A Baby, A Maid, and a Gentleman? (1884)

Henningsen, Erik Ludvig (1855 - 1930)

A Baby, A Maid, and a Gentleman?

Oil on Canvas: 20" x 26"
Catalog# HENE-001

Henningsen, Erik: (1855-1930)

Erik Henningsen was educated at the Copenhagen Royal Academy of Art. He Traveled and studied in Germany, Italy, France and Holland, and received numerous awards and medals throughout Europe. He later became a member of the Royal Academy of Art. Exhibited in Charlottenborg, Copenhagen, Vienna, Paris, Berlin, Munich, Lubeck, and many more.

Born August 29 1855, died November 28 1930. Son of Frants Christian Ludvig Henningsen and Hilda Christine Charlotte Schou. Married November 5 1886 to Mary Henriette De Dompierre de Jonquieres.

Erik Henningsen is always mentioned in the same breath as his older brother, painter Frants Henningsen. Both with their traditionally classic approach to realism, anecdotal undertones and bold use of dark colors, they were the most loved and celebrated illustrators of life and times; often depicting the hardships and trials of that day and age. One of Erik Henningsen’s large influences in his style and techniques, were Poets Schandorph and Drachmann, who are often accredited with the direction and approach Henningsen took in many of his works.

Henningsen is particularly famous for his “Thirsty Man” painting commissioned and used by one of the largest breweries in Europe, Tuborg. Tuborg Brewery has had their advertisement posters of the “Thirsty Man” dotted around Europe now for many decades. It is still the most recognizable image for Tuborg beer.

Henningsen was often commissioned to do historical and genre paintings, such as the great depression, or the socially distinct lines between nobility and the working class. His paintings today adorn the halls and rooms of numerous castles, manors, and museums around Europe. His works are also published in many art books, and are frequently the focus of study for many art students.

Loved and admired for his talent to realistically portray life and tell a story at the same time, Henningsen took great pride to never include any personal feelings or philosophy, but to stay neutral to the subject matter for whichever painting he was doing.