Beskrivning
Elisabeth Jerichau Baumann said about this portrait of her husband Jens Adolf Jerichau (1816-1883) that “it contains the most loving memories which denote her marital life” and that “it will not be sold for as long as she lives”. The couple met each other in Rome and married there during the carnival 19 February 1846. In 1849, they moved to Copenhagen as Jens Adolf Jerichau was appointed Professor at the Royal Academy of Art. Jens Adolf Jerichau is wearing a big, velvet artist’s cape which undulates softly around his body. The billiowing lines of the cape, along with the way he leans his body over the chair, creates a meandering movement through the picture. All the folds in the fabric contribute to shaping his body in pictorial space; you might say that Elisabeth Jerichau Baumann has sculpted her sculptor husband in paint. Notice the almost transfigurative light illuminating the sculptor. The golden light comes from above left, falling gently on his features. His gaze is directed outwards and slightly upwards, the eyes reflecting the dim light. It is as if he were painted while inspired by some invisible source. Instead of confronting the viewer with the gaze of the portrayed, Elisabeth Jerichau Baumann has directed attention to the life and creative powers of Jens Adolf Jerichau’s hands. The golden wedding ring glistens noticably, and simultaneously we are made aware of the professional and private position of the portrayed: He is a sculptor and he is married – to the woman who painted him. Om dette portræt af kunstnerens mand Jens Adolf Jerichau (1816-1883) sagde Elisabeth Jerichau Baumann selv ”det indeholder de kjærligste Minder, som betegne hendes ægteskabelige Liv” og ”at det ikke er tilsalgs saalænge hun lever”. Parret mødte hinanden i Rom og blev gift der under karnevallet 19. februar i 1846. I 1849 flyttede de til København, da Jens Adolf Jerichau var blevet udnævnt til professor på Kunstakademiet. Jens Adolf Jerichau er klædt i en stor velour-kunstnerkappe, som folder sig blødt om hans krop. Kappens linjer giver, sammen med den måde han læner sig over stolen på, indtryk af at han bugter sig igennem billedet. Alle folder i stoffet er med til at forme kroppen i billedrummet, og man kan sige at Elisabeth Jerichau Baumann har modelleret sin billedhuggermand op med maling. Bemærk det nærmest forklarende lys der lyser billedhuggeren op. Lyset kommer oppefra og fra venstre side og lægger sig gyldent om ham. Han retter blikket ud af billedet og lidt opad og øjnene fanger svagt lyset. Det er som om han bliver malet imens han bliver inspireret fra en usynlig kilde. I stedet for at konfrontere beskueren med den portrætteredes blik har Elisabeth Jerichau Baumann lagt fokus på Jens Adolf Jerichaus hænders liv og skaberkraft. Vielsesringen i guld glimter iøjnefaldende, og på samme tid bliver vi opmærksomme på personens metier og hans position: han er billedhugger og han er gift – med hende der har malet ham. National Gallery of Denmark
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