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lodshavn» (Morning at a Pilot-haven), «Frembrydende uveir over
Hardangerfjorden» (Storm Breaking over Hardangerfjord), etc.
Johan Nielsen (born 1836), akin in style to Amaldus Nielsen,
and of about the same age, is a painter of south-country coast
scenery.
Frederik Collett (bora 1839) also began as Gude’s pupil,
afterwards studied in Munich, and finally was strongly influenced
by the French open-air tendency. Whereas he at first chiefly
sought his subjects in the south-country fjord scenery, he
afterwards made the east-country winter, with its masses of snow and
half frozen rivers, his special study.
Adelsten Normann (born 1848) has also made Norwegian,
and especially the north-country fjord, scenery his special study.
Since leaving Düsseldorf in 1887, and settling in Berlin, where he
has joined the opposition, Normann has always tried to get rid
of the sensationalism that marks his earlier pictures. The
landscape-painter, Ludvig Skramstad (born 1855), also studied in
Düsseldorf and Munich. His province has been the fir forest in
autumn mist and winter.
Of the painters that have studied in Munich, the older
generation is far less important and interesting than the succeeding one,
which afterwards came under the influence of the French open-air
painting. We will mention the figure-painter Oscar Wergeland
(born 1844), the genre-painter Markus Grønvold (born 1845), the
figure-painters Wilhelm Peters (born 1851), and Axel Ender
(born 1853). The last-named has recently shown sufficient energy
to depart from a long pursued course of conventional painting,
and with fresh vigour devote himself to sculpture. To this
generation also belong Andreas Diesen (born 1844), a painter of
mountain scenery, Fridtjof Smith-Hald (born 1846), a painter of coast
scenery, Johannes Martin Grimelund (born 1842), whose subjects
are sea and shipping, the figure-painter Christian Ross (born
1843). and especially the versatile Otto Sinding (bora 1842), a
brother of the sculptor, Stephan Sinding, and the composer, Christian
Sinding. Sinding had already made his début in literature before he
began his artistic studies under Eckersberg, continued under Gude’s
guidance, and lastly in Munich. His restless and ambitious artistic
temperament has incessantly tried to find satisfaction in a variety
of tasks. Not only has he divided his great working-powers
between painting and literary or scenic interests, but even in painting
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