Eleonore Tscherning (b. Elsinore 1817, d. Copenhagen 1890)
An artist sits and paints in a forest clearing, in the background a firewood collector. Unsigned. Oil on paper. 27×36 cm. Verso a sketch in pencil of mushrooms in a forest floor.
Provenance: Bruun Rasmussen auction 499, 1987 no. 309. Bruun Rasmussen auction 106, 2006 no. 228.
Eleonore Tscherning was tutored by her cousin, the flower painter Christine Løvmand (1803–1872), who ran a painting and drawing school, and Eleonore thus started her artistic career as a flower painter. But she quickly oriented herself towards landscape painting, a genre in which she became proficient by, for example, copying other painters such as Jens Juel (1745–1802) and Fritz Petzholdt (1805–1838) and by painting studies of nature in the open air. She became a dedicated plein air painter and one of the first Danish female painters in this genre. In addition, she had a close relationship with the circle around the artists J. Th. Lundbye (1818–1848), Thorald Læssøe (1816–1878) and P.C. Skovgaard (1817–1875), from whom she also learned, as well as to the art historian N.L. Høyen (1798–1870).
Tscherning made her debut at Charlottenborg's Forårsudstilling (The Spring Exhibition), but anonymously, and in the exhibition catalogue she is thus simply listed as “An unnamed lady”. From 1844, she exhibited under her maiden name. Together with Løvmand and Hermania Neergaard (1799–1875), she was one of the first female artists to participate in Forårsudstillingen under her own name.
In 1845 she married her 22 years older cousin, officer and politician A. F. Tscherning (1795–1874), who encouraged her to continue her artistic work, but his fame and busy work life meant that Eleonore had to be responsible for raising the couple's five children and running the house alone, and her artistic production gradually decreased. She did, however, work as a decorative painter at P. Ipsen's Terracotta factory in the years approx. 1864–84, and she herself trained students for a period. She also trained her children in drawing and painting. She particularly taught her daughters Sara (1855–1916) and Anthonore (1849–1926) in flower painting and brought them along art trips to France, Italy and Switzerland. Both daughters became skilled flower painters with their own productions, especially Anthonore, who today is known by her married name Anthonore Christensen.
This lot is part of our ongoing theme: Pioneering Women Artists 1850-1950
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Pioneering Women Artists, 4 March 2024