The History of Modern Painting, Volume 2 (of 4): Revised edition continued by the author to the end of the XIX centuryMuther, Richard
History
The History of Modern Painting, Volume 2 (of 4): Revised edition continued by the author to the end of the XIX century
Muther, Richard
Painting -- History
Like Gude, _Niels Björnson Möller_ devoted himself to pictures of the
shore and the sea. Undisturbed by men in his sequestered retreat,
_August Capellen_ gave way to the melancholy charms of the Norwegian
forest. He represented the tremulous clarity of the air above the
cliffs, old, shattered tree-trunks and green water plants, sleepy ponds,
and far prospects bounded by blue mountains; but he would have made an
effect of greater originality had he thought less of Schirmer's noble
line and compositions arranged in the grand style. _Morten-Müller_
became the specialist of the fir forest. His native woods where the
valleys stretch towards the high mountain region offered him motives,
which he worked up in large and excessively scenical pictures. His
strong point was the contrast between sunlight playing on the mountain
tops and mysterious darkness reigning in the forest depths, and his
pictures have many admirers on account of "their elegiac melancholy,
their minor key of touching sadness." The Norwegian spring changing the
earth into one carpet of moorland, broken by marshes, found its
delineator in _Erik Bodom_. _Ludwig Munthe_ became the painter of wintry
landscape in thaw, when the snow is riddled with holes and a dirty brown
crust of earth peeps from the dazzling mantle. A desolate field, a pair
of crippled trees stretching their naked branches to the dark-grey sky,
a swarm of crows and a drenched road marked with the tracks of wheels, a
tawny yellow patch of light gleaming through the cloud-bank and
reflected in the wayside puddles, such are the elements out of which one
of Munthe's landscapes is composed. Through _Eilert Adelsten Normann_
representations of the fjords gained currency in the picture market. His
specialty was the delineation of the steep and beetling rocky fastnesses
of Lofodden with their various reflections of light and colour, the
midnight sun glaring over the deep clear sea, the contrast between the
blue-black masses of the mountains and the gleaming fields of snow.
[Illustration: BAADE. MOONLIGHT NIGHT ON THE COAST.]
Public-domain text, read in full here on John Shaqi.
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