After a period writing for his living, Krohg painted two series: one about sailing and the sea, the other about the artist’s model.
His last ‘naturalist’ or social realist painting was in 1889. He also painted his family, and evocative motifs to support Norway’s coming independence.
In the 1880s, he developed new themes, involving tiredness, cares of motherhood, and fallen women who had gone from slaving at sewing machines to prostitution. Paintings became part of social campaigning.
A social realist whose themes spanned controversial topics such as poverty and prostitution, he was a major influence of Edvard Munch, and central to Nordic and northern European art.
His romantic views of the North Cape of Norway and the Northern Lights were for many their first glimpse of the uttermost north.
Who is the wanderer and painter in Thomas Fearnley’s landscapes? Does he have any deeper purpose, or was he just a graphical signature?
An overview, comments on its narrative nature, and indexes to the previous articles about the Frieze.
Last of the four sections in the Frieze, it consists almost entirely of paintings added since the first version. These show episodes from Munch’s own life.
With the love affair over, the Frieze tackles the resulting anxiety, in which the key themes in its first painting are developed in detail.
The second section maintains the botanical metaphor, in which love flowers, and passes. Six superb paintings explain.