PAULSEN, Julius - b. 1860 Odense, d. 1940 København - WGA

PAULSEN, Julius

(b. 1860 Odense, d. 1940 København)

Danish painter. He studied at the Kongelige Akademi for de Skønne Kunster, Copenhagen (1879-82), but found the training there uninspired and soon attached himself to more radical artists such as Peder Severin Krøyer and Laurits Regner Tuxen. A turning-point in his career came in 1885 when, with Viggo Johansen and Krøyer, he went to Paris. On the way they visited Amsterdam, where the art of Rembrandt made a great impact on Paulsen. In Paris he showed interest in Courbet and Monet, and, together with Johansen and Krøyer, he exhibited at the Salon.

From 1886 his time was shared between landscape, figure and portrait painting. His first landscape, From the Village of Ry (1886; Copenhagen, Hirschsprungske Samling), is an early example of his personal blend of Romanticism and Symbolism; it shows a golden sunset colouring the houses and gardens of the small village. His View from the Harbour after Sunset (1891; Copenhagen, Hirschsprungske Samling) has much in common with Monet, the Copenhagen skyline barely discernible through a deep blue and iridescent atmosphere. A later visit to Paris inspired such sunlit townscapes as Under the Pont des Arts, Paris, the shimmering, sketchy surface of which is dominated by fresh blues and greens; the painting incorporates a favourite Impressionist motif, the curved filigree of the iron bridge, which both frames the scene and lends it tension.

St. John's on Tisvilde Beach
St. John's on Tisvilde Beach by

St. John's on Tisvilde Beach

In this painting Paulsen presents a dramatic natural scene. His unusual freedom of colour and technique introduces a dynamic feel to the fleeting moment. We see here the presence of Monet.

Under the Pont des Arts, Paris
Under the Pont des Arts, Paris by

Under the Pont des Arts, Paris

This painting is at once Impressionist and Japanese. The painting is plainly related to the Impressionists’ countless Seine landscapes; and the bridge arch that dominates the foreground recalls Japanese woodcuts, as well as Monet’s Japanese bridge in his garden at Giverny. The freshness of the colours and the intensity of the light confirm the French feel of the work.

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