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Painted as a national personification rather than a portrait of a specific individual, “Moder Danmark” turns “country” into a determined young woman for an embodiment of collective identity, protection, and endurance. A flag functions as both cloak and standard as it shelters her body while also announcing what she carries forward. A downward-pointing sword is less like aggression than readiness such as power held in reserve and a guardian’s vigilance rather than a conqueror’s display.

She stands in sharp profile to the right, as if scanning a distant horizon. Her skin is light with her cheeks are flushed by wind. Long, wavy reddish-blond hair streams back from beneath a dark, close-fitting cap, reinforcing a sense of movement and resolve. She wears a rust-red bodice over a darker, vertically banded garment and a deep black skirt. A patterned white cuff peeks from one sleeve. Around her neck sits a thick, gold-toned collar. Behind her shoulder she holds a tall flagpole with a large red Dannebrog (national flag of Denmark) billowing diagonally across the sky with its fabric folding and catching light in broad, painterly planes. In her lowered hand, she grips a sword angled down and forward, the metal blade dark against the earth tones below. The background opens into a moody, clouded sky and a wide landscape of fields and distant water, painted in muted browns and grays that make the red flag and bodice feel even more urgent. Her upright, forward-leaning, and braced posture conveys purposeful motion rather than passive posing.

Elisabeth Jerichau-Baumann, a Warsaw-born artist working in Denmark and moving within elite cultural circles, gives this allegory an unusually human presence with wind-touched hair, a working grip, and a gaze fixed beyond the frame. In the mid-19th century, as Danish Romantic nationalism intensified and visual symbols of belonging grew more charged, her image helped solidify “Mother Denmark” as a patriotic, feminine, and steadfast icon.

Painted as a national personification rather than a portrait of a specific individual, “Moder Danmark” turns “country” into a determined young woman for an embodiment of collective identity, protection, and endurance. A flag functions as both cloak and standard as it shelters her body while also announcing what she carries forward. A downward-pointing sword is less like aggression than readiness such as power held in reserve and a guardian’s vigilance rather than a conqueror’s display. She stands in sharp profile to the right, as if scanning a distant horizon. Her skin is light with her cheeks are flushed by wind. Long, wavy reddish-blond hair streams back from beneath a dark, close-fitting cap, reinforcing a sense of movement and resolve. She wears a rust-red bodice over a darker, vertically banded garment and a deep black skirt. A patterned white cuff peeks from one sleeve. Around her neck sits a thick, gold-toned collar. Behind her shoulder she holds a tall flagpole with a large red Dannebrog (national flag of Denmark) billowing diagonally across the sky with its fabric folding and catching light in broad, painterly planes. In her lowered hand, she grips a sword angled down and forward, the metal blade dark against the earth tones below. The background opens into a moody, clouded sky and a wide landscape of fields and distant water, painted in muted browns and grays that make the red flag and bodice feel even more urgent. Her upright, forward-leaning, and braced posture conveys purposeful motion rather than passive posing. Elisabeth Jerichau-Baumann, a Warsaw-born artist working in Denmark and moving within elite cultural circles, gives this allegory an unusually human presence with wind-touched hair, a working grip, and a gaze fixed beyond the frame. In the mid-19th century, as Danish Romantic nationalism intensified and visual symbols of belonging grew more charged, her image helped solidify “Mother Denmark” as a patriotic, feminine, and steadfast icon.

“Moder Danmark (Mother Denmark)” by Elisabeth Jerichau-Baumann (Polish-Danish) - Oil on canvas / 1851 - Ny Carlsberg Glyptotek (Copenhagen, Denmark) #WomenInArt #WomensArt #WomanArtist #WomenArtists #ElisabethJerichauBaumann #JerichauBaumann #artText #art #arte #Glyptoteket #NyCarlsbergGlyptotek

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Portrait of two young Italian women in colourful carnival costumes
ca. 1845-81
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Portrait of a Girl
19th century
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Portrait of The artist's daughter Caroline Elisabeth Nanny Jerichau (1853-1897)
1871
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Portrait of The artist's daughter Sophie Jerichau (1859-1944)
1878
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Portrait of The artist's daughter Sophie Jerichau (1859-1944)
ca. 1870s
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Portrait of a Young woman
19th Century
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#ElisabethJerichauBaumann (1819-1881), who was #BornOnThisDay
Portrait of Catherine Ullmann, née Angèle Cristich (1846-1920)
1869
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#ElisabethJerichauBaumann (1819-1881), who was #BornOnThisDay
Portrait of Emma Kraft
ca. 1859
Statens Museum for Kunst, Copenhagen
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#ElisabethJerichauBaumann (1819-1881), who was #BornOnThisDay
Portrait of a Roman Woman
ca. 1840-9
Statens Museum for Kunst, Copenhagen
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#ElisabethJerichauBaumann (1819-1881), who was #BornOnThisDay
Portrait of Thorald Læssøe (1816-1878)
1868
Statens Museum for Kunst, Copenhagen
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Portrait of Holger Aagaard Hammerich
1849
Statens Museum for Kunst, Copenhagen
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#ElisabethJerichauBaumann (1819-1881), who was #BornOnThisDay
Portrait of The Sculptor Jens Adolf Jerichau, the Artist's Husband (1816-1883)
1846
Statens Museum for Kunst, Copenhagen
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