Editing Nicolai Abildgaard (section)

=== An academic and artistic career ===
In 1778, soon after joining the Academy, he was appointed to a professorship. He taught mythology and anatomy in addition to painting of the [[Neoclassicism|neoclassical]] style. Beyond his position at the Academy, he was very productive as an artist from 1777 to 1794. He produced not only monumental works, but also smaller pieces such as [[wikt:vignette|vignettes]] and [[illustration]]s. He designed Old Norse [[costume]]s. He illustrated the works of [[Socrates]] and [[Ossian]]. Additionally he did some sculpting, [[etching]], and authoring. He was interested in all manners of mythological, [[Bible|biblical]], and [[literature|literary]] [[allusion]].<ref name="dsd">{{cite web|url=http://denstoredanske.dk/Kunst_og_kultur/Billedkunst/Billedkunst,_nordisk_nyklassicisme/Nicolai_Abraham_Abildgaard|title=Nicolai Abildgaard|publisher=Den Store Danske, Gyldendal|author=Charlotte Christensen|access-date=1 April 2019|archive-date=4 April 2019|archive-url=https://web.archive.org/web/20190404020416/http://denstoredanske.dk/Kunst_og_kultur/Billedkunst/Billedkunst,_nordisk_nyklassicisme/Nicolai_Abraham_Abildgaard|url-status=live}}</ref>

He taught some famous painters, including [[Asmus Jacob Carstens]], sculptor [[Bertel Thorvaldsen]], and painters [[J. L. Lund]] and [[Christoffer Wilhelm Eckersberg]]. After his death, Lund and Eckersberg went on to become his successors as Academy professors. Eckersberg, referred to as the ''"Father of Danish painting,"'' went on to lay the foundation for the period of art known as the [[Golden Age of Danish Painting]], as professor at the same Academy.
[[File:Lykkens tempel.jpg|200px|thumb|Cabinet painted in ''[[trompe-l'œil]]'' fashion by Abildgaard]]

As royal [[history painting|historical painter]], Abildgaard was commissioned around 1780 by the Danish government to paint large monumental pieces, a history of Denmark, to decorate the entirety of the Knights' Room (''Riddersal)'' at [[Christiansborg Palace]]. It was a prestigious and lucrative assignment. The paintings combined historical depictions with [[allegory|allegorical]] and [[mythology|mythological]] elements that glorified and flattered the government. The door pieces depicted, in allegory, four historical periods in [[Europe]]'s history. Abilgaard used pictorial allegory like [[ideogram]]s, to communicate ideas and transmit messages through [[symbol]]s to a refined public who was initiated into this form of symbology. Abildgaard's professor [[Johan Edvard Mandelberg]] supplied the decorations to the room.<ref name="dsd" />

He made a failed attempt to be elected to the post of Academy Director in 1787 and was unanimously elected to the post two years later, serving as director during the period 1789–1791.<ref name="EB" /> He had the reputation for being a tyrant and for taking as many of the academy's monumental assignments as possible for himself.<ref name="naa" />

Abilgaard was also known as a religious [[Freethought|freethinker]] and an advocate of political reform. In spite of his service to (and in his artwork the glorification of) the government, he was hardly a great supporter of the monarchy or of the state church. He supported the [[emancipation]] of the farmers and participated in the collection of monies for the Freedom Monument (''Frihedsstøtten'') in 1792. He contributed a design for the monument, as well as for two of the [[relief]]s at its base. He got drawn into controversies at the end of the 18th century because of his provocative statements and satirical drawings. He was inspired by the [[French Revolution]], and in 1789–1790 he tried to incorporate these revolutionary ideals into the Knights' Room at Christiansborg Palace. However, the King rejected his designs.<ref name="naa">{{cite web|url=https://www.kulturarv.dk/kid/VisKunstner.do?kunstnerId=124|title=Nicolai Abraham Abildgaard|publisher=Kunstindeks Danmark & Weilbach Kunstnerleksikon|author=Patrick Kragelund|access-date=1 April 2019|archive-date=3 April 2019|archive-url=https://web.archive.org/web/20190403203146/https://www.kulturarv.dk/kid/VisKunstner.do?kunstnerId=124|url-status=live}}</ref>

His showdowns with the establishment culminated in 1794, when his allegorical painting "Jupiter Weighs the Fate of Mankind" (''Jupiter vejer menneskenes skæbne'') was exhibited at the Salon. He was politically isolated and cut out of the public debate by censors.

[[File:Nachtmahr (Abildgaard).jpg|thumb|left|''[[Nightmare (Abildgaard)|Nightmare]]'' (1800) after [[Henry Fuseli]]'s ''[[The Nightmare]]'' (1781).]]
The fire at Christiansborg Palace, in February 1794, also had a dampening effect on his career, for seven of the ten monumental paintings of the grandiose project were destroyed in that accident. The project was stopped and so were his earnings. However, after that devastating fire accident, he started getting decorative assignments and also got the opportunity to practice as an [[architect]]. He decorated the Levetzau Palace (now known as Christian VIII's Palace) at [[Amalienborg Palace|Amalienborg]] (1794–1798), recently occupied home of King [[Christian VII of Denmark]]'s half-brother [[Hereditary Prince Frederick of Denmark and Norway|Frederik]]. His protégé [[Bertel Thorvaldsen]] headed the sculptural efforts. He also planned for rebuilding the Christiansborg Palace, but he could not get the assignment.<ref>{{cite web|title=Christian VIII's Palace|url=http://kongehuset.dk/en/palaces/amalienborg/christian-viiis-palace|url-status=live|archive-url=https://web.archive.org/web/20190404031725/http://kongehuset.dk/en/palaces/amalienborg/christian-viiis-palace|archive-date=4 April 2019|access-date=1 April 2019|publisher=The Royal Danish House}}</ref>

At the start of the 19th century, his interest in painting was restored when he painted four scenes from [[Terence]]'s comedy ''[[Andria (comedy)|Andria]].'' In 1804 he received a commission for a series of paintings for the throne room in the new palace, but disagreements between the artist and the crown prince put a halt to this project. He continued, however, to provide the court with designs for furniture and room decorations.

He was once again selected to serve as the Academy's director from 1801 until his death.