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motifs as possible and to try to represent these by
primary
views. Later represen
tations of the same motif has only been included if they show alterations or in
some other way add something new to the picture.
The exhibition only includes water colours, gouaches, pen-and-ink drawings,
etchings, and engravings. These views are often placed in portfolios and are con
sequently hard to get at - contrary to oil paintings that are usually hung up in the
museums or directly mentioned in dictionaries of artists, etc. We have here also
disregarded views incorporated into tapestries, ceramics, medals, etc. In this con
nection we understand Copenhagen as the part of the city within the ramparts,
and therefore none of the suburbs have been included. In the text of the catalogue
the title of each sheet is followed by a date - not necessarily identical with that of
the actual execution, but often with the event depicted.
When the 150 views in this exhibition are regarded together, it soon becomes
evident that certain motifs have been more popular than others. It cannot be
denied that the Royal residence is at the centre - and this even after the exclusion
of a lot of rather poor views. Besides the Royal residence we see the official build
ings and churches, the marketplaces and squares, the harbour, and the most im
pressive streets. Smaller streets, passages, and alleys are not represented at all -
they did not claim the interest of the artists - not to speak of that of the part of
the public which had the purchasing power. There are certain parts of town - for
instance the neighbourhood around Adelgade-Borgergade - that can be looked
for in vain. The artists have to a large extent been selective, but with the restric
tions dictated by the material it is to be hoped that the present selection still will
enable the public to get a reasonable impression of the development of Copen
hagen from 1587 to 1807.
John Erichsen