Danish sculpture as a nationally recognized art form can be traced back to 1752 when Jacques Saly was commissioned to execute a statue of King Frederick V of Denmark on horseback. While Bertel Thorvaldsen was undoubtedly the country's most prominent contributor, many other players have produced fine work, especially in the areas of Neoclassicism, Realism, and in Historicism, the latter resulting from growing consciousness of a national identity. More recently, Danish sculpture has been inspired by European trends, especially those from Paris, including Surrealism and Modernism."Dansk Skulptur i 125 år", Copenhagen, Gyldendal, 1996. .
The beginnings
The earliest traces of sculpture in Denmark date from the 12th century when a stonemason known as Horder was active in the east of Jutland and on the island of Funen decorating churches, especially doors and fonts."Horder", Den Store Danske. Retrieved 30 January 2012. From roughly the same period, there are sculpted figures in the granite reliefs depicting the Removal from the Cross in the tympanum above the so-called Cat's Head Door of Ribe Cathedral.Darwin Porter, Danforth Prince, "Ribe Domkirke", Frommers Denmark, John Wiley & Sons, 2009, p.322. . In the early 16th century, sculpted altarpieces and pulpits were produced by German artists such as Claus Berg working in Odense Cathedral and Hans Brüggemann who designed the unpainted altarpiece in Schleswig Cathedral. However the Reformation in 1536 brought such decorative work to an almost total stop."Danmark - billedkunst (Romansk og gotisk kunst)", Den Store Danske. Retrieved 30 January 2012. During the Renaissance period, sculptors from abroad were the source of work in Denmark. The Flemish sculptor Cornelis Floris from Antwerp produced tombs for Herluf Trolle and Birgitte Gøye (1566–68) in Herlufsholm and for Christian III (1569–79) in Roskilde Cathedral. Gert van Groningen was one of the leading Dutch artists to participate in the design of Kronborg's main entrance. Another Flemish sculptor active towards the end of the 16th century in Denmark was Gert van Egen who designed Frederik II's tomb in Roskilde Cathedral."Danmark - billedkunst (Renæssancen)", Den Store Danske. Retrieved 30 January 2012. Similarly, in the 17th century, it was Adriaen de Vries who designed the Neptunus Fountain for Frederiksberg Palace (1615–22) although it was later taken by the Swedes as a prize of war and now stands before Drottningholm Palace."Danmark - billedkunst (Barokken)", Den Store Danske. Retrieved 30 January 2012.
The development of Danish sculpture was greatly influenced in the mid-18th century by the French sculptor Jacques Saly (1717–1776), who was invited by the Danish government in 1752 to create a statue of King Frederik V. Shortly after the Royal Danish Academy of Fine Arts was founded in March 1754, Saly was appointed as its director, exerting considerable influence on the workings of the institution. After preparing a number of miniature and full-sized models, Saly finally completed his equestrian statue in 1768 as a bronze casting in the Neoclassical style but it was not unveiled in the courtyard at Amalienborg Palace until August 1771, five years after the king's death in 1766.Bent Sørensen, "Saly, Jacques François Joseph", Kunstindeks Danmark & Weilbachs kunstnerleksikon. Retrieved 9 January 2012. It has been called one of the finest equestrian statues in Europe.
Early Neoclassicisism
Johannes Wiedewelt (1731–1802) was one of the primary figures responsible for introducing Neoclassicism to Denmark, inspired by stays in Paris and Rome which were facilitated by travel stipends from the newly established Academy. Soon after his return to Denmark in 1758, he was commissioned to sculpt a memorial monument to the long deceased King Christian VI by his widowed wife, Sophie Magdalene. Completed in 1768, the marble monument was not installed in Roskilde Cathedral until 1777. The sarcophagus with two female figures, "Sorgen" ("Sorrow") and "Berømmelsen" ("Fame") is considered to be Denmark's first Neoclassical work. Wiedewelt went on to design large collections of sculptures for gardens such as those at Fredensborg Palace. In 1769, he completed the monument to King Frederik V in Roskilde Cathedral which includes a large sarcophagus resting on footpieces and decorated by numerous sculptures, behind which is a column topped by an urn, a medallion with the king's portrait, and on each side of the sarcophagus, reaching some nine feet above the floor, are two crowned, grieving female figures representing Denmark and Norway. The memorial chapel was the result of collaboration between Wiedewelt and the architect Caspar Frederik Harsdorff. Wiedewelt was chosen for eight annual periods as Director of the Academy between 1772 and 1794. As a professor there, he introduced his Neoclassical theories to his students including the painter and architect Nikolaj Abraham Abildgaard who later became Director of the Academy and Bertel Thorvaldsen's instructor.Hakon Lund, "Wiedewelt, Johannes", Kunstindeks Danmark & Weilbachs kunstnerleksikon. Retrieved 9 January 2012.
Thorvaldsen
Bertel Thorvaldsen (1770–1844) is the most famous Danish sculptor, recognized across Europe as one of the leading Neoclassical sculptors. After entering the Art Academy in Copenhagen when he was only 11, he went on to win all four of the institution's medals. In 1796, he received a stipend for a relatively short study tour to Italy but apart from a short visit to Denmark in 1819, he stayed in Rome for over 40 years. After a model for his statue of Jason and the Golden Fleece received recognition from the leading Italian sculptor of the day, Antonio Canova, his success was ensured. Thorvaldsen gradually employed numerous assistants, extending his work to be executed in five studios in Rome, as he received orders from all over Europe."About Bertel Thorvaldsen" , Thorvaldsen Museum. Retrieved 9 January 2012.
