Reusch Sig¥ Scheel and I egeezd Dahl must also bo mentioned
among figure-pamters.
Thei number of landscape-painters in this generation is very
■ H H B S°0t’also painted landscapes, we may Umentio n M W B who baye a J M a r i e T a m s , K i e r e o w
— W s m m T 0K Q E E S EN ’ S i n « ^ h l s e e , K o k g s b u o , ’
The last na IB I B deceased J oegek Soremeh.
e last-named artists cVestre Aker. Februar. 2° kulde» is the
most typical landscape that the Norwegian open-air school has
produced. Another characteristic picture is August Eiebakee’s
<<Opdffiknmg for de fremmede» (Preparing for the Strangers) _ a
typically naturahstic interior. .
We will further mention Gottnar B e b g (1863—93) who in
his characteristic paintings glorified his natiye district Nordland
and especially Lofoten. ’
I t is an altogether different spirit that we meet with in the
— i EDVABD M™ (born 1863)- He is a peculiar personahty,
—and feeling B coloIuriBst, mB who s°ef "a rPt °tehte cAoSlo u" rsP ac“omteer ohuet isw iat hs ttrhoenigr
original strength and with a stirring depth of expression as in no
other Norwegian artist. He is also a true line-artist; but the ex-
| B j | °f *hef g B , subject is so much more important to
of the ariisK B Lhe B alWayS E M tbe of the artistic media. From the yery first he met with Ptehrefe cmtionsgt
rancorous opposition, but the opposition was always accompanied
by adunrarion and his art has more and more g a L d —
attention^ but B I I °Md) S 3 B B B
B B B i B i CenSUred for R indifference to
etail and the neglect of naturahstic study. But as a colourist
uneh has reached a height that none but Heyerdahl in a few of
his pictures approaches. . Of pictures painted in his youth, we will
urther mention «Vaar» (Spring), and of his later works «Sommer
f Ummer and «Angst» (Terror). Munch’s other pictures
may be grouped about these. They treat of the same subjects —
sickness sexual desire, and night; and the cry of terror lies behind
them ah behind ah the varying feelings and sensations of life
ke the fundamental feeling that marks the limits of joys and
sorrows - terror. In the glaring light of terror, even everylay
life has a different appearance. Everything turns to irony c T r iJ
ture, illusion, as m the yisions of a feyer patient. They are not