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labours in altogether different fields, and especially as a witty and
humorous writer of newspaper articles. Among these the interview
combined with portrait, is his peculiar province. A series of them has
been published under the title of «Dagens mænd» (Men of the Day).
Krohg’s work has reached its highest artistic perfection in
his pictures from Skagen, which are free from every purpose but
that of delighting the eye — «Gammel kone» (Old Woman), «Sovende
fiskerfamilie» (Sleeping Fisher-Family). Krohg has produced a true
and characteristic type from the east-country pilots and sailors.
Among his pilot pictures, we will mention «Nordenvind» (North
Wind), «Det tunge budskab» (Heavy Tidings), and «Hart læ»
(Hard a-lee). Closely allied to these is his one attempt at historical
painting — «Leiv Eriksson som opdager Amerika» (Leiv Eriksson
Discovering America), now in the Chicago Museum. Krohg has
also executed capital portraits of Johan Sverdrup, and of Gerhard
Munthe and other Norwegian artists. On the other hand, his
illustrations to Henrik Ibsens «Terje Viken» and Snorre Sturlason’s
Royal Sagas are of less importance.
Fritz Thaulow (born 1847) may be named as a third leader
in the cause of naturalism. He first studied in Copenhagen, and
then in Carlsruhe under Gude; but most importance attaches to
the three years he studied in Paris. His young and enthusiastic
artist’s soul found a new ideal in open-air painting. When he
came home, he founded an open-air academy at Modum, where his
example, his enthusiasm, and his persuasive personality, exercised
a great influence upon the younger generation of landscape-painters.
He was truly made to gather young men about him. Enthusiastic
and amiable, rich and independent, active and handsome, full
of good humour and bold confidence, he was one of the central
figures in the young generation of artists. Thaulow is very
sensitive to enjoyment in art, and his aim in painting is to give an
impression of beauty. In his earlier winter pictures, he has
represented the clear Norwegian winter’s day with great freshness.
But his art is always insinuating, whether he paints sunny pictures
or nature veiled, which is really his element, whether he reproduces
Norwegian or French scenery. Of late years, he has returned to
the studio, and it is especially by his later productions that he
has won warm admirers in Paris, London and America, and an
international renown. But it would be of little use to instance a
few examples of his extraordinarily facile and multitudinous
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