(Continued)
Day 8 – Saturday, June 8
We don’t have a set plan for this last day with Caroline and Cederic.
However, this morning, the young ones decide to join us at the small Rosenborg Castle.
Rosenborg Slot (Castle of the Rose):
From 1606 to 1624, Christian IV had this summer residence built on the outskirts of the city, where he felt cramped, based on his own sketches. Through expansions, this Dutch Renaissance-style castle, which he loved, became his favorite residence, named Rosenborg in honor of his second wife, Kirsten Munk, whose coat of arms featured three roses. He died here in 1648.
Starting in 1710, Rosenborg was abandoned, as Frederik IV found it too small. As a result, the interiors, rarely inhabited, were well preserved and remained practically unchanged. Since 1658, the castle has housed the crown treasury (jewels and regalia) and became a museum in 1833.
You won’t see any photos of the castle because, since we’re limited in the number of images per post, I’d rather save them for later...
Unfortunately, I didn’t book a visit, and there are no available time slots before the afternoon.
Still, let’s go say hello to Queen Caroline, who stands nearby:
The statue of Queen Caroline-Amalie (1796–1881) stands amidst the roses of the Rose Garden, a garden at Rosenborg Slot. Caroline-Amalie was a Danish princess who, as the second wife of Christian VIII, became Queen consort of Denmark from 1839 to 1848. Her sculpture is a work by Vilhelm Bissen and Hans Jørgen Holm.
Too bad about the castle visit—we’ll watch the changing of the guard at the royal palace instead. There’s already a huge crowd. The soldiers are a bit like those at Buckingham Palace, but in blue and black.
After the changing of the guard, which was hard to see due to the crowd, the rain, and all the umbrellas, we grab a quick bite back at the apartment before going our separate ways. The young ones will go shopping and hit the terraces, while Patrick and I head to the fine arts museum.
I really wanted to see the room dedicated to Cornelis Norbertus Gysbrechts!
And here we are. This room is entirely devoted to this Flemish painter, active in the second half of the 17th century, specializing in still lifes and trompe-l'œil.
A free master of the Guild of Saint Luke in Antwerp in 1659, Cornelis Norbertus Gysbrechts (1630–1675~) was a court painter to King Christian V of Denmark in Copenhagen between 1670 and 1672. It was in this city that he seems to have spent much of his career. As the director of an auction house, he sold many of his paintings, marked by his talent for trompe-l'œil.
His works reflect the Baroque taste for illusion, theater, and reflections on vanity and the limits of pictorial representation. Some of his paintings also serve as memento mori, reminding us of the fleeting nature of things.
Gysbrechts is relatively unknown to the general public but highly appreciated in art history circles, particularly for his visual reflections on painting itself. His work saw a resurgence of interest in the 20th century, especially in studies on illusion and representation.
As soon as you enter the room, you’re immediately drawn to this work: "Trompe-l'œil with Easel and Painting." This famous painting shows an easel with an unfinished canvas, along with brushes, a rag, etc., creating a mise en abyme and a playful take on the nature of art.

The other works on display feature "collages" and still lifes with a multitude of objects and notes. I could happily stay here longer, but it would take a lot of time to examine even one of these works in detail—there are so many messages to decipher...

The museum is vast, giving pride of place to Danish painters, which makes sense. Those from the 19th century produced particularly beautiful works that deserve to be discovered or rediscovered. While French Impressionists from the 19th century gained recognition in Europe during the 20th century, it overshadowed the artistic vitality of other countries like the United States or Scandinavia. It’s precisely some of these light-filled, child-filled, and life-filled works that caught my attention, like this painting, "Children Playing, Enghave Square" by Peter Hansen, painted in 1908. This work belongs to the period when Hansen was interested in geometry and simultaneous perspective, moving away from the central perspective of the Renaissance.

In Denmark, people often talk about the Skagen painters, a group of artists based in the northernmost town in the country, in Jutland. I also notice some paintings by these artists, like those by Peder Severin Krøyer. Here’s a summer scene with two children bathing at Skagen:

While the Skagen painters capture the joys of the beach, they don’t forget the harshness of fishing life, as shown in this painting by Michael Peter Ancher:

Further on, I notice this painting by Erik Ludvig Henningsen, titled "The Evicted," which reminds us that the 19th century was also the era of industrialization, with its accompanying poverty. I later learn that this painter is best known for his social realist paintings depicting poor and disadvantaged groups in the 1880s and 1890s.

Note the beautiful harmony between sculptures and paintings...


But to stay on the same era and subject, it’s this work that really "hits me hard." It’s called "Workers Returning Home" (1913).

This is an iconic work by the Norwegian painter Edvard Munch. Munch was an Expressionist painter. Expressionist art sought to express emotions and symbols rather than reality. Paintings were often exaggerated or distorted, and colors were chosen to convey a feeling.
This painting illustrates the daily life of workers, capturing their fatigue and loneliness after a long day’s work. Munch uses dark colors and stylized forms to express anguish and melancholy, hallmarks of his style. The almost ghostly silhouettes of the workers evoke an atmosphere of despair and alienation. Through this work, Munch depicts not only the human condition but also the social struggles of his time, resonating with universal themes of isolation and the search for meaning.
The other Munch paintings in this museum definitely convince me to visit the museum dedicated to him in Oslo later. Below, the evening conversation.

Of course, there are others, like the works of another Danish Expressionist painter, Jens Ferdinand Willumsen, but I can’t show them all.
Enriched by all these discoveries, we head back to meet the kids.
Tonight, we’re celebrating our wedding anniversary and the end of the vacation for our children, who are flying back to Belgium tomorrow. We have a very pleasant meal at the restaurant HOST in Copenhagen, with a great quality-to-price ratio for Denmark.