Focus on this artwork and analyze the Berlin Academy of Art.
In 1880 Gude accepted a position to lead the master studio in landscape painting at the Academy of Art in Berlin, a position which gave him a spot on the academy's Senate. The Senate was responsible for upholding "all the artistic interests of the state" and membership was a mark of the highest official recognition of Gude's work.In 1895 the Christiania Art Society held a comprehensive retrospective of Gude's works including his paintings, oil studies, watercolors, sketches and etchings. When asked what should be shown at the exhibition Gude replied that "[...]perhaps room could be found for studies and drawings; I rather think that these will meet with interest. They are also (unfortunately) of greater artistic value." By the time of the exhibition Gude had abandoned his previous style of painting large-scale compositions based on studies, and was working in mediums other than oil. In Berlin Gude began working more heavily in gouache and watercolor in an effort to preserve the 'freshness' of his art. Although Gude did not heavily exhibit his watercolors they still gained admiration from follow painters, including Harriet Backer who said:I believe that if Gude exhibited watercolours and study drawings, he would have the warmest admirers among painters. [...] Let it rather happen now, while there can be controversy and a row and some lively discussion about his art[...].
Gude would spend a few weeks each summer near the Baltic coast where he drew material for numerous paintings of Ahlbeck and Rügen. Although Gude filled these paintings with more figures than his earlier works, his focus was still on accurately capturing the scene and especially the landscape.As the century drew to a close the established art academies faced 'secession' movements from groups of artists looking to branch of into different style.  Gude rallied around his friend Anton von Werner in defending the academies, going so far as to mock "the so-called Symbolism" movement. As Gude approached the end of his life he felt more and more unable to keep up with the changes in the art world. After a disappointing exhibition in Kristiania in 1902 Gude wrote to Johan Martin Nielssen:All I have heard about it [the exhibition] are your and [Wilhelm] Holter's letters, and that acclaim has consoled me after the scorn I have had to suffer in common with many an elderly artist. You recognized several studies from my portfolios, but all of them were more or less unfinished, and over the last two winters I finished them, truly con amore. I had serious scruples when I decided to exhibit them, because I knew full well how different the opinion of the modernists is, and it is quite understandable that they want to 'take the helm' alone!
In 1880 Gude had between five and eight students, but this number had shrunk to two or three by 1890. In part this reduction of pupils was due to a lack of interest in the Berlin academy, as explained to Gude by Prince Eugén, Duke of Närke who wrote that he, as well as numerous other young artists, had more of a taste for French art than German.Gude retired from the Berlin Academy in 1901. He died two years later in Berlin in 1903.
Berlin Christiania Ahlbeck Kristiania Prince Eugén, Duke of Närke modernists landscape painting Harriet Backer Berlin Academy of Art mock [Wilhelm] Holter's Rügen Symbolism Anton von Werner gouache watercolor Baltic Johan Martin Nielssen