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Thaulow: Rocks at Kragero, 1882, Norway --informal and novel in composition
--low perspective --high degree of finish on rocks
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Thaulow: Thawing Ice, 1887, Norway --break with oil tradition, this is pastel --reflections and colors in water are vibrant --water is Thaulow's favorite motif
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Thaulow: Winter, 1886, Norway --light palate --Thaulow put in a lot of effort to obtain info for this painting --clear light of winter's day
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Thaulow: The Old Bridge, 1901, Norway --low vantage point --white snow makes the red building pop out --ultimate goal to please the observer
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Werenskiold: On the Plain, 1883, Norway --the girl invites the viewer to meditate on the scene --distinctly Norwegian scene --immediately popular because it captures the atmosphere of Norway
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Werenskiold: Peasant Burial, 1883-5, Norway --matter-of-fact, stoic, shows dignity --this is Werenskiold's masterpiece, he did many sketches and carefully planned it
--simple and proud farmers, not sentimental
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Werenskiold: Ships Returning After the Battle of Svolder, 1887, Norway --return to Romanticism and history (Neoromantic art) --image of power and maritime dominance --the spirit of the age is captured
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Werenskiold: Portrait of Henrik Ibsen, 1895, Norway --it's a study for an oil that was never painted --the lack of color indicates the seriousness and intensity --the distant Norwegian landscape in the background associates him with nature
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Kittelsen: The Water Sprite, 1887-92, Norway --mythic creature common in Norwegian folklore --shows that our eyes easily play tricks on us --Kittelsen believed folktales were a reaction to reality
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Kittelsen: Pesta's Coming (The Soaring Eagle), 1894-5, Norway --signifies the black plague because the bird is silent and swift --the plague was thought to be carried by birds --this painting is black and white, which was uncommon, but it's very effective
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Kittelsen: Forest Troll, 1906, Norway --the troll resides in the whole mountain --eye is like the moon --the rugged landscape of the far north gave birth to folktales and stories
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Norwegian Folk Art: Ale-dipper, 1786, Norway --carved from one piece of wood; Baroque tendrils and Middle Ages on the handle
--used for special occasions only --demonstrates how traditions are preserved
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Norwegian Folk Art: Baroque Cupboard from Gudbrandsdal, 1783, Norway --owning a cupboard became a symbol of wealth --also symbolized a change in the home: central fire to a corner fire place
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Norwegian Folk Art: Porridge Container, 18th century, Norway --used to carry food to parties/celebrations --quintessential Norwegian item, iconic
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Norwegian Folk Art: Trunk from Hallingdal, undated, Norway --Baroque vines and flowers --red ground color with yellow and blue shows a strong use of colors --central flower motif --first only found in churches, then wealthy rural homes
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Norwegian Folk Art: Trunk from Telemark, 1837, Norway --bright colors: red, green, yellow --C-scroll with leaves and flowers (Telemark rose) --intricate
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Norwegian Folk Art: Wise and Foolish Virgins, late 17th century, Norway --stylized flat, geometrical patterns --highly prestigious, special occasions only (Christmas or weddings) --coverlet
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Skredsvig: Summer Night, Moonlight in Nordmarken, 1884, Norway --light is important, not the landscape --evocative of mood --Norwegian naturalism --unique canvas shape
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Skredsvig: The Willow Flute, 1889, Norway --flute represents fertility and rebirth --children represent magic --decorative form, lines, and shapes are picked out across the painting --water expands over the surface of the canvas, flattening the picture space
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Kielland: Peat Bog, 1880, Norway --painted outside, based on onsite work --lively clouds and banal landscape
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Kielland: After Sunset, 1886, Norway --depiction of mood: twilight is associated with a magical and mystical time --early example of Neoromanticism --absolute calm, no breeze, no noise
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Peterssen: Summer Night, 1886, Norway --flattening of surface by a small amount of sky --water reflects the unseen sky --viewer looks down on the lake --mood of tranquility, serenity, and maybe mystery
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Peterssen: Portrait of Author Arne Garborg, 1894, Norway --distorted chair used for expressive purposes --the hand to chin shows that he is in deep thought --lost in reverie
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