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Chicago Tribune, Chicago, IL, “Fine art at the fair”, Monday, July 24, 1893, page 5, not illustrated.

July 24, 1893

ECA record control number: 24504

Record level: Reference

Record type: Newspaper

Article type: Artist as lead subject

Key title: Fine art at the fair

Sub title: Famous painters and the pictures that have earned fame : …Emil Carlsen and his canvases in the California building…

Language: English

Author: staff

Publisher: Chicago Tribune
Publish location: Chicago, IL

Date of publication: Monday, July 24, 1893

Page: 5, not illustrated.

Source: Newspapers.com paid subscription

Description: 1 newspaper clipping

Subjects: Carlsen, Emil, 1848-1932.

Number of copies: 1

Digitized: yes


Chicago Tribune, Chicago, IL, "Fine art at the fair", Monday, July 24, 1893, page 5, not illustrated.

Chicago Tribune, Chicago, IL, “Fine art at the fair”, Monday, July 24, 1893, page 5, not illustrated.


“Fine art at the fair

Famous painters and the pictures that have earned fame.

…Emil Carlsen and his canvases in the California building…

‘Emil Carlsen, New York, ’89,’ is signed to a pretentious but solid-looking canvas in the art gallery of the California building. Mr. Carlsen is claimed as a California artist from the fact that he painted there several years, though probably fewer than he lived in either Boston or New York. But he is a citizen of the world—that is, of almost every part of it but Denmark. His heart turns longingly to Copenhagen, wherever he may reside, whether in New York or Boston, Chicago or San Francisco; and thereby hangs a tale. His father occupies a high position in Danish political as well as social life, being an officier in the army. Fifteen or sixteen years ago, when the boy was not yet much beyond his legal age, he received information unofficially that he was expected to enter the army, and, after a few years of service in a private capacity, be raised to an officier’s rank, his future position to be governed by the adaptability shown. But the young man had other views for himself. ‘The pomp and circumstance of giorious war’ had no attractions for him; though in the military school which he had attended for a time he had had his own sanguinary combats with other fiery students, and he had shown no small amount of skill as a swordsman on a number of these occasions. So, when he found that he could not evade doing military duty any longer, he stole off quietly one day, got over the frontier by rare good luck, and a few hours later was in Paris. He had studied art a good deal in Copenhagen, and gave himself loose rein among the masters in the French capital, with the result that he gained a fair understanding. Through his father’s influence, and by means of personal friendship felt for him by several government officials and police officiers in his immediate neighborhood, he contrives once in a while to steal home for a few days occasionally after advising his official friends that he is intending to do so, and getting a tacit promise that they will warn him when it is necessary for him to get over the frontier. Sometimes his warnings come at very unpropitious times, and his scurryings to get on to foreign soil are laughable as well as dramatic. He was at a banquet table in Copenhagen one evening some years ago when a note was slipped into his hand. It read: ‘An officier has been sent for you. He will be behind your chair in five minutes. You must depart at once.’ He was hungary—he had just speared and put into his mouth the first oyster of the first course, and had taken one little sip of his preliminary glass of sour wine; but he knew what the warning meant. Two more oysters went down at ince, washed by reckless swig of wine, and he was off. A friend was waiting outside with a sleigh into which he was bundled unceremoniously and it bore him away. In telling the story of this escape afterward he says that the longer he rode the hungrier he got and the more he thought of his friends enjoying themselves at the banquet the madder he got. He thinks that incident alone, if he were politically inclined, would make him a revolutionist. The painting whose contemplation caused this story to be resurrected from the mind is a superb picture of still life—brass, copper, and stone utensils of kitchen furniture being painted broadly and effectively against a dark gray background.”




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Digital document provenance:
Original compiled and researched document by the Emil Carlsen Archives, 266 West 21st Street, Suite 4E, New York, NY 10011.

Document license:
Creative Commons Corporation  shareAlike (sa) license.  Some of the information contained within this document may hold further publication restrictions depending on final use.  It is the responsibility of the researcher to determine.

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The author of this artwork died more than 70 years ago. According to U.S. Copyright Law, copyright expires 70 years after the author’s death. In other countries, legislation may differ.

Record birth date:
November 25, 2017

Last updated: November 25, 2017 at 15:06 pm


©2013-2017 Emil Carlsen Archives

Digital-born Publication Title: Emil Carlsen Archives
Publication Subtitle: World's Largest Visual Reference Dedicated to the Preservation of the Work of Danish-American Impressionist/Realist Painter, Emil Carlsen [1848-1932]
Library of Congress Subject Authority Heading: Carlsen, Emil, 1853-1932
Emil Carlsen LC control no.: n 85141186
Publication Type: Online Integrating Resource
Language: English
Creator/Author: Emil Carlsen Archives
Published by: Emil Carlsen Archives, 266 West 21st Street, New York, NY 10011
Edition: First
Frequency of Updates: Daily
Publish Date: 2013 –
End Date: none, continuing
Hosting: Single server (no mirrors)

MARC Organization Code: 41959
MARC Org Code: NyNyECA
MARC Org Code: normalized: nynyeca
Publisher ISSN : forthcoming