Agnes Slott -Møller, born Rambusch (10 June , 1862, in Nyboder - June 11, 1937 in Løgismose ) was the daughter of the later commander in the Navy Jacob Heinrich Victor Rambusch (1825-1886) and his wife Constantine Juliane born Hansen ( 1834-1891 ). She was a Danish painter and sculptor who was influenced by Italian art before the Renaissance, English Pre-raphaelites and the Arts and Crafts movement in his image and style.
Agnes Slott- Møller grew up in a home where she soon became aligned with the interest of Denmark and Danish culture that came to dominate her life and art.
She read books on Danish history, and Adam Fabricius : "Illustrated History of Denmark", which is characterized by Lorenz Frølich drawings, became important for her, as she followed the road marked by the said Frølich and Niels Skovgaard, or even Christian Zahrtmann.
Agnes Slott- Møller received hes first training as an artist in the years 1878 - 1885 ( the same year she also began his lifelong friendship with Marie Triepcke (later Marie Kroyer ) ) , when she attended the Drawing and Art Industrial School for Women . From 1885-86, and for the following three years, she was taught by P. S. Kroyer and then by Slott George Harold Miller (a few years afterwards he changed his name to Harald Slott- Møller) whom she married the 22 may 1888. When he changed his name, November 19 of that same year, to Georg Harald Slott -Møller, she took over also the new name, as she was known.
With him she went to Italy (Verona , Vicenza, Padua, Venice, Florence, Rome ) and thus differed both from the fashion that otherwise commanded that all artists had to go to Paris, where modernism flourished .
They traveled home via Paris, and they maintained a permanent relation with P.S. Krøyer , Michael Ancher , Emil Hannover, Laurits Tuxen , Theodor Philipsen and Marie Triepcke (Marie Kroyer after her marriage to P. S. Kroyer ) .
It was during the 1890s that Agnes Slott- Møller became convinced that art should have a message. It was her opinion to express patriotism and historical awareness, particularly inspired by the Danish folk songs. In addition, she collected motifs from Danish history and medieval art, and she was stylistically inspired by the English pre-raphaelites and Italian paintings from the 13th to the 15th century.
Among Agnes and Harald Slott- Møller's friends were personalities like Georg Brandes and Johan Rohde, a friendship meaning that the couple supported Rhode's creation of the Free Exhibition in 1891.
In 1893 she gave birth to her daughter Felicitas Marie , but she continued her artistic work, and it also happened when the second daughter, Benedette, who was born in 1900, died in 1901.
In 1897, and through the help of Julie Norregaard, who introduced the couple to Walter Crane, William Sharp, etc., Agnes exhibited her painting "Agnette" (4:22) at the London Royal Academy.
In 1904 she returned to the Spring Spring Exhibition after some controversy about the Free Exhibition , and from the time she exhibited his paintings there.
Agnes Slott-Møller was a very independent artist who maintained his youth symbolist approach work, even when it was no longer fashionable. Her strong national interests meant that she was a board member of Sønderjysk (South Jutlandic) Society in 1915. As a matter of fact, her painting "Fædrelandets vår" ("The Spring of the Fatherland") (4:27) was presented to Christian X and Queen Alexandrine at the reunification festivities in North Schleswig in 1920, and the painting has since hung in the King's study.
Over the years she wrote a number of articles and talks about Danish - national conditions and medieval historical topics . Many of them were published together under the title of "Folkevise billeder".
Agnes Slott- Møller never got the full recognition for his art , but in 1932 she got the medal Ingenio et Arti .
Agnes Slott- Møller was a strong person who was able to maintain and fight for his opinions and his views on art task. She died June 11, 1937 at the manor Løgismose and is buried at Holmen's Cemetery in Copenhagen .
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The Pre-Raphaelite flow was noticeable in Denmark and became iconic, among other visual artists such as Agnes and Harald Slott-Møller, Gudmund Hentze and Poul S. Christiansen and several of the writers that came to characterize the 1890s.
Medieval and pre-Raphaelite ballad motives were developed by several of the artists and writers, especially the ballads, where the woman is left alone with her object-longing that can not find rest and thus becomes transcendent.
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