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Od svih originala koje je Teodor Kitelsen ostavio, najpoznatiji je Grain Field in Moonlight (1900). Odmah za njima slede I Came to the Secret Springs and Lakes Where Mooses Slake Their Thurst (1900) i Far, far away Soria Moria Palace shimmered like Gold (1900). Naš katalog sadrži 44 dela umetnika Teodor Kitelsen; galerija je čuvala 44 dela koja svet najviše admira, od kojih je svako prikazano sa svojim datumom, muzejom i pričom.
There is a certain stillness that settles over the landscape when the sun has retreated, leaving only the pale, cool glow of the moon to define the contours of the earth. In Grain Field in Moonlight, we find ourselves standing at the edge of a vast, nocturnal expanse. The scene is dominated by the heavy, rhythmic presence of harvested grain, with sheaves clustered on the left, their pyramidal shapes casting…
There is a weight to this scene, a feeling that the landscape is not merely a setting but a living entity. The trees and the water seem to possess a quiet, haunting beauty that speaks to the rugged spirit of Norway. The painting captures a specific mood, one where the boundary between the physical world and the unseen mysteries of the forest feels thin. It is a study of a…
In "Far, far away Soria Moria Palace shimmered like Gold," Theodor Kittelsen presents a scene of quiet contemplation set against a vast landscape. Created about 1900, the work focuses on a man positioned atop a mountain, his back to us as he carries a backpack. He gazes out over the expanse, his posture suggesting he is either admiring the view or searching for something specific on the horizon. The sky…
In this 1910 oil painting, we find ourselves drawn into a dense, shadowed forest where the boundary between the physical and the supernatural feels thin. A lone figure rides a horse through the thicket, the light from a handheld lantern or torch casting a localized, flickering glow against the encroaching darkness. The trees press in from the periphery, their forms heavy and silent, creating a sense of isolation. Two other…
A monochrome scene unfolds across a rugged, snowy landscape. Figures are scattered along the flank of a mountain, their presence dwarfed by the scale of the rock formations. The composition captures a moment of transition or preparation, as individuals navigate the steep, frozen terrain. A ladder leans against the landscape on the left, while a train moves through the background, introducing a mechanical element to the wilderness. Benches sit near…
Spring Day by the Sea1887 · National Museum of Art, Architecture and Design
12
Self-Portrait1891 · National Museum of Art, Architecture and Design
13
The Ash Lad and the Dragon1900 · National Museum of Art, Architecture and Design
14
The Ash Lad beheads the Troll1900 · National Museum of Art, Architecture and Design
15
The Marriage of the Princess and the Ash Lad1900 · National Museum of Art, Architecture and Design
16
The Ash Lad and the golden Bird1900 · National Museum of Art, Architecture and Design
17
The Ash Lad poking in the Ashes1900 · National Museum of Art, Architecture and Design
18
The Princess picking Lice from the Troll1900 · National Museum of Art, Architecture and Design
19
The Ash Lad and the Bear1900 · National Museum of Art, Architecture and Design
20
The Ash Lad and the Fox1900 · National Museum of Art, Architecture and Design
21
Forest Troll1906
22
Forest Troll1906 · Nasjonalgalleriet
23
Fairy Dream1909
24
June1890
25
Echo1888
26
May1890
27
July1890
28
February1890
29
March1890
30
The twelve wild Ducks1897 · National Museum of Art, Architecture and Design
31
The Ash Lad and the Troll1900 · National Museum of Art, Architecture and Design
32
Soria Moria Palace1900 · National Museum of Art, Architecture and Design
33
The Ash Lad and the Wolf1900 · National Museum of Art, Architecture and Design
34
Forest's Wintergarden1901
35
Grautkjerringer1904
36
Me, me, me, me they will lead far away from the country1900
37
Kristian Hjerteknuser
38
DraugenNordnorsk Kunstmuseum
39
The Fairy That Disappeared
40
Dragon Awakens
41
Mist on the Water
42
Lily Pond
43
Krambugutten Med Gammelostlasten
44
Langebrata
Četiri teme koje se najčešće ponavljaju u ovim originalima, svaka sa svojim vrhunskim primerom.
3 muzeja u kojima se nalazi najviše slika sa ove stranice.
| Muzej | Grad | Radovi umetnika Teodor Kitelsen | Slike iz ovog spiska |
|---|---|---|---|
 National Museum of Art, Architecture and Design |
Oslo | 19 | Far, far away Soria Moria Palace shimmered like Gold, Figure Study, The Pleasure of having Children |
 Nasjonalgalleriet |
Oslo | 1 | Forest Troll |
 Nordnorsk Kunstmuseum |
Tromsø | 1 | Draugen |
Izaberite deceniju da biste videli original koji je definiše.
