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special attraction. A number of these artists have followed the
Danish school, and have there learnt enthusiasm for old art. The
claims of the young artists upon their art are no less considerable
than those of the open-air painters. A more harmonious and severe
treatment of lines, a more cautious and restrained colouring, and
a fuller study of details are requirements that indicate maturity.
The most productive and harmonious of these young artists,
Halfdan Egedius, died at the age of twenty; but he had already,
in a number of pictures and in his excellent drawings for Snorre’s
Royal Sagas, shown that his talent was of the first order. Among
his slightly older contemporaries we may mention Severin Segelcke,
August Jacobsen and Karl Johan Holter. Harald Sohlberg
made his debut together with Egedius. We will further mention
Th. Eriksen, Wilh. Wetlesen, Otto Hennig, Oscar Grønmyra,
Sigmund Sinding, Gabriel Kielland, W. Thorne, Kristine
Laache Thorne, Kristoffer Sinding-Larsen, Sig. Moe, Kavli,
Hinna, Alfr. Hauge, Johanne Bugge and Emanuel Vigeland.
Most of these artists are still quite young; but when we
consider what they and their slightly older fellow-artists have already
produced in the way of art that bears evidence of feeling, delight
in beauty, and the stamp of personality, we have every reason to
hope for a bright future for Norwegian art.
BIBLIOGRAPHY.
A. Aubert. Maleren Professor Dahl. Kristiania 1893.
— Den nordiske Naturfølelse og Professor Dahl. Kristiania 1894.
L. Dietrichson. Adolf Tidemand. Vol. I. II. Kristiania 1878—79.
— Af Hans Gudes Liv og Verker. Kristiania 1899.
— Det norske Nationalgaleri, dets tilblivelse og utvikling. Kristiania 1887.
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