The World's Columbian Exposition 1893. Chicago, U.S.A. 1893
Official Catalogue With Illustrations issued by the Royal Danish Commission

96 DENMARK became directly or indirectly influenced by French landscape painting. At the middle and the close of the seventies several Danish artists started for Paris to gam a thorough knowledge of French art, then much under discussion, and to pick up that technical brilliancy that at the International Exposition 1878 threw a slur of shame on the Danish section. Lauritz Tuxen (b. 1833) became a pupil of M. Bonnat, and his painting »Susanna«, exhibited in r8yy, showed such technical distinction as to provoke the liveliest excitement in Danish artistic circles. Tuxen has not until now, hozuever, manifested any strongly marked characteristics as an artist, nor has he gained any leading position among the younger Danish painters. It was P. S. Krøyer (b. 1831) whom his years of appren- ticeship to M. Bonnat trained to become the first master in our young art. As such he has everywhere understood to gain the esteem of foreign countries, and has been of the greatest importance to the younger painters by inci- ting them to a more serious study and a finer observation of the pictural phenomena. Frants Henningsen (b. 1830) and the talented illu- strator H. N. Hansen (b. 1833) profited less by their stay in Paris. Vilh. Rosensland (b. 1838), a pupil of Marstrand, zvho, for many years, resided in Italy, painted about 1880 some of his best genre pictures in Paris. Carl Locher (b. 1831), too, being for the present time the most prominent representative of Danish marine painting, so highly valued ever since the lime of Anton Melbye (1818—1873) and Sørensen (1818—1879), is greatly indebted to his sojourn in Paris for his artistic culture. Although a great part of painting in Denmark has thus been under the direct and effective influence of French art, its peculiar characteri- stics have in no way been effaced. The greatest number of Danish artists have, at the outside, received only a second hand influence from France. In the latter half of this century, as in the first half, Danish art has, by preference, sought its subjects at home. One of our most original artists is Zahrtmann (b. 1843). At