18/08/14 Aggiornato il:

Harald Slott Moller ~ Symbolist painter




Born in Copenhagen, Danish painter Slott Georg Harald Møller (17 August 1864 - 20 October 1937) was the son of merchant Carl Emil Møller and Anna Maria née Møller. After completing the preparatory course at the Royal Danish Academy of Fine Arts (1883), he painted for three years under Peder Severin Krøyer.
Slott-Møller first exhibited in 1886 at the Charlottenborg Spring Exhibition and attracted attention in 1888 with his large lively work Fattigfolk i Fattiglægens Venteværelse  | Poor People in the Poor Doctor's Waiting Room. He exhibited at Kunsthal Charlottenborg and Den Frie Udstilling with individual portraits, such as that of Georg Brandes (Georg Brandes at the University in Copenhagen, 1889) and landscapes, which often featured a prominent spot.










A change in style occurred in the early 1890s as can be seen in his portrait of the sculptor Anne Marie Brodersen, in which her fair hair is covered with gold, as are the cornfields in one of his landscapes. Then followed a series of painting which ensured him a place as one of the principal participants in 1890 painting: Tre kvinder | Three Women | Tre donne and his strikingly Symbolic work Primavera, 1901. Slott-Møller is remembered for his portraits of well-known figures from Southern Jutland and South Schleswig, often characterized with customized backgrounds such as a landscape or appropriate buildings.
He also worked at the faience factory Aluminia 1902-1906 designing a number of notable items together with Christian Joachim. As a result, Slott-Møller gained wide recognition as one of the leading craftsmen of the turn of the century. Although he continued to paint, opinions about his work became ever less supportive, partly on artistic grounds but also as a result of his attitude towards the public.




In 1919, he became a Knight of the Dannebrog. He was a founding member of Den Frie Udstilling | The Free Exhibition. He is buried at Holmens Cemetery.
Slott-Møller is portrayed in a double portrait: Ude eller Kammerater | Out or Comrades, 1886 in which he and his wife have painted each other. Another self-portrait based on a study drawing was Trækfuglene | Migratory Birds, 1909. There is also a self-portrait in Florence's Uffizi Gallery (1924).









Poor People in the Poor Doctor's Waiting Room
Poor People in the Poor Doctor's Waiting Room [detail]
Poor People in the Poor Doctor's Waiting Room
Poor People in the Poor Doctor's Waiting Room
Georg Brandes at the University in Copenhagen, 1889
Georg Brandes at the University in Copenhagen, 1889

Adam and Eve
Adam and Eve




Foraaret / Spring,  1896
Foraaret / Spring, 1896
Foraaret / Spring,  1896
Foraaret / Spring, 1896
Foraaret / Spring, 1896
Foraaret / Spring, 1896
Foraaret / Spring, 1896
Trækfuglene | Migratory Birds, 1909
Trækfuglene | Migratory Birds, 1909

Trækfuglene | Migratory Birds, 1909
Tre kvinder - Three Women
Slott Georg Harald Møller (17 agosto 1864 - 20 Ottobre 1937) è stato un pittore e ceramista Danese. Insieme a sua moglie, la pittrice Agnes Slott-Møller, era un membro fondatore di Den Frie Udstilling (L'Esposizione gratuita).
Nato a Copenaghen, Slott-Møller era il figlio del mercante Carl Emil Møller ed Anna Maria, nata Møller. Dopo aver completato il corso di preparazione presso l'Accademia Reale Danese di Belle Arti (1883), dipinse per tre anni sotto Peder Severin Krøyer
La prima mostra di Slott-Møller, e stata nel 1886 presso la Mostra di Primavera in Charlottenborg, ma attirò l'attenzione nel 1888 con la sua grande tela Fattigfolk i Fattiglægens Venteværelse | Poor People in the Poor Doctor's Waiting Room
Espone alla Kunsthal Charlottenborg e Den Frie Udstilling con i singoli ritratti, come quello di Georg Brandes (Georg Brandes presso l'Università di Copenaghen, 1889),  ed i paesaggi. 
Un cambiamento di stile si verificò nei primi anni 1890 come si può vedere nel suo ritratto dello scultore Anne Marie Brodersen, in cui il suoi capelli biondi sono coperti d'oro, così come i campi di grano in uno dei suoi paesaggi.
Tre kvinder - Three Women
Poi seguì una serie di pittura che gli garantì un posto come uno dei principali esponenti nel 1890 per la la pittura:
-Tre kvinder | Three Women | Tre donne,
-Foraaret | Spring |Primavera 1896,
e la sua - Primavera 1901, opera straordinariamente Simbolica.
Slott-Møller è ricordato per i suoi ritratti di personaggi noti provenienti Jutland meridionale e del Sud Schleswig, spesso caratterizzato con sfondi personalizzati, come un paesaggio o edifici adeguati.
Come risultato, Slott-Møller ha guadagnato ampio riconoscimento come uno dei principali artefici della fine del secolo. Anche se continuò a dipingere, opinioni circa il suo lavoro è diventato sempre meno favorevoli, in parte per ragioni artistici, ma anche a causa del suo atteggiamento nei confronti del pubblico.
Nel 1919, è diventato un Cavaliere del Dannebrog . Era un membro fondatore di Den Frie Udstilling (L'Esposizione gratuita). È sepolto al cimitero di Holmens.
Slott-Møller è ritratto in un doppio ritratto: Ude Eller Kammerater (Out o Compagni, 1886) in cui lui e sua moglie hanno dipinto a vicenda. Un altro autoritratto sulla base di un disegno di studio era Trækfuglene (Uccelli migratori, 1909). Vi è anche un autoritratto a Firenze - Galleria degli Uffizi, 1924.
Primavera, 1901

Primavera, 1901
It is spring in Italy. The sun is setting over the mountains near Fiesole north of Florence. A young couple are sitting on a bench at a table, waiting for their evening meal. The woman offers the man a drink from her wineglass and he looks adoringly at her. But the picture is about more than the love we immediately see. There is also a reference to the ancient myth of the Fall of Man, the story of Adam and Eve, in which the woman tempts the man and thereby becomes the cause of human suffering. Harald Slott-Møller’s paintings are Symbolist in style and their sensitively ornamented surface hides several layers of meaning.
Primavera, 1901
Primavera, 1901