfy effect. Canvas prints are relatively low in weight, which implies that it is easy and straightforward to hang the Canvas print without additional wall-mounts. Because of thata canvas print is suitable for any kind of wall in your home.
• Acrylic glass print: A glossy print on acrylic glass, often named a an art print on plexiglass, will convert the original artwork into great wall décor. Furthermore, it is a good alternative to canvas or dibond art prints. With an acrylic glass fine art print contrasts and granular artwork details will be exposed with the help of the subtle tonal gradation. The acrylic glass protects your selected art print against light and external influences for many years to come.
• Aluminium dibond print (metal): An Aluminium Dibond print is a print material with an impressive effect of depth. For our Print On Aluminum Dibond, we print the selected work of art onto the aluminium surface. The bright components of the work of art shine with a silk gloss, however without glow. Colors are luminous, details are crisp, and you can notice the matte appearance.

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General information from Nationalmuseum Stockholm (© - by Nationalmuseum Stockholm - Nationalmuseum Stockholm)

English: New Acquisitions, February 2016 Two nudes and an interior by Eckersberg and L.A. Smith Nationalmuseum has acquired a nude by Christoffer Wilhelm Eckersberg (1783–1853) and a second nude and an idyllic interior scene of a mother and child by a window, both painted by Eckersberg’s pupil Ludvig August (L.A.) Smith (1820–1906). Eckersberg is a central figure in the art history of the Danish Golden Age. He was appointed as a professor at the Royal Danish Academy of Fine Arts in Copenhagen in 1818, after studying abroad under Jacques-Louis David and other teachers. In turn, he became the teacher of a whole generation of successful artists during the period known as the Danish Golden Age (c. 1800–50). Eckersberg was a devoted teacher who showed great concern for his pupils, both academically and in a wider sense, even becoming a sort of father figure to some of them. One of the main components of artistic education at the Academy involved drawing and painting from life models. The idea was to familiarize students with the structure and musculature of the human body, so that, as trained artists, they could depict figures in an anatomically correct way when painting detailed historical or biblical scenes. The Academy in Copenhagen did not allow female models to pose nude until 1833; before that, only male models were used. For many years, students painted life models in the evenings, by the light of naked flames, but in 1822 the Academy decided that they would be allowed to paint in natural daylight in future. The two recently acquired nudes, portraying female models, are fine examples of mastery of the effects of daylight. To ensure optimal lighting conditions, Eckersberg moved a painting course focused on female models to the summer months from 1839 onward. Thanks to the painter’s detailed diaries, we know the identities of each summer’s models and students. The model for this Eckersberg painting, seen standing beside a bed and combing her hair, has apparently not been identified previously. On comparison with other works, however, she appears identical to Florentine, who modelled in the summers of 1840 and 1841. The piece is also a fine example of another way in which Eckersberg renewed the genre in Denmark: by portraying the model in an everyday setting, rather than having her pose like a classical sculpture. Smith attended Eckersberg’s summer course for several years. The model for his painting, Cathrine Nielsen, was hired in 1839. The work is a uniquely fine example of how the sharp summer daylight enables the artist to bring out the subtlest effects of the play of light and shadow on skin. The rounded shapes have acquired a markedly sculptural appearance. A painting by Eckersberg of the same model, Cathrine Nielsen, very similar to Smith’s, is now in the Louvre. Nationalmuseum has also been fortunate enough to acquire another work by Smith, an interior scene painted in 1853. This work is an exquisite example of the delicate manner of painting of Danish Golden Age, typifying the intimate, domestic scenes popular at the time. Smith reflects this in his depiction of the room with the street view unfolding beyond the window. Nationalmuseum’s purchase of these works has been made possible by a generous bequest from the Wiros Fund. Nationalmuseum has no budget of its own for new acquisitions, but relies on gifting and financial support from private funds and foundations to enhance its collections of