Copyright This work is in the public domain. Sven Jørgensen died in 1940; copyright lasts 70 years after the artist’s death, so it ended in 2010.
In context
Springtime — Sven Jørgensen
The original measures 40 × 28 cm (height × width), drawn here beside an adult of average height.
Row above: the years. Row below: how old the artist was at the start and at the end of each span — 0 at birth, 79 at death.
Painted when the artist was 29. The artist lived to 79. 2 of the 11 dated works by this artist in our catalogue came earlier.
Shaded: the lifetime of Sven Jørgensen (1861–1940) ▲ this work, 1890 every dated painting, decade by decade
Pick one work above: name two things it shares with this one, and one thing that's different.
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Measured from the image
Main colour
Rosy Brown #9f9e9b
Catalogued palette
These colours inside the artist’s whole palette Find other paintings by colour
Artist and museum
Born in Drammen, Norway
Sven Jørgensen was born on 23 February 1861 in Drammen, Norway. His early years in the country led him toward formal study, beginning with his time at Wilhelm von Hannos drawing school between 1877 and 1879. These formative years provided the foundation for a path that would eventually take him far from his birthplace to the major art centers of Europe.
The years between 1880 and 1883 saw him studying at the Munich Academy. During this period, he was a student of Ludwig von Löfftz, absorbing the technical rigors of the German tradition. This training shaped his approach to the canvas before he turned his attention toward the light and atmosphere of France. He visited Paris in 1889 and again during the period of 1891–1892. While in Paris, he studied under Léon Bonnat, adding the French influence to his existing technical background.
After settling in Slagen in 1886, his focus turned toward the quiet, heavy realities of those living on the margins. He looked at the lives of the poor through a naturalistic lens, capturing the weight of their daily existence without embellishment. His compositions often relied on a specific spatial arrangement, frequently placing a few large, singular figures within the frame to command the viewer's attention.
The influence of François Millet and Pierre Puvis de Chavannes is visible in the way he handled his subjects. There is a certain stillness in his work, a sense of a moment held in place. He did not seek to decorate the hardships of his subjects, but rather to observe them as they were, focusing on the physical presence of the people and the environments they occupied.
His brush often turned toward the quiet, heavy realities of those living on the margins. In 1888, he painted Unemployed, a work that captures a specific kind of stillness. This focus on the struggles of the working class continued through his later years, seen in the way he handled the figures in The Son in 1894. There is a weight to his subjects, a sense of life being lived in the small, difficult spaces of the everyday.
The years following his move to Slagen saw him exploring more intimate, domestic, or somber scenes. He produced The Meal in 1895, a piece that looks closely at a shared moment, and The Farewell that same year. These works often feature large, singular figures that command the space around them. By 1896, his subjects took on a more final tone in Death, and in 1897, he turned his attention to a younger subject in A Boy.
Vårsprett (1890)
Ung pike (1890)
På tunet (1892)
Søsken (1893)
Avskjeden (1895)
Much of his output remains in Norway, held within the National Museum for art, architecture and design. This collection preserves the quiet, heavy atmosphere of his studies of life among the working classes. You can find his oil paintings there, where the textures of the canvas hold the weight of his subjects' daily existence.
Several of his specific pieces are part of this national collection. The painting Unemployed is held in these archives, alongside The Son. You can also find Springtime and A Meal within the museum's holdings. These works sit in the same space, allowing the viewer to see how he handled light and form across different subjects.
On show in Oslo, Norway
The National Museum of Art, Architecture and Design holds the Norwegian state's public collection of art, architecture, and design objects. Located in Oslo, Norway, the institution is state-owned and managed by the Norwegian Ministry of Culture. Its current form was established in 2003 through the merger of several distinct entities. These included the Museum of Architecture, the Museum of Industrial Art, the Museum of Decorative Arts and Design, the Museum of Contemporary Art, and the National Gallery of Norway.
The roots of this consolidated institution reach back to 1842, when the National Gallery was established as the Norwegian States Central Museum for Visual Arts. This earlier institution functioned as a primary repository for Norwegian artistic expression for over a century and a half. The 2003 merger brought these various specialized collections under a single administrative umbrella, creating the National Museum of Art, Architecture and Design as a unified entity for the preservation and presentation of the nation's visual culture.
The current museum presence in Oslo is distributed across several locations, including the National Museum – Architecture and Villa Stenersen. This arrangement preceded the consolidation of the institution's various departments into a single site. The decision to establish a unified venue was driven by the need for expanded facilities to house the growing collections of art, architecture, and design.
The new building opened at Vestbanehallen in 2022. This site was selected at Vestbanen, situated in place of the old Oslo West Station train station at Aker Brygge. The architectural direction for the project, originally known as Forum Artis, was determined following an international competition won by Kleihues + Schuwerk. The resulting structure integrates the diverse requirements of the merged institutions into a cohesive physical environment at the center of Oslo.
The museum holds a collection totaling over 400,000 works. These objects are presented through permanent exhibitions and various temporary displays. The holdings encompass Norwegian and international art, architecture, and design. Among the significant pieces is the first copy of Edvard Munch's The Scream from 1893. The collection spans several movements, including Baroque, the Dutch Golden Age, Expressionism, Impressionism, and Neo-romantic Symbolism.
The architecture collection is particularly extensive, containing more than 300,000 items. These works date from the 1830s to the current day. This breadth allows for a study of how design and structural form have evolved over nearly two centuries. The museum maintains these objects to provide a comprehensive record of both local and global artistic development.
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Look closely
Springtime — Sven Jørgensen
Answer in your own words. There are no wrong answers here — only answers you can explain.
Write a short paragraph about this artwork. Use the facts from the earlier parts of this guide, and your answers above.
"Springtime" by Sven Jørgensen is a portrait composition measuring 39.5 x 27.5cm in the original.
The dominant color of "Springtime" by Sven Jørgensen is rosy brown (#9f9e9b).
The artist behind "Springtime" is Sven Jørgensen. The work is catalogued under Sven Jørgensen's name.