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While all these artists have been far from the naturalistic
opposition this is not the case with the landscape-painters, Edvard
Diriks (born 1855), Fredrik Borgen (born 1852, see page 323), the
figure-painter, Fredrik Kolstø (born 1860), Nils Hansteen (born
1855), the fine and noble painter of Norwegian scenery, wood and
valley, coast and sea, and the marine painter, Hjalmar Johnsen
(born 1852). Kolstø especially has produced very interesting things
as regards impressionistic technique. In his sunny pictures of
Capri’s white loggie, he has also obtained peculiar effects. As the
caricaturist of the period, and the most generally employed
illustrator, Andreas Bloch (born 1859) has evinced untiring activity.
This branch of art has subsequently had talented followers in
O. Krohn, G. Lærum and O. Gulbrandsen.
The younger artists, whose dedication to art took place during
the contest about the open-air painting, are all colourists more or
less. They all have their weak point in drawing, and their
limitation in a poorly developed power of composition. For all of them
the necessary requirement of good art was that it should be done
«correctly», that it should be soberly observed and reproduced with
unfailing «correctness», which again was as much as saying that
it was to be correct in colour, and produce an illusory effect.
There is an earnest intention to be true in their contemplation of
nature; and their courageous colouristic efforts and bold
manipulation can sometimes even throw their masters’ pictures into the
shade. Several of these artists have also undergone considerable
changes with the passing years, have sought out a path of their own,
and have attained to greater maturity and clearness in their art.
Gustav Wentzel (born 1859) is one of the most eminent of
this generation. He made his debut with an interior —
«Billedhuggeratelieret» (the Sculptor’s Studio) — which showed an
extraordinary power of imitation of the external reality. In his
«Konfirmationsselskab» (Confirmation Party), and that master-piece of
colouring, «Frokost» (Breakfast), he depicts the less well-to-do
classes in the capital, and has also succeeded in giving a truthful
impression of the social surroundings of the people represented.
In «Dugurd» (Midday Meal), he represents a cotter’s family round
the table; while in «Føderaadsfolk» the figures are secondary to
the interior in which they appear. In «Bondedans» (Peasants Dancing),
too, the several figures are rather secondary, Of late years,
Wentzel has painted a number of fresh snow-scenes.
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