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| Danish krone |
Banknotes of Denmark 100 Danish kroner banknote 1972 Jens Juel
Danish National Bank - Danmarks Nationalbank
Obverse: Self Portrait of Jens Juel, painted in Dresden in 1773/74, when he was around 28 years old. The original painting is in the collection of the National Gallery of Denmark.
Reverse: Red Underwing Moth (Catocala nupta) - the butterfly was reproduced from a watercolour and pencil sketch by the illustrator and architect Ib Andersen (1907-1969).
Size: 150 x 78 mm.
The 100-krone banknote was issued on 22 October 1974 and has been withdrawn since 16 October 1995. A revised version was issued on 16 October 1995 (the 1972A series) and has been withdrawn since 22 November 1999. Only the 100-krone banknote in the 1972 series was issued in a revised version, called the 1972A series, in order to enhance protection against counterfeiting. At that time, Danmarks Nationalbank had started using a new banknote printing press with improved printing technology, making it possible to add new, enhanced security features to the banknote. These new security features included microprint, a partly visible metallic security thread and strong colours (the diamond pattern on the banknote).
Banknotes of Denmark, 1972 series
The 1972 series was issued from 1974 to 1995. Only the 100-krone banknote in this series was issued in a revised version, called the 1972 series, in 1995, in order to enhance protection against counterfeiting. The faces of the banknotes show paintings by the well-known Danish artist Jens Juel (1745-1802). The reverse motifs are animals drawn by Ib Andersen, Johannes Larsen and Gunnar Andersen.
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Jens Juel (12 May 1745 – 27 December 1802) was a Danish painter, primarily known for his many portraits, of which the largest collection is on display at Frederiksborg Castle. The painter Jens Juel represents something close to the high point of Danish portrait painting of the 18th century. He is buried at Assistens Cemetery in Copenhagen.
He was born in the house of his mother's brother Johan Jørgensen, who was a school teacher in Balslev on the island of Funen. Jens Juel was the illegitimate son of Vilhelmine Elisabeth Juel (January 1725 – March 1799), who served at Wedellsborg, and a fine gentleman, probably a Wedell or Lord Jens Juel. When Juel was one year old, his mother married Jørgen Jørgensen (1724 – 4 June 1796), who was a schoolmaster in Gamborg, not far from Balslev, and he grew up in Gamborg.
He showed an interest in painting from an early age, and his parents sent him to be an apprentice of painter Johann Michael Gehrman in Hamburg, where he worked hard for five or six years and improved so much that he acquired a reputation as a painter of portraits, landscapes, etc. During the time of his studies, he could live off painting landscapes, portraits and genre pictures. At just over twenty years old, he moved to Copenhagen to attend the Royal Danish Academy of Art. In 1767 he was awarded its small gold medal and in 1771 the great gold medal, both for Biblical themes.
In 1772 he left Copenhagen, moving to Rome where he stayed for four years together with other Danish artists, including Nicolai Abildgaard. From Rome, he moved to Paris, at the time a center of portrait painting. In 1777 he moved on to Geneva, where he stayed for two years at the home of his friend Charles Bonnet in the company of other Danish artists, including etcher Johann Friderich Clemens. In Geneva, Juel soon earned himself a reputation as an excellent artist, and he painted many portraits. Through Bonnet, who had become an honorary member of the Danish Academy, his reputation reached Denmark. After a brief stay in Hamburg, where he met and painted a portrait of the celebrated poet Friedrich Gottlieb Klopstock, author of The Messiah, he returned to Copenhagen in 1780. Here he painted portraits for the royal house, nobility, and the well-to-do, as well as landscapes and genre paintings and was designated as the court painter.
On 4 April 1782, he was unanimously elected to be a member of the Danish Academy by Mandelberg, Weidenhaupt, and Abildgaard. He became the director of the Academy in 1795 and continued in the position until his death.