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Winter Evening
Håndmalet oliereproduktion fra $181 36 × 28 cm
Samme størrelse som originalen $349 92 × 71 cm Bestil i original størrelse →
Winter Evening (1917) er det mest berømte maleri af Vilhelm Behm, som er i Nationalmuseums samling i Stockholm. Udvalgt fra de 1 værker af Vilhelm Behm i vores katalog er her de 1, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Vilhelm Behm | Malerier fra denne liste |
|---|---|---|---|
 Nationalmuseum |
Stockholm | 1 | Winter Evening |
1917 er året for hvert dateret Vilhelm Behm mesterværk på denne side: her er de, i rækkefølge efter berømmelse.
Winter Evening (1917)
58 år gammel: Winter Evening er fra 1917, og Vilhelm Behm blev født i 1859.
Vores katalog indeholder 1 værker af Vilhelm Behm.
De fleste af dem findes i Nationalmuseum (Stockholm). Tabellen ovenfor lister museerne enkeltvis.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
Vilhelm Behm was born on 23 February 1859 in Ervalla församling, Sweden. He came from the Behm family, a lineage rooted in Gävle. His early years provided the foundation for a career defined by a commitment to the solid traditions of landscape painting. He did not chase fleeting trends, focusing instead on the technical rigor required to capture the Swedish environment.
His formal training began at the Art Academy in Stockholm, where he studied from 1879 to 1885. This period established his technical competence and grounded his approach in the academic standards of the time. Seeking to expand his perspective beyond Swedish borders, he moved to Paris, studying there between 1889 and 1890. This international exposure refined his ability to handle light and color, preparing him for the atmospheric landscapes that would define his professional output.
Behm’s evolution is marked by a decisive shift in both palette and intent. His early output aligns with the plein-air realism of the 1880s, characterized by a fine, blond value painting. This period focused on the immediate observation of light, utilizing a lighter touch to capture the nuances of the Swedish landscape. It was a technical exercise in clarity and subtle tonal shifts before his style matured into something more heavy and deliberate.
By the 1890s, the artist moved toward national romanticism. This transition replaced his earlier lightness with a stronger mood and a deeper colorite. He developed a preference for copper-red tones, moving away from the pale washes of his youth toward a more saturated, atmospheric approach. His focus narrowed to the middle Swedish landscape, specifically targeting the transitional qualities of spring break and the fleeting, low-angled light of twilight. He captured these specific moments not through abstraction, but through a solid, realistic application of color that prioritized the emotional weight of the environment.
Behm’s presence in major Swedish institutions confirms his standing within the tradition of landscape painting. The Nationalmuseum in Stockholm holds a significant portion of his output, including the 1900 work Vinterdag and the 1917 painting Vinterafton. His ability to capture specific atmospheric conditions is evident in the collection's holdings, which also include Strawstack, Landscape Study, Sjöbod, Trosa Archipelago, Archipelago Jetty, Cottage in Autumn Mood, and Winter Evening. These works demonstrate a consistent focus on the Swedish landscape and the nuances of light.
Beyond Stockholm, his reach extends to other regional collections that preserve his specific approach to color and light. The Gothenburg Art Museum maintains Marsafton, painted in 1904. Additionally, the Norrköping Art Museum holds his paintings titled Landscape and Farm. These pieces represent the tangible remains of a career dedicated to the observation of the natural world, specifically the middle Swedish landscape during periods of seasonal transition and twilight.