Painting (1900) je najznámejším obrazom umelca Mathilde Smith, ktorý sa nachádza v múzeu Eidsvoll 1814 v meste Eidsvoll. Z 2 diel umelca Mathilde Smith v našom katalógu sme vybrali tých 2, na ktoré sa kolecionéri a návštevníci múzeí pozerajú najčastejšie, spolu s rokom, múzeom a príbehom každého diela.
Poriadkované podľa nášho skóre popularity, ktoré kombinuje počet vyhľadávaní, návštev a objednávok pre každé dielo. Aktualizované november 2026. Každé majstrovské dielo na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu múzeálnej kvality alebo ako umeleckú tlač, v rozmeroch podľa vašej voľby.
Múzeum, ktoré vlastní najviac obrazov z tejto stránky.
| Múzeá | Mesto | Diela umelca Mathilde Smith | Obrazy z tohto zoznamu |
|---|---|---|---|
 Eidsvoll 1814 |
Eidsvoll | 2 | Painting, Painting |
Painting (1900)
Náš katalóg obsahuje 2 diel od Mathilde Smith.
Väčšina z nich sa nachádza v Eidsvoll 1814 (Eidsvoll). Tabuľka vyššie uvádza jednotlivé múzeá.
Painting a Painting sa nachádzajú medzi 2 dielami na tejto stránke, ktoré vlastní Eidsvoll 1814, Eidsvoll.
Áno. Každý obraz na tejto stránke si môžete objednať ako ručne maľovanú olejobraskovú reprodukciu múzeálnej kvality alebo ako umeleckú tlač, v požadovanom rozмере, priamo na stránke daného obrazu.
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.