(b Copenhagen, 10 June 1862; d Copenhagen, 11 June 1937). Painter. She trained in Copenhagen at the Design School for Women (1878–85) and with the painter Peder Severin Krøyer. In 1888 she married (2) Harald Slott-Møller and on their subsequent journey to Italy she came under the decisive influence of early Italian Renaissance art. The most important among her early history paintings is Niels Ebbesen after the Killing of Grev Gert (1894; Randers, Kstmus.). This constitutes a successful attempt to create history painting divorced from elements of anecdote and genre. Such works, however, did not find a sympathetic response, and this may have contributed to her decision to devote herself to poetic ballad paintings. These constitute the bulk of her output and are the works for which she is best known. They were based on studies of the Danish landscape, made in summer and worked up during the winter. Such scenes from Danish medieval history and poetry reflect Slott-Møller’s interest in the late 19th-century English cult of the aesthetic, as exemplified by the journal The Studio. She was committed to the creation of works that united the painted image with the frame, often elaborately carved, painted and gilded and bearing inscriptions. Using a literary symbolic idiom, Slott-Møller cultivated themes from medieval history and ballad poetry. Thirty years later she again took up history painting, with the story of Valdemar Sejr, presented in six large scenes (1927–30; four now Copenhagen, Nyborg Slott). Here the anecdotal element is stronger.

Part of the Slott-Møller family

• Slott-Møller, Agnes
  • Frie Udstilling
  • Slott-Møller