Among his most important works are the colossal series of statues of Christ and the twelve Apostles for the rebuilding of Vor Frue Kirke in Copenhagen. Motifs for his works (reliefs, statues, and busts) were drawn mostly from Greek mythology with statues of Venus, Mercury, Ganymede, Hebe, and Cupid and Psyche, but he also created portraits of important personalities, as in his tomb monument for Pope Pius VII in St Peter's Basilica, Rome or the equestrian statue of Jozef Poniatowski in Warsaw. His works can be seen in many European countries, but there is a very large collection at the Thorvaldsen Museum in Copenhagen. During his stay in Rome, Thorvaldsen played an important role in encouraging young Danish artists spending time in the city."Bertel Thorvaldsen", Den Store Danske. Retrieved 9 January 2012.
Thorvaldsen's students
Three of those who had studied under Thorvaldsen in Rome made significant contributions to the development of Danish sculpture, influenced on the one hand by their master's interest in classicism and on the other by a growing interest in nationalism in their mother country.
Hermann Ernst Freund (1786–1840), who had been Thorvaldsen's closest assistant in Rome, was an early proponent of Danish romantic nationalism, creating 12 statuettes of figures from Nordic mythology, notably Loki (1822), Odin (bronze 1827) and Thor (1829), all inspired by ancient Greek and Roman mythological works."H.E. Freund", Den Store Danske. Retrieved 11 January 2012. His masterpiece, the Ragnarok Frieze, which occupied him for many years, was completed by Bissen after his death but was later destroyed by the Christianborg fire. There is a plaster cast of part of the frieze in .Jens Peter Munk, "Hermann Ernst Freund". Kunstindeks Danmark & Weilbachs kunstnerleksikon. Retrieved 22 January 2012.
Herman Wilhelm Bissen (1798–1868), initially a Neoclassicist, is remembered for the Realism of his monumental works celebrating Danish military victories while reflecting the nationalistic trend of the times. Bissen's Landsoldaten or Danish Soldier (1858) in Fredericia and Isted Lion (1862) in Flensburg were both erected to commemorate the Danish victory over Schleswig-Holstein at the Battle of Isted (Idstedt) on 25 July 1850. The Danish Soldier is notable in that it does not depict a high-ranking officer but rather a simple footsoldier with whom Danish citizens could readily identify."Dansk skulptur i nationalistisk perspektiv" , Skulpturstudier: dansk skulptur 1800-1940. Retrieved 11 January 2012. Bissen was inspired to design his massive bronze Isted Lion after studying the Piraeus Lion in Venice where it had been displayed as a prize of war since 1687. After a colourful history of moves to Berlin and Copenhagen, the Isted Lion was finally returned to its original setting in Flensburg in 2011.Inge Adriansen, "Istedløven genopstår som vennegave", Videnskab dk. Retrieved 11 January 2012.
Jens Adolf Jerichau (1816–1883) initially followed closely in Thorvaldsen's footsteps with his Neoclassical work Hercules and Hebe (1846) and his colossal figure of Christ from 1849. He then went on to develop his own, more dynamic style which can be seen in The Panther Hunter (1846), a work which has been seen as a prime example of the relationship between classical art and modern trends in naturalism."Antikken længe leve: 1800-tallet" , Skulpturstudier: dansk skulptur 1800-1940. Retrieved 11 January 2012.
Late 19th century
Some sculptors continued to create statues based on classical figures but now with a more Naturalistic look. A good example is Aksel Hansen's Echo (1888) in the Rosenborg Castle Gardens. The Greek nymph's lively contemporary look of a woman in motion contrasts with the more rigid harmony of Classicism."Antikken længe leve: Omkring år 1900" , Skulpturstudier: dansk skulptur 1800-1940. Retrieved 14 January 2012. Anders Bundgaard (1864–1937) is remembered for his huge statue near Langelinie of the Norse goddess Gefion (1900) driving her oxen."Gefion Fountain - Copenhagen", Visit Denmark. Retrieved 23 January 2012.
But as the turn of the century approached, new trends developed, starting with Historicism and the need to pay tribute to Danes who had become famous. August Saabye (1823–1916), one of Bissen's students at the Academy, first maintained the Neoclassical tradition but was later inspired by French Naturalism."August Saabye", Den Store Danske. Retrieved 12 January 2011. His finest work is certainly the bronze statue of Hans Christian Andersen in the Rosenborg Gardens which he completed in 1880. By depicting Andersen in a sitting position addressing his audience, Saabye was able to capture the author's inner qualities which meant so much to the Danish public.Flemming Friborg, "Fra Myte til Psyke" in "Dansk Skulptur i 125 år", Copenhagen, Gyldendal, 1996, p. 32. . Saabye is also known for his statue of composer Johan Peter Emilius Hartmann. Bissen's son, Vilhelm Bissen, also sculpted a number of famous figures including N. F. S. Grundtvig at the Marble Church, Christian IV at Nyboder and Absalon on Højbro Plads in Copenhagen."Vilhelm Bissen", Den Store Danske. Retrieved 12 January 2012. Reference can also be made to sculptor Carl Hartmann.