{"id":140788,"date":"2026-09-17T13:54:03","date_gmt":"2026-09-17T11:54:03","guid":{"rendered":"https:\/\/nivaagaard.dk\/fokusudstilling-i-samlingen\/"},"modified":"2026-10-12T13:51:38","modified_gmt":"2026-10-12T11:51:38","slug":"fokusudstilling-i-samlingen","status":"publish","type":"page","link":"https:\/\/nivaagaard.dk\/en\/fokusudstilling-i-samlingen\/","title":{"rendered":"New focus exhibition featuring newly acquired works from the 19th century"},"content":{"rendered":"
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New focus exhibition in the collection<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n

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Read more about the newly acquired 19th-century works, the female artists, and the museum\u2019s focus exhibition within the collection.<\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

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Two female painters from 19th-century Denmark join the collection<\/span><\/h3>\n

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In a new gallery display, museum visitors can, for the first time, experience the works of two female painters, <\/span>Bolette Puggaard (1798\u20131847)<\/strong> and <\/span>Elisabeth Jerichau Baumann (1819\u20131881)<\/strong>, in the museum\u2019s 19th-century collection. Their lives and works shed light on both the family history of the museum\u2019s founder, Johannes Hage, and the broader history of Denmark.<\/span><\/p>\n

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For some time, the museum has aspired to include paintings by female artists in its Danish 19th-century collection, as women artists are often underrepresented in historic art collections. This ambition has now been realised with the acquisition of two works: <\/span>Italian Landscape<\/em>, undated, by Bolette Puggaard, and <\/span>Portrait of Margrethe Lehmann<\/em>, c. 1853, by Elisabeth Jerichau Baumann.<\/span><\/p>\n

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Following conservation work at Kunstkonserveringen, the two paintings will go on display for the first time in a dedicated exhibition opening on <\/span>Saturday, 19 September 2026<\/strong>. The paintings were acquired from descendants of the Puggaard family, along with a number of other works that are also featured in the exhibition.<\/span><\/p>\n

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The paintings also have a special connection to the history of Nivaagaard Collection. Bolette Puggaard was the aunt of the museum\u2019s founder, Johannes Hage, and her family played a central role in the artistic and political life of 19th-century Denmark.<\/span><\/p>\n

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Together, the two paintings tell a compelling story of a time when female artists in Denmark were striving to establish themselves, democratic ideas were gaining ground, and artists relied on patrons to make a living. The Puggaard family, which Bolette married into, was among those who supported the arts. She was the mother of Marie, the mother-in-law of Orla Lehmann, one of the leading figures behind the introduction of Denmark\u2019s first democratic constitution, and the grandmother of women\u2019s rights advocate Margrethe Lehmann. <\/span><\/p>\n

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The conservation of the newly acquired works has been made possible through the support of the Hoffmann and Husmans Foundation.<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/section>\n

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Elisabeth Jerichau Baumann <\/strong>(1819\u20131881)<\/span><\/p>\n

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Portr\u00e6t af Margrethe Lehmann <\/em>(1846\u20131918), ca. 1853<\/span><\/p>\n

Olie p\u00e5 tr\u00e6 <\/span><\/p>\n

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Den portr\u00e6tterede er Margrethe Lehmann, datter af Marie og Orla Lehmann og barnebarn af Bolette Puggaard. Margrethe blev som barn portr\u00e6tteret flere gange, blandt andet af P.C. Skovgaard, Constantin Hansen og Elisabeth Jerichau Baumann, der her har skildret hende i et landskab if\u00f8rt en sart lyser\u00f8d kjole. Farven g\u00e5r igen i hendes blussende kinder og r\u00f8de \u00f8rer, mens de store, klare bl\u00e5 \u00f8jne s\u00f8ger v\u00e6k fra beskueren. Med disse tr\u00e6k har Jerichau Baumann indfanget en barnlig uskyld og generthed.<\/span><\/p>\n

