HELMUTH DIRCKINCK-HOLMFELD (Denmark, 1835-1912). "Landscape with bear by a river". Oil on canvas,

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19th & 20th CENTURY PAINTINGS & ORIENTALISM

By Setdart Auction House

Jul 15, 2021

Set Reminder 2021-07-15 08:00:00 2021-07-15 08:00:00 America/New_York Bidsquare Bidsquare : 19th & 20th CENTURY PAINTINGS & ORIENTALISM https://www.bidsquare.com/auctions/setdart-auction-house/19th-20th-century-paintings-orientalism-7212
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• Lot Description
  HELMUTH DIRCKINCK-HOLMFELD (Denmark, 1835-1912). "Landscape with bear by a river". Oil on canvas, It has slight craquelure and minor damage by the passage of time. Signed. Size: 50 x 73 cm 60 x 83 cm (frame). This work shows the special light sensitivity that derives from the darkness generated by the presence of the vegetation next to the river. A darkness that does not allow to appreciate clearly the structure of the cabin located in the left zone of the composition, or the bear that is in the foreground, on the bank of the river. The light comes from the uniformly illuminated background, in which the author shows us a sky, which reaches the sunset, where the light tones alternate with the horizon, closed in this case to the sides by the presence of the trees, in black, brown, brown tones that contrast with the luminous touches obtained through the reflection of the river. It is an expressive composition, modeled through gradation and chromatic contrast, revealing the lyricism of the landscape. The pure landscape, almost without figures or totally devoid of them, reached the heroic significance of history painting during the 19th century. New artists were born who sought to deepen the idea that human feeling and nature should be complementary, one reflected in the other. That is, the landscape should arouse emotion and transmit ideas. Thus, landscape painters like the author of this painting tried to express their feelings through the landscape, instead of imitating it. The romantic landscape had two main aspects: the dramatic, with turbulent and fantastic views, and the naturalistic, which emphasized images of a peaceful and serene nature, as in this case. It is this second conception that we see embodied in this work; the painter tries to communicate a religious reverence for the landscape, nature in its fullness, free from the industrial elements of modern life. In fact, the painter's use of light here conveys a dreamy atmosphere, inviting the viewer to meditate and contemplate himself in the landscape. The romantic landscape is nevertheless made up of manifestations of very different types and not comparable to each other; it does not affect all the national schools equally, remaining more faithful to the tradition in schools such as the French or Dutch. Thus, in this canvas we do not find the grandiose scenographies of the British and Germans, the rugged mountains or the monumental Gothic ruins. On the contrary, it is a landscape centered in the foreground, a space enclosed in the background by the city. The most typical elements of the romantic landscape, such as the hostile climate or the Gothic ruins, do not appear. Likewise, the typical romantic perspective is used, very marked, in abyss, which is complemented by a slight confusion of points of view. Despite these local differences, this romanticism contained in the form, we find however a clearly poetic content, which goes beyond the simple representation of the natural to capture nature as a reflection of the author's feelings.
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