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Reusch, Signe Scheel and Ingerid Dahl must also be mentioned
among figure-painters.
The number of landscape-painters in this generation is very
great. Besides Wentzel, Soot, Strøm and Jørgensen, who have all
also painted landscapes, we may mention Marie Tannæs, Hjerlow,
Jensen-Hjel, Kalle Løchen, Torgersen, Singdahlsen, Kongsrud,
Konow, Geelmuyden and the early deceased Jørgen Sørensen.
The last-named artist’s «Vestre Aker. Februar. 2° kulde» is the
most typical landscape that the Norwegian open-air school has
produced. Another characteristic picture is August Eiebakke’s
«Opdækning for de fremmede» (Preparing for the Strangers) — a
typically naturalistic interior.
We will further mention Gunnar Berg (1863—93), who in
his characteristic paintings glorified his native district Nordland,
and especially Lofoten.
It is an altogether different spirit that we meet with in the
pictures of Edvard Munch (born 1863). He is a peculiar personality,
much of a muser, something of a poet. As a painter he is a strong
and feeling colourist, in whose art the colours come out with their
original strength and with a stirring depth of expression as in no
other Norwegian artist. He is also a true line-artist; but the
expression of the thought and subject is so much more important to
him than the form, that he has always disdained the perfecting
of the artistic media. From the very first he met with the most
rancorous opposition, but the opposition was always accompanied
by admiration, and his art has more and more gained ground.
Even «Det syge barn» (the Sick Child) aroused considerable
attention, but was also severely censured for the indifference to
detail, and the neglect of naturalistic study. But as a colourist,
Munch has reached a height that none but Heyerdahl in a few of
his pictures approaches. Of pictures painted in his youth, we will
further mention «Vaar> (Spring), and of his later works,
«Sommernat» (Summer Night) 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 all, behind all the varying feelings and sensations of life,
like the fundamental feeling that marks the limits of joys and
sorrows — terror. In the glaring light of terror, even every-day
life has a different appearance. Everything turns to irony,
caricature, illusion, as in the visions of a fever patient. They are not
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