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Som voksen blev Margrethe journalist og kritiker, og hun blev en markant stemme i det politiske<\/span><\/p>\n

landskab i Norge, is\u00e6r som fortaler for kvinders rettigheder. Margrethe Lehmann blev gift f\u00f8rste gang med forfatteren Gotfred Rode (1830-1878), og sammen grundlagde de h\u00f8jskolen Skovgaard ved Ordrup. Efter Rodes d\u00f8d blev hun gift med den norske forfatter og politiker Erik Vullum (1850-1916).<\/span><\/p>\n

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Erhvervet 2025<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Constantin Hansen <\/strong>(1804-1880)<\/span><\/p>\n

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En fl\u00f8jtespillende dreng ved foden af en s\u00f8jle i P\u00e6stum<\/em>, 1852<\/span><\/p>\n

Olie p\u00e5 l\u00e6rred<\/span><\/p>\n

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Constantin Hansen bes\u00f8gte den gamle gr\u00e6ske by P\u00e6stum i Italien for f\u00f8rste gang i 1838 p\u00e5 en rejse sammen med J\u00f8rgen Roed. Her udf\u00f8rte han studier af byens gr\u00e6ske templer og folkelivet ved de antikke ruiner, som han efterf\u00f8lgende omsatte til en r\u00e6kke malerier. <\/span><\/p>\n

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Gennem karrieren vendte Constantin Hansen flere gange tilbage til motivet med templerne, der ogs\u00e5 blev et af hans mest yndede blandt publikum. Den fl\u00f8jtespillende hyrdedreng optr\u00e6der i flere af disse v\u00e6rker, enten som staffage i et st\u00f8rre motiv eller som h\u00e9r, hvor drengen bliver billedets centrale motiv.<\/span><\/p>\n

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Erhvervet 2025<\/em> <\/span><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Hans Hansen, tilskrevet <\/strong>(1769\u20131828)<\/span><\/p>\n

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Portr\u00e6t af Bolette Puggaard, f. Hage<\/em> (1798\u20131847), ca. 1823<\/span><\/p>\n

Olie p\u00e5 l\u00e6rred<\/span><\/p>\n

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Bolette Puggaard f. Hage var k\u00f8bmandsdatter fra Stege p\u00e5 M\u00f8n og faster til stifteren af Nivaagaards<\/span><\/p>\n

Malerisamling, Johannes Hage. Bolette giftede sig i 1816 med handelsmanden Hans Puggaard, og deres f\u00e6lles hjem blev et centralt m\u00f8dested for tidens kunstnere, politikere og kulturpersonligheder. Bolette var selv kunstner og fik i 1830 privat undervisning af professor C.W. Eckersberg. Portr\u00e6ttet her ligner et<\/span><\/p>\n

andet portr\u00e6t af Bolette signeret af Hans Hansen, som nok ogs\u00e5 st\u00e5r bag dette.<\/span><\/p>\n

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Hans Hansen var far til guldaldermaleren Constantin Hansen, som Hans og Bolette Puggaard var m\u00e6cener for, og som i \u00f8vrigt senere udsmykkede Bolette Puggaards kiste. <\/span><\/p>\n

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<\/span>Erhvervet 2025<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Bolette Puggaard <\/strong>(1798\u20131847)<\/span><\/p>\n

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Italiensk landskab<\/em>, u.\u00e5.<\/span><\/p>\n

Olie p\u00e5 papir monteret p\u00e5 l\u00e6rred<\/span><\/p>\n

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Bolette Puggaard f. Hage (1798\u20131847) var k\u00f8bmandsdatter fra Stege p\u00e5 M\u00f8n og faster til stifteren af Nivaagaards Malerisamling, Johannes Hage. Hun giftede sig i 1816 med handelsmanden Hans Puggaard, og deres f\u00e6lles hjem blev et v\u00e6sentligt m\u00f8dested for tidens kunstnere, politikere og kulturpersonligheder. Bolette var selv kunstner og fik i 1830 privat undervisning af professor C.W. Eckersberg. <\/span><\/p>\n

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Sammen med \u00e6gtemanden Hans rejste Bolette Puggaard flere gange til Italien. De slog sig ned i Rom, hvor de kom i kontakt med en lang r\u00e6kke danske kunstnere i byen. <\/span><\/p>\n