fine art and craft. Inventory Number: Christoffer Wilhelm Eckersberg, Study of a Model. NM 7315 Ludvig August Smith, Woman Plaiting Her Hair, 1839. NM 7317 Ludvig August Smith, Interior with Mother and Child by a Window, 1853. NM 7318 Målningen föreställer en sittande kvinna som flätar sitt hår. Proveniens: Bruun Rasmussen Kunstauktioner, "Krop og Kunst, Golden Days in Copenhagen", September 2009 Beskrivning som månadens nyförvärv, februari 2016: Två modellstudier och en interiör av Eckersberg och L. A. Smith Nationalmuseum har förvärvat en aktstudie av Christoffer Wilhelm Eckersberg (1783-1853) samt en modellstudie och en idyllisk interiörscen med mor och barn vid ett fönster utförda av hans elev Ludvig August (L. A.) Smith (1820-1906). Eckersberg räknas som den danska guldålderskonstens portalgestalt och var bland annat elev till Jacques-Louis David. Efter sina utlandsstudier utnämndes han till professor vid Konstakademien i Köpenhamn 1818 där han blev lärare för en hel generation framgångsrika konstnärer under den epok som brukar benämnas den danska guldåldern (ca 1800-1850). Eckersberg var en hängiven lärare som visade stor omsorg om sina elever även utanför studierna. För vissa av dem blev han till och med ett slags fadersgestalt. En av de viktigaste delarna av undervisningen vid Konstakademien bestod i att teckna och måla efter nakenmodell. Det var en del i strävan att lära känna människokroppens muskulatur och uppbyggnad, för att som färdig konstnär kunna skildra den anatomiskt korrekt i avancerade framställningar av till exempel historiska eller bibliska scener. Att låta kvinnor posera nakna blev tillåtet vid Konstakademien i Köpenhamn först år 1833, dessförinnan anlitade man uteslutande män. Länge fick eleverna måla efter modell i artificiell belysning (i belysning från levande lågor) kvällstid men 1822 bestämdes att eleverna skulle få börja måla dagtid i naturligt ljus. De två nyförvärvade aktstudierna visar kvinnliga modeller och är fina exempel på virtuos behärskning av dagsljusets effekter. För att skapa så bra förutsättningar som möjligt förlade Eckersberg från och med år 1839 en särskild kurs med kvinnlig modell till sommarmånaderna. Tack vare målarens noggranna dagboksanteckningar vet man vilka såväl modellerna som eleverna var respektive sommar. Modellen i Eckersbergs studie, kvinnan som kammar sitt hår vid en säng, tycks inte ha identifierats tidigare, men verkar vid jämförelser med andra studier vara identisk med Florentine, som anlitades somrarna 1840 och 1841. Studien är även ett fint exempel på ytterligare en av Eckersbergs förnyelser av genren i Danmark, nämligen att skildra modellen i ett vardagligt sammanhang istället för att som tidigare låta denna posera likt en antik skulptur. Smith deltog i Eckersbergs sommarkurs under flera år. Modellen i hans studie hette Cathrine Nielsen och anlitades år 1839. Studien är ett enastående exempel på hur sommardagsljusets skarpa belysning gör det möjligt för konstnären att få fram även de mest subtila effekterna av ljusets och skuggornas spel över huden. De rundade formerna har givits en påtaglig monumentalitet. Även Eckersberg har gjort en studie av modellen Cathrine Nielsen som är mycket lik Smiths och som idag finns på Louvren. Av Smith har Nationalmuseum även lyckats förvärva ett interiörmotiv från 1853. Målningen är ett känsligt exempel på den danska guldålderns finmåleri och på tidens vurm för intimitet och värderingen av den egna närmiljön. Smith ger uttryck för detta både i rummet och i gatuperspektivet som öppnar sig utanför fönstret. Förvärven har möjliggjorts genom donationsmedel ur Wirosfonden. Nationalmuseum har inga egna medel att förvärva konst och konsthantverk för utan samlingarna berikas genom gåvor och privata stiftelse- och fondmedel. Inventarienummer: Christoffer Wilhelm Eckersberg, Modellstudie. NM 7315 Ludvig August Smith, Kvinna som flätar sitt hår, 1839. NM 7317 Ludvig August Smith, Interiör med mor och dotter vid fönster, 1853. NM 7318

Product summarization

Woman plaiting her hair was by the painter Ludvig August Smith. The beyond 180 year old original measures the size: Height: 74 cm (29,1 ″); Width: 60 cm (23,6 ″) and was manufactured with the techinque of oil on canvas. This piece of art belongs to the art collection of Nationalmuseum Stockholm in Stockholm, Stockholm County, Sweden. The modern art masterpiece, which belongs to the public domain is supplied, courtesy of Nationalmuseum Stockholm & Wikimedia Commons.The creditline of the artwork is: . Moreover, alignment of the digital reproduction is portrait with a ratio of 1 : 1.2, which implies that the length is 20% shorter than the width.

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