Harald Sohlberg: A National Treasure
Less well known abroad than Edvard Munch, Harald Sohlberg is nevertheless being described by Dulwich Picture Gallery, London, as ‘one of the greatest masters of landscape painting in the history of Norwegian art’. Denying the influence of other artists on his work, and attributing the origins of his ‘artistic awakening’ to his own psyche, his oeuvre unites elements of Romanticism, Naturalism and Symbolism, always drawing on the Nordic landscape and its vast potential to depict both the earthly and the infinite. As Dario Gamboni describes in his catalogue essay to accompany the gallery’s forthcoming exhibition, ‘Harald Sohlberg: Painting Norway’ (13 February to 2 June), whereas Munch chose to foreground the human figure, treating the landscape as an additional expression of ‘a state of the soul’, Sohlberg focused primarily on the landscape, with the merest hint of human presence. This exhibition, which is travelling from the National Gallery in Oslo, marks the 150th anniversary of the artist’s birth and will be the first solo exhibition of his work outside of Norway.
Born in Kristiania (modern-day Oslo), Sohlberg was the eighth of twelve children. His father was a fur trader and his mother a farmer’s daughter. He grew up in a small pocket of affluence, which was teetering on becoming a slum. His parents had grand ambitions for their children, wishing for them the education that they themselves had lacked. Sohlberg grew up a competent pianist and strong singer, and began drawing at the age of 14. His father, however, did not deem him talented enough to become an artist, and so he was apprenticed, at the age of 16, to the master scene painter and theatre decorator Wilhelm Krogh. As an apprentice, Sohlberg was obliged to attend classes at the National College of Art and Design, but, dissatisfied, he left after just one semester. Four years later, in 1889, his father gave him permission to break off his apprenticeship without taking his final exams.
The following summer, Sohlberg painted with Sven Jörgensen at Slagen, and he also spent short periods studying with other Norwegian artists, including Erik Werenskiold, Eilif Peterssen and Harriet Backer. In 1892, he attended Kristian Zahrtmann’s studio in Oslo where he studied for two years, absorbing the influence of Zahrtmann's expressive style.
His artistic journey continued with a trip to Paris in 1893, where he encountered Impressionism and Post-Impressionism. He was particularly drawn to Vincent van Gogh’s bold brushstrokes and emotional intensity, which profoundly impacted his own approach to painting. Sohlberg returned to Norway shortly after, establishing himself as a teacher at the National College of Art and Design.
Throughout his career, Sohlberg remained committed to capturing the grandeur and beauty of the Norwegian landscape—particularly Rondane mountains and Røros town—with an unwavering dedication to Romantic ideals. He sought to convey not merely visual impressions but also profound emotional responses to nature’s majesty. His paintings are characterized by a meticulous attention to detail, combined with a masterful use of color and light.
Perhaps his most widely recognized works include *Winter's Night in Rondane*, which depicts the ethereal glow of snow-covered peaks under a starry sky—a scene that embodies Sohlberg’s artistic vision. Also notable is *Fisherman's Cottage*, which appeared on the cover of John Burnside’s novel *A Summer of Drowning*, demonstrating Sohlberg’s ability to engage with literature and culture beyond the realm of painting.
His paintings, such as *Flower Meadow of the North* (used as the cover for Robert Bly's book), exemplify his exploration of Symbolism alongside Romanticism and Naturalism. These works are celebrated for their evocative atmosphere and their ability to convey complex emotions—a testament to Sohlberg’s artistic genius.
Sohlberg’s legacy extends beyond his individual paintings; he played a crucial role in shaping Norwegian art education and fostering a tradition of landscape painting that continues to inspire artists today. He is remembered as a visionary artist who elevated the Nordic landscape to the status of sublime beauty—a contribution that secures his place among Norway's most important cultural figures.