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Familien Puggaard blev en central del af det danske kunstnermilj\u00f8, og hjemmet i Rom udviklede sig til et kulturelt samlingspunkt. Bolette Puggaard tog p\u00e5 udflugter i Rom og de omkringliggende egne, hvor hun fandt inspiration til sine v\u00e6rker. Hun var is\u00e6r optaget af det italienske landskab og hentede blandt andet motiver fra den romerske campagne. <\/span><\/p>\n

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<\/span>Erhvervet 2025<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Emil B\u00e6rentzen <\/strong>(1799\u20131868)<\/span><\/p>\n

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Portr\u00e6t af Orla Lehmann<\/em> (1810\u20131870), 1840\u2019erne<\/span><\/p>\n

Olie p\u00e5 malepap<\/span><\/p>\n

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Portr\u00e6ttet forestiller den nationalliberale politiker Orla Lehmann, der i 1844 blev gift med Marie Puggaard, datter af Bolette og Hans Puggaard. Udover at v\u00e6re en af det 19. \u00e5rhundredes mest centrale politiske skikkelser, der medvirkede til grundlovens og demokratiets indf\u00f8relse i Danmark, havde Orla Lehmann, ligesom sin hustru og svigerfor\u00e6ldre, en stor interesse for kunst, og han opbyggede sin<\/span><\/p>\n

egen kunstsamling gennem bestillinger af og venskaber med samtidens toneangivende kunstnere som Wilhelm Marstrand, P.C. Skovgaard og Constantin Hansen. <\/span><\/p>\n

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<\/span>Erhvervet 2025<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Wilhelm Marstrand<\/strong> (1810\u20131873)<\/span><\/p>\n

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Portr\u00e6t af Orla Lehmann<\/em> (1810\u20131870), 1860<\/span><\/p>\n

Olie p\u00e5 l\u00e6rred<\/span><\/p>\n

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Marstrands portr\u00e6t viser Orla Lehmann i de senere \u00e5r af hans politiske karriere. Da portr\u00e6ttet blev udf\u00f8rt, var Lehmann amtmand i Vejle og en fremtr\u00e6dende nationalliberal leder og landstingspolitiker. Med modne ansigtstr\u00e6k og gr\u00e5lige st\u00e6nk i h\u00e5ret fremst\u00e5r han som en erfaren politiker med autoritet og politisk tyngde. Samtidig giver det milde ansigtsudtryk og det varme blik mod beskueren<\/span><\/p>\n

ogs\u00e5 portr\u00e6ttet en mere personlig og im\u00f8dekommende karakter.<\/span><\/p>\n

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Erhvervet 2025<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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J\u00f8rgen Roed, efter Wilhelm Marstrand <\/strong>(1808\u20131888)<\/span><\/p>\n

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Portr\u00e6t af grosserer Hans Puggaard<\/em> (1788\u20131866), 1854<\/span><\/p>\n

Olie p\u00e5 l\u00e6rred<\/span><\/p>\n

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Hans Puggaard opbyggede med sit firma H. Puggaard & Co. en betydelig formue gennem handel<\/span><\/p>\n

med kolonialvarer og korn, og han blev en af 1800-tallets mest velhavende k\u00f8bm\u00e6nd. Puggaard er her portr\u00e6tteret som 65-\u00e5rig if\u00f8rt gr\u00e5 frakke, gul vest og hvid skjorte med halsbind og sl\u00f8jfe, og med en alvorsfuld mine og rynkede bryn fremst\u00e5r han som en seri\u00f8s forretningsmand. Maleriet er en kopi efter et helfigursportr\u00e6t af Wilhelm Marstrand fra 1853, og det er \u00e9t ud af to identiske portr\u00e6tter af Hans Puggaard, som J\u00f8rgen Roed udf\u00f8rte p\u00e5 bestilling af s\u00f8nnerne Rudolph og Christopher Puggaard i 1854.<\/span><\/p>\n

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Erhvervet 2025<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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J. A. Jerichau <\/strong>(1816\u20131883)<\/span><\/p>\n

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Bolette Puggaard siddende i profil<\/em>, 1852<\/span><\/p>\n

