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Article

Vidar Poulsson

(Peter Frantz Wilhelm)

(b Skanshagen at Elverum, July 19, 1849; d Baerum, Jan 15, 1929).

Norwegian painter and designer. He trained as a landscape painter at the art school in Christiania (after 1877 Kristiania, now Oslo) run by J. F. Eckersberg and his followers from 1870 to 1874. He travelled widely throughout his career but was most attracted to eastern Norway, where he had been born. His first ambition was to paint in a realistic style that would also accommodate impulses from fantasy and literature. During the winters of 1874–5 and 1875–6 he visited his relative the painter Ludvig Munthe at Düsseldorf and was impressed by his work. An Autumn Landscape (1876; Bergen, Meyers Saml.) was Gerhard Munthe’s first major painting. During a long stay at Munich (1877–82) he studied the Old Masters as well as contemporary art. He painted about 70 oils, mainly dark in tone but quite varied in content. They are largely based on impressions of the coastal towns or interior of Norway rather than being inspired by German motifs. ...

Article

Hans-Olof Boström

(Fredrik)

(b Malmö, Sept 13, 1835; d Malmö, Oct 11, 1933).

Swedish painter. He lodged with and was a pupil of the Danish landscape painter Frederik Christian Kiærskou (1805–91), and at the same time he studied at the Kunstakademi in Copenhagen (1852–5). In 1857 he moved to the Akademi för de Fria Konsterna in Stockholm. Like several other Swedish artists of his generation he studied at the Kunstakademie in Düsseldorf (1859–64). His teacher there was the Norwegian Hans Gude, who was professor of landscape painting and whose strong influence can be seen in several landscapes including Swedish Landscape (1863; Göteborg, Kstmus.), which was painted in Düsseldorf. Rydberg lived in various parts of Sweden, chiefly in Stockholm, and he settled permanently in his native province of Skåne in 1897. His early landscapes were Romantic, in the Düsseldorf tradition, but in about 1870 he became one of the first plein-air painters of Sweden. He has been called ‘the artistic discoverer of Skåne’, for his impressive depictions of the lowland expanses of Skåne with their wide skies. He preferred simple themes, as in ...

Article

Tone Skedsmo

(b Christiania [Kristiania from 1877; now Oslo], Nov 29, 1869; d Oslo, June 19, 1935).

Norwegian painter and printmaker. Sohlberg decided to be a painter when young, but his father wished him to follow a thorough training as a craftsman. Sohlberg therefore enrolled at the Royal School of Drawing in Kristiania in 1885 under the interior designer Wilhelm Krogh (1829–1913) and stayed at the school until 1890. Subsequently, he attended night classes under the graphic artist and painter Johan Nordhagen (1856–1956) both in the autumn of 1906 and also from 1911 to 1917, when he concentrated on printmaking. Sohlberg painted his first pictures while staying in the Valdrés region to the north-west of Kristiania in summer 1889. The following summer he painted with Sven Jørgensen (1861–1940) at Slagen near Åsgårdstrand, and in autumn 1891 he was a pupil of Erik Werenskiold and Eilif Peterssen in Kristiania. For some months during the winter of 1891–2 Sohlberg attended Kristian Zahrtmann’s art school in Copenhagen. He also studied for four months in ...

Article

Leif Østby

( Theodor )

(b Vinger, Feb 11, 1855; d Oslo, Nov 23, 1938).

Norwegian painter, draughtsman and printmaker . He studied in Christiania (later Kristiania, now Oslo) in 1873–5 under Julius Middelthun, who discovered his unusual gift for drawing, and then at the Akademie der Bildenden Künste in Munich (1876–9). Among his early paintings, Female Half-nude (1877; Bergen, Billedgal.) is typical in revealing an interest in individual personality and psychology even in a traditional academic subject. In 1878, while on a visit to Kristiania, Werenskiold met the collector and editor Peter Christien Asbjørnsen (1812–85) and was engaged as an illustrator for his new edition of Norwegian fairy tales (Kristiania, 1879). Together with Theodor Kittelsen, he continued to contribute illustrations to Absjørnsen’s publications. In his drawings for tales such as De Kongsdøtre i berget det blå (‘The three princesses in the mountain-in-the-blue’; Kristiania, 1887), he achieved a striking combination of realistic observation, fantasy and humour, his imaginary creatures being especially successful. During the 1880s Werenskiold was also active as a painter. He left Munich early in ...