Mostly landscape and cityscape paintings. For a tag cloud of the painters see bottom of the page. Because the tag cloud allows only 45 names, all the painters are are included in the category list at bottom of the page.

Nationalmuseum (Stockholm)

Carl Frederik Peder Aagaard – Nationalmuseum (Stockholm) NM 1358. Skittle-alley in Saeby Forest. Spring Morning (1882)

Carl Frederik Peder Aagaard – Nationalmuseum (Stockholm) NM 1358. Title Skittle-alley in Saeby Forest. Spring Morning. Date: 1882. Materials: oil on canvas. Dimensions: 83 x 125 cm. Acquisition date: 1883. Nr.: NM 1358. Source: https://commons.wikimedia.org/wiki/File:Skittle-alley_in_Saeby_Forest._Spring_Morning_(Carl_Fredrik_Aagaard)_-_Nationalmuseum_-_18361.tif. I have changed the light and contrast of the original photo.forest

Carl Frederik Peder Aagaard – Nationalmuseum (Stockholm) NM 1358. Title Skittle-alley in Saeby Forest. Spring Morning. Date: 1882. Materials: oil on canvas. Dimensions: 83 x 125 cm. Acquisition date: 1883. Nr.: NM 1358. Source: https://commons.wikimedia.org/wiki/File:Skittle-alley_in_Saeby_Forest._Spring_Morning_(Carl_Fredrik_Aagaard)_-_Nationalmuseum_-_18361.tif. I have changed the light and contrast of the original photo.forest

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Meindert Hobbema – Nationalmuseum (Stockholm) NM 6741. Wooded Landscape with a Watermill (between 1663 and 1668)

Meindert Hobbema – Nationalmuseum (Stockholm) NM 6741. Title: Wooded Landscape with a Watermill. Date: between 1663 and 1668. Materials: oil on canvas. Dimensions: 99 x 129 cm. Acquisition date: 1982. Nr. NM 6741:  Source https://commons.wikimedia.org/wiki/File:Wooded_Landscape_with_a_Watermill_(Meindert_Hobbema)_-_Nationalmuseum_-_23790.tif. I have changed the light and contrast of the original photo.

Meindert Hobbema – Nationalmuseum (Stockholm) NM 6741. Title: Wooded Landscape with a Watermill. Date: between 1663 and 1668. Materials: oil on canvas. Dimensions: 99 x 129 cm. Acquisition date: 1982. Nr. NM 6741: Source https://commons.wikimedia.org/wiki/File:Wooded_Landscape_with_a_Watermill_(Meindert_Hobbema)_-_Nationalmuseum_-_23790.tif. I have changed the light and contrast of the original photo.


Hanna Hirsch-Pauli – Nationalmuseum NM 1705. Frukostdags (1887)

Hanna Hirsch-Pauli – Nationalmuseum NM 1705. Title: Frukostdags. Date: 1887. Materials: oil on canvas. Dimensions: 87 x 91 cm. Inscriptions: Hanna HiRsch. 87. Nr.: NM 1705   Source: https://commons.wikimedia.org/wiki/File:Hanna_Pauli_-_Frukostdags.JPG.

Hanna Hirsch-Pauli – Nationalmuseum NM 1705. Title: Frukostdags. Date: 1887. Materials: oil on canvas. Dimensions: 87 x 91 cm. Inscriptions: Hanna HiRsch. 87. Nr.: NM 1705 Source: https://commons.wikimedia.org/wiki/File:Hanna_Pauli_-_Frukostdags.JPG.


Francesco Guardi, Giacomo Guardi – Nationalmuseum NM 5830. Piazza San Marco in Venice (late 1780s-early 1790s?)

Guardi_-_Piazza_San_Marco_in_Venice

Materials: oil on canvas. Dimensions: 50 x 85 cm. Acquisition date: 1964. Nr.: NM 5830. Source: http://commons.wikimedia.org/wiki/File:Guardi_-_Piazza_San_Marco_in_Venice.jpg. I have changed the light, colors and contrast of the original photo.


Hans Frederik Gude – Nationalmuseum, Stockholm NM 1343. The Fjord at Sandviken (1879)

Materials: oil on canvas. Dimensions: 54.5 x 81.5 cm. Nr.: NM 1343. Source: ostholstein.mediaquell.com/files/2009/09/gude.jpg. P.S. I have changed the light, contrast and colors of the original photo.

Gude himself singled out this as one of his major works, and it was acquired by the Nationalmuseum in Stockholm the very year Gude painted it. It is among his most outstanding representations of fjord scenery in south-eastern Norway. The view across the water at Sandviken, with the smoke of Høvik Glassworks visible on the distant shore, has been rearranged to a certain extent. And yet this painting, produced though it was without the artist having the subject before him, radiates immediacy.

Gude had made the sketches he used for this composition six years previously, while he was staying at Snarøen in the summer of 1873. “That summer I could, to my heart’s delight, paint the scenery that, when all is said and done, was closest to my heart, the landscape of my real home.” Gude’s wording here, written down a couple of decades later, has perhaps been influenced in the mean time by Erik Werenskiold’s statement made in the 1880s, that if the Realists were to create anything of value they would have to keep to familiar, local subjects “because they cannot possibly understand what is foreign, and therefore cannot be as attached to it as to something that is theirs.” (http://www.artsmia.org/mirror-of-nature/nordic-art-detail.cfm?nor_art_cat=24&lng=0)