Basrelief i marmor<\/span><\/p>\n

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Bolette Puggaard er skildret siddende i profil med benene over kors og h\u00e6nderne hvilende p\u00e5 sk\u00f8det. Hun b\u00e6rer draperede kl\u00e6der og en blondekappe som hovedbekl\u00e6dning. Relieffet blev udf\u00f8rt som udsmykning til Bolette Puggaards gravm\u00e6le, der st\u00e5r p\u00e5 Holmens Kirkeg\u00e5rd i K\u00f8benhavn, hvor hun er begravet med sin mand. P\u00e5 gravm\u00e6let findes i dag en version i bronze, ligesom der p\u00e5 samme sted findes et relief af Hans Puggaard udf\u00f8rt af H.W. Bissen i bronze.<\/span><\/p>\n

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Erhvervet 2023<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Hans Christian Jensen <\/strong>(1836\u20131903)<\/span><\/p>\n

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Portr\u00e6t af komponist Peter Heise<\/em>, 1876<\/span><\/p>\n

Olie p\u00e5 l\u00e6rred \/ Oil on canvas<\/span><\/p>\n

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Manden med det direkte blik er komponisten Peter Arnold Heise (1830-1879), kendt for sine operaer og melodier. Heise giftede sig i 1859 med Vilhelmine \u2019Ville\u2019 Hage (1838-1912), s\u00f8ster til museets grundl\u00e6gger Johannes Hage. Han indg\u00e5r ogs\u00e5 i samlingen gengivet p\u00e5 en marmorbuste udf\u00f8rt af Herman Wilhelm Bissen (1798-1868) i 1862. Kunstneren bag hans malede portr\u00e6t, H.C. Jensen, mistede sit ene ben under krigen i 1864, men klarede sig efterf\u00f8lgende som en efterspurgt portr\u00e6tmaler for kongehuset og det velstillede borgerskab.<\/span><\/p>\n

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Donation fra Niels Heise-Jensen, 2026<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Wilhelm Marstrand <\/strong>(1810\u20131873)<\/span><\/p>\n

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Italienske b\u00f8nder f\u00f8res fangne ind i en lille by i det romerske omland<\/em>, 1850<\/span><\/p>\n

Olie p\u00e5 l\u00e6rred<\/span><\/p>\n

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Nysgerrige blikke f\u00f8lger det dramatiske optrin, der udspiller sig i en lille italiensk by, hvor en gruppe tilfangetagne m\u00e6nd f\u00f8res frem i gaden, flankeret af soldater til hest. Flere figurer genkendes fra Malerisamlingens <\/span>F\u00e6ngselsscene<\/em> af samme kunstner \u2013 pigen med grisen i snor og to af de tilfangetagne. Wilhelm Marstrands italienske folkelivsskildringer fremst\u00e5r ofte festlige og idylliske, men bag kulisserne afsl\u00f8rer et motiv som dette muligvis nogle af tidens sociale sp\u00e6ndinger.<\/span><\/p>\n

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Deponering, Privateje. <\/em><\/p>\n

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Foto \u00a9 Pernille Klemp<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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Wilhelm Marstrand <\/strong>(1810-1873)<\/span><\/p>\n

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Selvportr\u00e6t<\/em>, ca. 1870<\/span><\/p>\n

Bl\u00e6k og lavering<\/span><\/p>\n

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Wilhelm Marstrand er den mest repr\u00e6senterede kunstner p\u00e5 Nivaagaards Malerisamling, med is\u00e6r humoristiske folkelivsskildringer og vellignende portr\u00e6tter af ikke mindst familien Hage, som han portr\u00e6tterede tre generationer af. Selvportr\u00e6ttet her er udf\u00f8rt af 60-\u00e5rige Marstrand, f\u00e5 \u00e5r inden hans d\u00f8d. Han fremstiller sig selv med foroverb\u00f8jet kropsholdning og panden rynket i en alvorlig mine. Trods alvoren fremst\u00e5r penselstr\u00f8gene b\u00e5de lette, levende og flygtige i blandingen af bl\u00e6k og akvarel. <\/span><\/p>\n

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Doneret af Adam Grandjean, kunstnerens tipoldebarn, 2026<\/em><\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n

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New focus exhibition in the collection Read more about the newly acquired 19th-century works, the female artists, and the museum\u2019s focus exhibition within the collection. Two female painters from 19th-century 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