Painting (1900) je nejslavnější obraz autora Mathilde Smith, který se nachází v muzeu Eidsvoll 1814 ve městě Eidsvoll. Z 2 děl umělce Mathilde Smith v našem katalogu uvádíme 2 těch, na které se kolektéři a návštěvníci muzeí nejčastěji dívají, včetně roku vzniku, názvu muzea a příběhu každého díla.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno říjen 2026. Každé dílo na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru.
Muzeum s největším počtem obrazů na této stránce.
| Muzeum | Město | Díla autora Mathilde Smith | Obrazy z tohoto seznamu |
|---|---|---|---|
 Eidsvoll 1814 |
Eidsvoll | 2 | Painting, Painting |
Painting (1900)
Náš katalog obsahuje 2 děl autora Mathilde Smith.
Většina z nich se nachází v Eidsvoll 1814 (Eidsvoll). V tabulce výše jsou jednotlivé muzea uvedeny postupně.
Painting a Painting patří mezi 2 děl na této stránce, která má v zastarání Eidsvoll 1814, Eidsvoll.
Ano. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci v muzeální kvalitě nebo jako umělecký tisk v požadovaném rozměru přímo z jeho vlastní stránky.
The landscape of 19th-century Norwegian art finds a distinct voice in the works of Mathilde Smith. Born in Oslo in 1824, she began her formal training at the Royal Drawing School in Christiania under Johannes Flintoe. By 1850, her trajectory shifted toward the rigorous academic traditions of the Düsseldorf School. Studying under Hans Gude and Johann Wilhelm Schirmer, she absorbed a specific visual language: a preference for dark palettes, meticulous detailing, and the dramatic interplay of mountains and sea. Her early output reflects this training, often leaning into the national romanticism of the era.
In 1852, a state travel scholarship allowed her to venture into the rugged terrain of Telemark. Traveling alongside Aasta Hansteen, she captured the essence of the Norwegian wilderness. This period produced works like Landskap med tjern, where the influence of her mentors meets the raw, topographical reality of the Norwegian landscape. Her compositions often integrated figures in traditional folk costumes, grounding the dramatic scenery in a specific cultural identity.
As the decades progressed, the heavy, somber tones of her youth began to recede. A significant shift occurred in the late 1860s. The shadows that once dominated her canvases gave way to a lighter, more luminous approach, reminiscent of the style of Johan Fredrik Eckersbergs. This transition was not merely a change in color, but a fundamental shift in how she perceived the atmosphere of the North.
Her later career saw her moving through several significant locations and professional milestones:
The change in her palette was noted by contemporary observers. While many sought the dark, wintry moods of the Norwegian landscape, Smith’s later works, such as Henover Hardangerfjords Vande, embraced the warmth of sunlit days. This shift toward brightness allowed her work to function as a source of light within the domestic spaces of her viewers.
Mathilde Smith remained a dedicated observer of the natural world until her death in 1882. Her ability to navigate the transition from the dark, detailed romanticism of the mid-century to the lighter, more atmospheric styles of the late 1800s marks her as a versatile figure in Norwegian art history. She was one of the few women of her time to establish a professional presence as a landscape painter, navigating the academic circles of Düsseldorf and the urban art markets of Munich. She died in Lovisenberg, leaving behind a body of work that captures the shifting light of the Norwegian landscape.