There is a certain stillness that settles over the landscape when the sun has retreated, leaving only the pale, cool glow of the moon to define the contours of the earth. In Grain Field in Moonlight, we find ourselves standing at the edge of a vast, nocturnal expanse. The scene is dominated by the heavy, rhythmic presence of harvested grain, with sheaves clustered on the left, their pyramidal shapes casting…
In this 1910 oil painting, we find ourselves drawn into a dense, shadowed forest where the boundary between the physical and the supernatural feels thin. A lone figure rides a horse through the thicket, the light from a handheld lantern or torch casting a localized, flickering glow against the encroaching darkness. The trees press in from the periphery, their forms heavy and silent, creating a sense of isolation. Two other…
Grain Field in Moonlight (1900). Slede I Came to the Secret Springs and Lakes Where Mooses Slake Their Thurst (1900) i Far, far away Soria Moria Palace shimmered like Gold (1900).
43 godina: Grain Field in Moonlight datira iz 1900, a Teodor Kitelsen je rođen/a 1857.
Grain Field in Moonlight, I Came to the Secret Springs and Lakes Where Mooses Slake Their Thurst, Far, far away Soria Moria Palace shimmered like Gold, Gold Horn, Groundwork, Figure Study, The Pleasure of having Children, Sketch for "Strike", The Sea Monster i In the Waiting Room. Gornji rang pokazuje godinu i muzej za svako od njih.
Naš katalog sadrži 44 dela umetnika Teodor Kitelsen, datiranih od 1877 do 1910.
Većinom u National Museum of Art, Architecture and Design (Oslo), Nasjonalgalleriet (Oslo) i Nordnorsk Kunstmuseum (Tromsø). Tabela muzeja iznad sadrži njih sve.
U 1900s: 21 od 44 dela na ovoj stranici nastalo je tada, od čega je Grain Field in Moonlight.
Na ovoj stranici, najstarije delo je iz Figure Study (1877), a najnovije iz Gold Horn (1910).
People (3), Moonlight (2) i Trees (2), kroz svih 44 dela na ovoj stranici.
Oil, za 3 od 44 dela na ovoj stranici.
Naive art i Neo-romanticism, sudeći po originalima na ovoj stranici.
Far, far away Soria Moria Palace shimmered like Gold, Figure Study i The Pleasure of having Children: National Museum of Art, Architecture and Design, Oslo čuva 19 dela sa ove stranice.
U obalsnom gradu Kragerø, mladi dečak po imenu Teodor Kitelsen rano je saznao da život može biti nepredvidiv poput mora. Nakon smrti oca, porodica se suočila sa teškim godinama, i sa svega jedanaest godina, dečak je postao šegrt kod časovničara. Taj period preciznosti i malih, mehaničkih pokreta možda ga je pripremio za detaljnost koju srećemo u njegovim kasnijim crtežima. Iako je dane provodio među zupčanicima i oprugama, njegove oči su uvek lutale ka ivicama šuma i dubinama fjorda.
Njegov put se promenio kada je jedan pokrovitelj, Diderih Marija Aal, prepoznao sirov talenat skriven u mladom šegrtu. Ova podrška omogućila mu je da upadne u školu crtanja Vilhelma fon Hanóa u Kristianiji. Na kraju je putovao u Minhen kako bi usavršio svoj zanat, iako ga je teret finansijske nevolje često vraćao u realnost preživljavanja. Na neko vreme radio je kao tehničar za nemačke novine i časopise, što je bilo disciplinirano postojanje koje je izoštrilo njegovu sposobnost da komunicira putem linije i senke.
Stipendija za Pariz 1882. godine donela je novo svetlo njegovom radu, izlažući ga tehnikama impresionizma. Ipak, upravo je povratak u Norvešku onaj koji je istinski definisao njegov duh. Na Lofotenskim ostrvima, živeći u blizini svetionika Skomvær, pronašao je pejzaž koji mu je govorio sopstvenim glasom. Rugobata obala i promenljiva severna svetlost postale su više od običnog prizora; postale su likovi u većoj priči. Počeo je da piše tekstove uz svoje crteže, utkano prozu u samu tkaninu svog vizuelnog sveta.
Njegov najtrajniji doprinos proistekao je kroz dugu saradnju na ilustrovanju norveških narodnih bajki. Dovodeći stvorenja kao što su trolovi i patuljci u realističan prirodni ambijent, on je premostio jaz između vidljivog i nevidljivog. Posedovao je retku sposobnost da postavi natprirodno biće unutar prepoznatljive šume ili planine, čineći fantastiku težom i stvarnom. Njegovo delo se često kretalo na ivici stvarnosti, gde bi se iskrivljeni debla drveća iznenada mogla otkriti kao spavajuće zveri.
Kasnije godine života proveo je u Lauvliji, umetničkom studiju blizu Prestfosa, gde je stvorio neka od svojih najznačajnijih dela. Uprkos počastima koje su mu dodeljene, kao što je imenovanje vitezem Kraljevskog norveškog reda Svetog Olava, njegove lične okolnosti postale su teške. Narušeno zdravlje i finansijske nevolje na kraju su primorili prodaju njegovog voljenog studija 1910. godine. Preminuo je u Jeløji, ostavivši za sobom korpus dela koji je postao neodvojiv od identiteta njegove domovine.
Njegov umetnički izlaz je bio raznolik, obuhvatajući mnoge metode:
Kroz njegove oči, norveški pejzaž nikada nije bio prazan; bio je to prostor naseljen sećanjem, mitom i tihom, opsedajućom lepotom.
