norway untamed

This gallery is dedicated to the dangerous shores of the Norwegian coastal region, and the hazardous mountains that break up from the beautiful land. Norwegian artists capture the pride of their nation in landscapes that portray the wild nature of Norway in the winter. Ranging from 1660-1902, these paintings all illustrate the beautiful, raw nature of the country of Norway. 

From this land-sea scape from August Strindberg, painted in 1901-1902, we see a choppy ocean,billowing clouds and a slight light. Dark greens and blues make up the ocean water, while lighter blues and greys are used in the sky. The weak yellow set behind the ocean is the sun, either rising or setting on the waves. The texture in this painting is essential, the thick brushstrokes accompanying waves over their crests. The use of perspective is also used to create the illusion that the sun is far away. The colors used in this painting reflect a solemn, dark mood. The wild nature of the movement in the waves and clouds shows the wilderness of Norwegian shores and the strength that they see in the ocean.
This painting done by Johan Christian Dahl in 1827 gives us a view of how winter looked in the icy northern fjords of Norway. He managed to capture the raw nature of the countryside, with cliffs looming up toward the sky and frost apparent on the ground and in the air. The colors are especially important in this piece, as the purple and yellow hues in the sky tell us that this scene is set in early morning. The white of the snow covers almost every surface, including the most important, the large stone standing erect and alone. This fierce stone guardian overlooks the fjord and everything the early sun touches. The fjords themselves have jagged, sharp lines, indicating the aggressive nature of the landscape.
Another wild depiction of Norwegian waves, this painting from Jacob van Ruisdael in the 1600s breathes life onto the canvas. The roaring waves and billowing dark clouds accent the untamed nature of the ocean running up onto the jagged shore. Treacherous rocks dot the shoreline and it is easy to tell that this scene is set in the wilderness. A storm is not depicted, but the dark colors in the clouds and the lines used to make the sea look choppy indicate that there is one coming. The way the artist shaped the shoreline make the painting seem three-dimensional, and it is easy to believe you are staring down a beach. The linework used on the sea crashing to the shore show us that the sea is angry, swirling its waters around the sharp rocks on land.
This calmer landscape depicts an island in the distance, with puffy white clouds and a light blue sky. The magnificence of this painting isn't through an angry or raw emotion, but with the gentle splendor of the huge clifface standing tall and solemn in the distance. At first glance, the shapes in this scene look static, but taking a closer look at the water, you can see that lines have been used to create the illusion of flowing water. Every shape in this landscape is softened, from the rocks on the ground to the clouds in the distance, to give off a majestic, fairy-land type of feeling. This soft reverence of country is done by Lars Hertervig.
In this work of art by Thomas Fearnley, we see the sloping hills of Norway up against the calm waters of the ocean below them. Sailboats dot the sea and a strong wind pushes huge clouds across the sky, covering the upward slope of Sognefjord. The dynamic movement in the thundering clouds suggests we may be looking at the calm before a storm. The dark hues in the picture give off foreboding feelings, with the green hills slowly turn darker the farther toward the fjord they are. With very little negative space, the sky is full of movment, while the static hills below frame the canvas.
In this painting done by Peder Balke, we see a piece of shoreline in the foreground, while in the background a lone mountain stands, surrounded by fog. Balke uses the fog as negative space, to make the darkened summit of the mountain stand out against the light grey background. Differing shades of grey give the fog a bit of movement, and the lighter top area shows us where the sun is hitting it. The beach is full of choppy lines used to create a rushing tide effect on the sand. This lone spire towards the sky gives off a raw, powerful sort of stoic silence, which is reflective of the reserved strength that is the Norwegian countryside.
A magnificent piece of landscape artwork by Johan Fredrik Eckersberg, this painting portrays the view from Horgheim. The subject of the painting is a large piece of mountain, jutting out over a small forest. Behind this focal point, we see another, snow-capped mountain. Space is an element used in this piece, with the mountain being rich in detail and the sky serving as negative space, with a much blander color palette and subject. Moss grows up the side of the cliff, until bare rock is shown. The colors in this rich countryside have a lower value than the sky above it, which suggests that the light is coming from behind the cliff. The sky, lighter in value, gives us more evidence, as does the mountain in the background.
In this scene depicted by Johan Christian Dahl, a raging river is flowing beneath a wooden bridge. A lumbermill sits farther behind the bridge, with swirling dark clouds above. A large, diagonal tree threatens to fall into the angry river. Men can be seen, small and in the distance, chopping wood down off of a small hill. Jagged, choppy lines are used to depict motion in the water and clouds. The canvas has a flat texture, making the scene look uniform.
In this painting by Johann Dahl, a roaring ocean collides against a shipwreck, framed by dark clouds and the obvious fall of raindrops. Using soft lines and lightening the value, rain seems to be dripping down the canvas. As we look to shore, men can be seen attempting to save barrels, boxes and other men. The overall colors used in the painting are very dark, perhaps because it is set in the middle of a storm. Lots of negative space is used in the sky to direct the audiences attention to the shipwreck. This focal point is surrounded by light, which also draws the eye in. Perhaps the shipwreck is symbolic, showing how the wild Norwegian sea cannot be tamed by man.
To finish the gallery, we have a calm, mountaintop scene painted by Johan Christian Dahl. Serene clouds seem to float past a moss covered summit, with flowers dotting the surface of the rocks. Deer travel down the side, and in the background we see the rest of the mountain range. A mystical kind of beautiful is what the artist shows through his use of vibrant colors and lightened hues to show sunlight. All of the lines are organic and soft, adding a natural grace to the landscape. Because the focal point of the painting is the main summit, the clouds are used as a darkened negative space as to which the rock can sit up against. Perspective was used heavily in this artwork, to convey that the mountains in the background are very far away.
Credits: All media
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