Beschreibung:

L. A. Ring (b. Ring 1854, d. Roskilde 1933) “Vinterdag med stille tøvejr. Husene spejler sig i gadekæret”. A winter's day with the snow quietly melting. The houses are reflected in the village pond, Baldersbrønde. Signed and dated L. A. Ring 1908. Oil on canvas. 56×45 cm. H. Chr. Christensen, A Catalogue Raisonné of the Works of L. A. Ring, 1910 no. 606. Exhibited: Kunstforeningen , “L. A. Ring”, 1914 no. 68. Charlottenborg, “Mindeudstillingen for L. A. Ring”, 1933 no. 168. Statens Museum for Kunst, Randers Kunstmuseum, “L. A. Ring. På kanten af verden”, 2007 no. 68. Literature: Peter Nørgaard Larsen, 'Ring's landscapes' in “L. A. Ring. På kanten af verden”, mentioned on p. 117 and reproduced on p. 118. Finn Terman Frederiksen, 'Rings veje' in “L. A. Ring. På kanten af verden”, 2007, mentioned and reproduced on p. 154. Peter Nørgaard Larsen, ''Catalogue texts' in “L. A. Ring. På kanten af verden”, 2007, mentioned and reproduced on p. 243. Henrik Wivel, “Det glasklare hjerte”, 2020, mentioned on p. 206. Provenance: The collection of Consul General Johan Hansen (1910), no. 601 (1917). Sold by Johan Hansen to Agathe and Knud Neye through Winkel & Magnussen in 1926. The collection of Agathe and Knud Neye (1933). Their auction Bruun Rasmussen 231, 1969 no. 28, reproduced on p. 59. Museumsbygningen, København, March 1998 no. 26, reproduced on p. 15. Here acquired by the present owner, a distinguished private collector. L. A. Ring lived with his family in Baldersbrønde from 1902 to 1914. During this period, he painted several landscapes from the area, often employing the same motifs – though with minor variations. As an example, the motif in the present painting is repeated in three versions which are painted in different seasons and in different formats. As well as the winter scene, Ring has depicted the village in the clear light of spring. Peter Nørgaard Larsen explains (in Danish): “What the three paintings have in common, is the accentuation of the s-shaped road and the delicate depiction of the reflections in the village pond. Furthermore, Ring has clearly been captivated by the clustered buildings in the background, especially in the winter scene, where the farm and its reflection creates an almost abstract geometrical shape. In contrast with the versions depicting springtime, which are painted in the landscape format with low skies, Ring has utilized the portrait format to create a large monochrome surface as a constructive juxtaposition to the architectural reflection”. (Nørgaard Larsen, På kanten af verden, p. 243).
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