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(Tie Fanatics). Tie latter of these is certainly among Tidemand’s
best, and on tie wbole indicates tie ie ig it to whicb tie Düsseldorf
school has attained.
Tidemand’s art has exercised considerable influence upon Norwegian
development in culture,.as -also on poetry and music; while
abroad too, his name became famous, and turned tie gaze of
strangers upon tie people to whom he belonged.
Tie name of H a n s G u d e (born in Kristiania, 1 8 2 5 ) is closely
associated with that of Tidemand. A lasting friendship and frequent
collaboration united tie two artists until Tidemand’s death.
Gude’s is t ie second central figure in Norwegian art development
from tie middle .of t ie century. By his exceedingly abundant and
varied production, and his important work as a teacher, he has
exerted a great influence upon art, not only in iis own country,
. but also in Germany.
In 1841, Gude went to Düsseldorf, where Oswald Achenbach
and J. W. Schirmer were iis principal teachers. But t i e independence
of iis nature, and iis dread of all extremes, kept iis
art from a mere imitation of Schirmer’s cold classicism, or Achenbach’s
fiery colouring; and under changing circumstances of life
and various influences, iis pliable talent has worked its way out
of tie weaknesses of tie Düsseldorf school, and found fresher and
more personal forms of expression. But iis productions have never
been influenced either by the ancient art of Italy, or t ie modem
art of France.
In 1854, Gude became professor of landscape-painting at tie
academy in Düsseldorf. In 1862, after residing in Wales for tie
purpose of study, he went in tie same capacity to Carlsruhe, and
since 1880, Berlin has been the scene of iis labours. In all three
places he has been surrounded by a crowd of pupils, Scandinavian
and German; who have learnt to appreciate not only iis ability,
but also iis noble disposition and sincere amiability.
In spite of iis versatility as regards motives, Gude’s art is
for tie most part a representation of Norwegian mountain and
fjord. In natural self-development, it has passed from romance to
realism, and from a subjective display of.feeling to an objective
depicting of nature. Tie subjects of Gude’s earlier pictures are
generally taken from tie desolate mountain region, and from tie
majestic scenery of western Norway. In later years, on tie other
hand, it has been t ie gentler fjords and less pretentious landscapes