Hagar og Ismael (1831) is het schilderij waar Benny Bendixen het meest om bekendstaat; het maakt deel uit van de collectie van het Statens Museum for Kunst, Kopenhagen. Onze catalogus bevat 1 werken van Benny Bendixen. Hier zijn de 1 bekendste, inclusief het jaar, het museum en het verhaal achter elk canvas.
Gerangschikt op basis van onze populariteitsscore, die de zoekopdrachten, bezoeken en bestellingen voor elk werk combineert. Bijgewerkt in november 2026. Elk schilderij op deze pagina kan worden besteld als een handgeschilderde oliereductie op linnen canvas, of als een fine art print, uitgevoerd in de door u gekozen afmeting.
Het museum met de meeste schilderijen op deze pagina.
| Museum | Stad | Werken van Benny Bendixen | Schilderijen uit deze lijst |
|---|---|---|---|
| Kopenhagen | 1 | Hagar og Ismael |
De gedateerde doeken van Benny Bendixen op deze pagina stammen allemaal uit 1831: hier zijn ze, in volgorde van bekendheid.
Hagar og Ismael (1831)
Benny Bendixen, geboren in 1810, was 21 jaar oud: Hagar og Ismael dateert uit 1831.
1 werken van Benny Bendixen staan in onze catalogus.
Voornamelijk in Statens Museum for Kunst (Kopenhagen); de bovenstaande lijst vermeldt elk museum en de bijbehorende doeken.
Ja. Elk schilderij op deze pagina kan via de eigen pagina worden besteld als een handgeschilderd olieverfreproductie, of als een fine art print, in de door u gekozen afmeting.
Benny Bendixen lived a life defined by the quiet pursuit of recognition within the rigorous structures of the nineteenth-century art world. Born in 1810, he emerged from Copenhagen with an ambition that would lead him through several seasons of academic trial. His early years were marked by a determined attempt to secure the Art Academy's gold medal, a feat he pursued with singular focus on three separate occasions. Despite his persistence, the strict eye of Professor Lund remained unmoved by his efforts, and the desired accolades remained out of reach.
This lack of academic approval may have influenced his eventual departure from Denmark. While the reasons for his movement remain a matter of historical speculation, it is possible that personal ties drew him toward Mecklenburg, closer to the birthplace of his wife. Such shifts in geography often accompanied the lives of many artists of his era, moving between the cultural centers of Copenhagen, Hamburg, and Mecklenburg.
When the formal gates of the Academy did not open, Bendixen turned his talents toward the practical demands of the portraitist. In Hamburg, he established himself through a diverse range of technical disciplines. He was not limited to the brush; his professional life was shaped by the evolving technologies of his time.
His repertoire included several distinct modes of image-making:
This versatility allowed him to sustain a livelihood in Hamburg, far from the academic scrutiny of his youth. He functioned as a working artist, meeting the needs of a society that required accurate and dignified representations of its members.
The trajectory of Bendixen's career was one of adaptation rather than institutional triumph. He moved through the landscapes of Northern Europe, leaving behind works that reflect the technical skill of a trained hand. His death in 1877 marked the end of a life spent navigating the tension between personal ambition and professional reality. Though he did not secure the gold medal he sought, his ability to master painting, lithography, and photography remains a clear record of his capability.