Painting

Information about Madeleine Fleury has been difficult to find in art literature. The Museum of Bohusläns has therefore gathered information circulating on the Internet. Information taken in March 2008 from page on the Internet about renting of castles in France: Chateau des Cristals, 3 km from Fontenay le-Comte General & History, Sleeps 18 (14 + 4) In the mid-nineteenth century the chateau was In by Dr Chevallereau, a foremost Parisian eye nin. The chateau. Among his visitors was the Impressionist painter Madelaine Fleury studied under Claude Monet. Her love of a local ruin, “Chateau de La Citardierre” is the paintings use the salon walls. Image screen - see picture from the home page where you see part of the wall painting. The background to Drotting Margarethe of Denmark’s art interest from the Internet in March 2008: The fact that Queen Margrethe, alongside her host as a reigning monarch, has chosen to be concerned with art is hardly a coincidence. What may have spurred the Queen to choose the artistic form of expression is her artist’s relatives at the time of the meeting. Artistic aspects include: The Grandma Crown Princess Margareta of Sweden (1882 - 1920) and the Grandfather’s Uncle the Swedish Prince Eugen (1865 - 1947), eminent symbolic landscape painter. Together, they constitute the power of the example, which has confirmed to the Queen that an existence with royal duties was compatible with active artistic activity. The Crown Princess Margareta of Sweden was the daughter of the Duke of Connaught and the granddaughter of Queen Victoria, who, incidentally, had the reputation of painting fine watercolours. As a youngster, Crown Princess Margareta had been taught impressionistic technique by the French painter Madeleine Fleury, pupil of the great impressionist Claude Monet. The Crown Princess left only 38 years old at the time of her early death, a few but intending impressionistic portrayals of the Swedish nature and a series of more meticulous symbolistic nature scenes inspired by her older relative Prince Eugen’s way of painting. To practice an artistic profession as a royal person is not and has not been uncomplicated. In the time of the Crown Princess Margareta, and even later, it was suggested that it was almost about a company talent. However, the paintings themselves bear witness to a good grasp of the art’s means of expression, and the fact that the Crown Princess had constructed a mobile tent as an open-air studio, where she could sit and paint during the winter months, suggests a rather serious attitude towards the painting. Prince Eugen was also allowed to fight to be recognized, and that over time it succeeded was rather despite than thanks to his royal birth. After studies in Stockholm, he trained in Paris in the late 1880s at Léon Bonnat, whose studio was sought by Nordic artists. After that, the Prince painted under the guidance of the great French symbolist Pierre Puvis de Chavannes. Prince Eugen hung himself to nature worship through his lyrical and vocal landscapes. It is landscapes with a wealth and spaciousness that the Nordic landscape painting would be significantly poorer without. A more direct influence on the Queen’s art interest in young years had the Grandfather, Gustav VI Adolf of Sweden. In addition to his interest in archaeology, which the Queen later shared, the King was an art collector and an art connoisseur, and according to what the Queen himself told, he was the one who stimulated and encouraged her creativity. Queen Margrethe’s maternal uncle Sigvard Bernadotte, who has trained for silversmith at Georg Jensen in Copenhagen, is today among the classics in Scandinavian design. Two worlds in constant dialogue Although Queen Margrethe has artistic influence, it is not easy to practice an artistic profession as a monarch. But it is first and foremost in painting that the more vital and existential expressions emerge. To express oneself artistically is to get themselves and it takes courage. Moreover, expressing oneself artistically as a royal person requires that a series of conventional barriers created by society be created. To express oneself artistically is a way of life settlement, and there is hardly any doubt that a royal life with increasing public exposure creates a need for a haven where one can express oneself on one’s own terms, deepen and upload. For Queen Margrethe, art seems to be an activity of the closest existential nature and importance. For Queen Margrethe it is official and the artistic two sides of the same thing - two worlds in constant dialogue. Image screen: See picture of painting from auction at Sotheby, New York 1998, “Feeding time.” Literature: “Crown Princess Margareta af Sverige,” Maleries in the eje of the Danish Congefamilies. The Kunstforeningen 1984.