Harald sohlberg biography definition
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Painting Norway &#; Harald Sohlberg at Dulwich Picture Gallery
Meet Harald Sohlberg (), the creator of the &#;National Painting of Norway&#;. He may not be as well-known outside of Norway as Edvard Munch, but he is certainly beloved there. Typically associated with Symbolism and Neo-romanticism, through his travels he was well aware of current art developments but retained his individual style and interests. An exhibition at the Dulwich Picture Gallery in South London aims to introduce Sohlberg to a wider audience outside of his country. The exhibition, much like the Dulwich Picture Gallery itself, is not too big, but thanks to this it allows us to focus on and absorb Sohlberg&#;s art.
I admit I was not aware of Sohlberg&#;s works before and I would now gladly own a few of them if it was possible (technically it may be, I would just need some patience and some more money). The curators clearly worked with such an assumption in mind, creating an exhibition that not only introduces
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Celebrating Harald Sohlberg, one of the greatest masters of landscape painting in Norwegian art
Timed to coincide with the th anniversary of Sohlberg’s birth, it will bring tillsammans over 90 works, including archive ämne, to reveal the importance of colour and symbolism in his art as well as his unwavering passion for the Nordic landscape.
Harald Sohlberg: Painting Norway will be arranged chronologically, tracing the breadth of Sohlberg’s artistic career, from his earliest production as a twenty-year-old in through to the last year of his life, and will reveal influences such as Norwegian Naturalism and Neo-romanticism.
It will showcase his most accomplished works including the atmospheric Fisherman’s Cottage () on loan from the Art Institute of Chicago, and arguably his most ambitious work, widely considered to be the "national painting of Norway", Winter Night in the Mountains (), of which he created many studies and variations.
Like his peer, Edvard Munch, Sohlb
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When Harald Sohlberg visited Norway’s Rondane mountains in on a skiing trip he suddenly felt something quite unexpected. “I was almost overcome by a rush of emotion greater than I had ever experienced before,” he recalled. “The longer I stood gazing at the scene the more I seemed to feel what a solitary and pitiful atom I was in an endless universe.” He felt, in other words, something utterly conventional to certain sensibilities: insignificance in the face of nature was an artistic staple that had been notably expressed by Romantics such as Wordsworth in poetry, and Caspar David Friedrich and Philipp Otto Runge in paint, and innumerable lesser talents too.
Sohlberg acted on his sensation in a striking way, however. So small did he feel, he excised people from his paintings altogether: there are buildings and worked fields, telegraph poles and gravestones – sign after sign of human presence but almost never the people themselves. He was an accomplished artist of the human figur