His style avoided sentimentality, showing life on the land as it really was. His paintings were faithful expression of what country life was really like for the poor.
Dividing his time between his home in Courrières and Brittany, he broadened his range of subjects and views – with mounting success.
Their landscapes developed a magic distinctive to the artist. Only by direct comparison are their similarities and differences made clear.
Some of his last magical paintings of the Norwegian mountains and farms, and a brief overview of the development of his prints.
Ignoring Cubism and modernism, he developed a magical realism, bringing to life the trees and corn stooks around his smallholding.
Gardens aren’t just for flowers, and paintings of vegetable gardens can be just as good art as the most resplendent roses.
After a visit to Berlin, his colours became more strident, and his brushstrokes looser. He also made many woodcuts, which influenced and informed his paintings.
With early success, he painted the rich colours of summer in western Norway, and some magical scenes of foxgloves and Midsummer Eve.
Natural Norway in the early 20th century, with its courting couple in a cowshed, watermills, dramatic fjords, and rugged hills.