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[image][image][image]Johan Thomas Lundbye: Landscape at Lake Arre with a View of the Shifting Sand Dunes at Tisvilde, 1838, Denmark -first painting to guarantee Lundbye's reputation -gives a sense of everday life with the girl pushing the cart in the foreground-Neoclassical -artist added elements that were not actually there |
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Johan Thomas Lundbye: Landscape: Sorupvang, 1841, Denmark -enter visually through road, winding your eye through the painting -it shows how Denmark is rich and fertile, an important aspect of Danish society since they relied heavily on agriculture |
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Johan Thomas Lundbye: Landscape from Zealand. 1842, Denmark - Uses the winding road as a device to guide our eye throughout the painting -Lundbye uses such this as cows to symbolize agrilculture and how important it is to the Danish society. -painted a quintesential Danish vista |
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Wilhelm Marstrand: The Waagepetersen Family, 1836, Denmark -Marstrand enjoyed painting the domestic scene as evidenced in this painting of the mother with her servants and children enjoying time spent together. -Nurse wore folk clothes to symbolize she comes from the country. -Painting shows the growing separation between work and family life evidenced without father in family portrait, as he is most likely working. |
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Jorgen Roed: An Artist by the Roadside, 1832, Denmark -First painting to portray an artist outdoors -Gives a strong sense of art and nature -Small only 18x22 inches |
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Martinus Rorbye: The Prison of Copenhagen, 1831, Denmark -the painting looks through the architecture like Eckersberg's works, who was his teacher -symbolism of sin, crime, and punishment such as man ogling a married woman with kids |
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Martinue Rorbye: View From the Artist's Window, 1825, Denmark -painting implies the unknown vs. domestic life evidenced by open window scene -carries a lot of symbolism like with the book or journal on table open to blank pages, like his life was unwritten still. |
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Peder Balke: Vardohus Fortress, c. 1860, Norway -mankind is evident as the fortress is seen in the back left under the clouds -sea is very black in the lower left to show the darkness of nature. The audience can see that the black wave will soon crash into the light white sand -Dahl was his teacher |
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Peder Balke: View of Jostedalsbreen, c. 1840, Norway
-Studied under Dahl -glacier is center moving through mountains -sublime -lack of detail between rock, glacier, and mountains; they are the same -boaters in foreground are in awe of the grand scene before them |
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Wilhelm Bendz: Interior at Amaliegade with the Artist's Brothers, c. 1830, Denmark -The unmarked ceiling gives a sense that the walls are almost closing in. Sorry I did not get notes from this painting! |
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Wilhelm Bendz: Young Artist (Ditlev Blunck) Examining a Sketch in a Mirror, 1826, Denmark -Symbolism is very important; caged bird=caged soul that only art can free -The mirror shows that art is reflection of reality |
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August Cappelan: Dying Forest, 1852, Norway -studied under Gude at Dusseldorf -was never finished -there is no suggestion of rebirth most likely because he was dying at the time of the painting |
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August Cappelan: Waterfall in Lower Telemark, 1852, Norway -studied under Gude at Dusseldorf -there is no broad expanse of sky therefore giving the painting a claustrophobic feeling -the man is shown pulling the timber out of the water, a vital timber market which was huge for Norway |
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Johan Christian Dahl: Birch Tree in a Storm, 1849, Norway -shows strength in the eyes of adversity -the birch tree takes up entire canvas, subject vs. frame -shows the fate of Norway, going to survive through hardships |
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Johan Christian Dahl: Eruption of Vesuvius, 1820, Norway -molten lava is the subject -Dahl actually saw Vesuvius erupt in real life -Sublime-emotive content -He made many replicas for patrons |
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Johan Christian Dahl: Shipwreck on the Coast of Norway, 1832, Norway -the painting of shipwrecks was a tradition set by the Dutch -Man vs. Nature theme -people related well to this painting because ships often crashed and therefore was a practical concern -sea and sky are both turbulent -the survivors are on shore and Dahl makes it seem that they will survive by being illuminated by light |
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Johan Christian Dahl: Stugunoset, 1851, Norway -Less panoramic than Dahl's other paintings -Covered main mountain with reindeer, the symbol of Northern Norway -Gives sense of immediacy, like a photograph, but was actually painted in studio |
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Johan Christian Dahl: View from Stalheim, 1842, Norway -7x9 ft. -viewer clearly sees background in painting, in focus -the lights guides viewers' eyes throughout the painting -a bit of realism and romantic but overall feeling is romanticism |
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Johan Christian Dahl: View from Hjelle in Valdres, 1851, Norway -picture was worked up from study that was created during his last trip to Norway in 1850 -the study and finished piece are almost exactly alike but the finished painting enlarges the mountain scenery in the background and shrinks the foreground structures |
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Thomas Fearnley: Labro Falls, 1837, Norway -studied under Dahl -150x220 cm. -made from prior sketches and studies -light seems to eminate from water itself -the lone eagle in bottom right gives an ominous feel -shows that you cannot escape the power of nature |
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Thomas Fearnley: Old Birch Tree by Sognefjord, 1839, Norway -studied under Dahl -tree is subject -historically important because it depicts the burial ground of a Norwegian king -invites audience to study painting much like the inside observers |
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Hans Gude: Bridal Crossing in Hardange, 1848 (with Tidemand), Norway -studied and eventually became a professor at Dusseldorf in Germany
-Tidemand did the painting of the people -genre painting like how Dusseldorf taught -makes use of daylight with blue skies and perfectly green water -church in painting was transposed to Hardanger -depicts a high point of country life |
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Hans Gude: Norwegian Highlands, 1857, Norway -studied and eventually became a professor at Dusseldorf -light eases eye through painting -Gude manufactured scenery |
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Lars Hertervig: Thunderstorm in a Summer Landscape, 1856, Norway -studied under Gude -pastoral scene with cows -sky keeps the surface lively -tree-trunk=gesture of pain and passage of time, death, and destruction |
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Lars Hertervig: View of Borgoya, 1867, Norway -studied under Gude -visionary recreation of his childhood; did not actually see this view -water hovers over land and is oddly calm -clouds seem more like masses than light and fluffy |
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Marcus Larson: Shipwreck, 1853, Sweden -Man vs. Nature -Ship will go under whil survivors watch from shore -the viewe of the piece of "placed" in water -theatrical lighting shows all important aspects of image |
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Marcus Larson: Waterfall in Smaland, 1856, Sweden -the piece was sold in Versailles to British man -water generates own light -background has as much detail as foreground |
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Jorgen Roed: A Street in Roskilde. In the Background the Cathedral, 1836, Denmark -the subject is not the people in the foreground but instead the cathedral in background -painting glorified Danish Christianity and also upheld the great power of the monarchy because many monarchs were buried at this cathedral. |
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