PORTRAIT OF A WOMAN, 1906
Oil on Canvas
18 x 13 Inches
Signed Lower Right, "Olaf Rude" and Dated 1906
Additionally Bearing Red Wax Seal to Stretcher Verso
Inscribed on Stretcher Bar, "Olaf Rudes maleri af mig, Sommeren 1906, Hanna...."
(Olaf Rude's painting of me, Summer 1906, Hanna .....)
Framed Dimensions: 21¼ x 16½ x 1½ Inches
Olaf Rude began by painting small nature and portrait studies, mainly of his family and the landscape around his father's farm in Lolland. In 1905, he traveled to Copenhagen where, in preparation for the Academy, he commenced his studies with Holger Grønvold. At this time, he encountered a number of other young artists including William Scharff, Jais Nielsen and Einar Utzon-Frank, who would later join him in leading the avant-garde in Danish painting. Rude's portrait of Scharff, painted in Lolland in 1907, demonstrates his ease and comfort in the use of color.
Rude made his debut at KE in 1908, but was rejected as an exhibitor at the Spring Exhibition at Charlottenborg Autumn in 1909. As a result, he formed of the group of artists called The Thirteen, a Danish Salon des Refusés, where he was joined by those already mentioned as well as Folmer Bonnén, Aksel Jørgensen and Edvard Weie among others. In 1911, he traveled with Scharff to Paris becoming exposed for the first time to the ferment of Modernist ideas that prevailed among the avant garde. His primary influence from this period was Paul Cézanne, as was demonstrated in his exhibitions up until 1915, and, subsequently, the gentler influence of Picasso's Synthetic Cubism which begins to appears in his works from 1915-1918.
The years 1918-20 brought an increasing commitment to Cubism, and futurism, probably inspired by Jais Nielsen. It was also together with Jais Nielsen, in 1919, that he visited the artist colony of Bornholm for the first time. Here, like Karl Isakson, he found a motif world that was almost in itself cubist and where it necessarily had to be the colorist input that was the deciding factor. Almost contradictory to the early Bornholm images, during an exhibition visit to Kristiania in 1919, he painted one of the most accomplished classic cubist images, the Norwegian landscape, an image which, in its clear disposition and toned tonality, simultaneously points towards Rude's showdown with cubism as it unfolds. in the pictures from the visit to Assisi the following year.
The stay at Bornholm and, especially, Isakson's memorial exhibition at the State Museum of Art in 1922 became a landmark. With this new coloristic experience as ballast, he began a series of more experimental pictures in which the influences of Oluf Høst's violent and intuitive brush strokes and Isakson's colorism were combined. We are pleased to offer an early work by this notable Danish Modernist.
E. Benezit, Dictionnaire des Peintres, Sculpteurs, Dessinateurs, et Graveurs, Jacques Busse, 1999 Nouvelle Édition, Gründ 1911, Vol. 12, p. 80; Thieme-Becker Allgemeines Lexikon der Bildenden Künstler von der Antike bis zu Gengenwart, Ulrich Thieme and Felix Becker, Deutscher Taschenbuch Verlag 1992, Vol. 29, p. 157; Weilbach, Dansk Kunstnerleksikon, the Castle and Cultural Agency, Copenhagen; Vollmer Allgemeines Lexikon der Bildenden Künstler des 20. Jarhhunderts, Hans Vollmer, Deutscher Taschenbuch Verlag 1992, Vol. 4, p. 124; Mallett’s Index of Artists, Supplement, Daniel Trowbridge Mallett, Peter Smith: New York 1948 Edition, R.R. Bowker Company 1940, p. 238; et al.
Painter teaching at Carl Hansen, Nyk. F. 1900-05; Tech. Sk. in Kbh. (H. Grønvold) 1905-06; The Free Studies. (Kr. Zahrtmann and Johan Rohde) 1907-08.
Paris 1911; Italy (Florence, Rome, Naples, Sicily) 1913, (Florence, Assisi, Venice) 1920, (Florence, Venice) 1939; Norway (Lapland) 1916, 1919 (Kristiania), 1920; France 1924-25; Berlin 1927, 1928.
Artist and painter. winters 1922-23, 1923- 24. Med. of Comm for KE 1915-20; of the best. for Oluf Hartmann's Memorial Legate 1921-31; of the Acad Council of 1934; of the best. for Kunstforen., Kbh. 1940-46; Prof. at Kunstakad. Copenhagen. 1953-56.
Hielmstierne-Rosencrone 1915; Ronge 1916; Akad. 1916, 1920, 1923; Oluf Hartmann 1920; Ancker 1924; Eckersberg Med. 1924; guldmed. Paris 1925 (poster for KE 1919); Thorvaldsen's Med. 1942; msg. of it Kgl. Swedish Kunstakad. 1943.