The art of one of the painters I am looking at today was compartmentalised as being works of a Naturalism genre and also of a Realism genre. So what is Naturalism and how does it differ to Realism when appertaining to art?
The best way to describe Naturalism is to say that it is a type of art that pays attention to very accurate and precise details. It is painting which is true to what we see without any falsification or artistic interpretation. That sounds like Realism !
Naturalism was an artistic movement, which came into being in the mid-nineteenth century and embodied things closer to the way we observed them. Prior to this, depictions of landscapes or human beings tended to be idealised or rendered according to precepts resulting from the traditions of classical art. Naturalism was a denouncement of the fantasy world of Romanticism, which had flourished from the late eighteenth century into the first half of the nineteenth century. Naturalism is also often associated with plein air painting.
But is this not the definition of Realism? The two are close but Realism, especially Social Realism, focuses more on social realities and concentrates on content rather than the methodology of the work. Realism tends to deliberate on who or what is being painted rather than how it was painted and realist depictions often muse over ordinary people, who are often struggling with life. Often Realism paintings have a moralistic story to tell and they then tend to be viewed as a commentary on the social and political life of the day. Naturalism tends to be more about how the work has been painted ensuring that it is true to life.
Christian Krohg was born in Vestre Aker, a district of the city of Oslo on August 13th 1852, the son of the journalist and publisher, Georg Anton Krohg and Sophie Amalie Holst. His paternal grandfather, Christian Krohg was a lawyer, government minister, and had at various times served as Minister of the Interior and Minister of Finance.
Christian was the second-born of their children and had four sisters, Anna Helene Nicoline, born in June 1850, Stine Marie, born in December 1854, Nanna born in January 1859, and Sophie Amalie Holst born in April 1861. Christian’s mother died on April 28th 1861, seven days after having given birth to Sophie and maybe in memory of her mother she was also named Sophie Amalie Holst. In June 1868 more sadness was to befall Christian’s family when Christian’s younger sister, Nanna, contracted tuberculosis and died, aged nine.
The D.O.M. stands for Deo Optimo Maximo which means – To God most good, most great.
Following his normal schooling Christian went to the Royal Frederick University (now the University of Oslo) in 1869 to study law, the plan, probably fostered by his father, being that he would become a lawyer, like his grandfather. However for Christian his main interest was art and maybe through an agreement with his father that if he studied for a law degree he would be allowed to also attend art classes at the local drawing schools. He attended both Johan Fredrik Eckersberg’s private art school from 1869 to 1870 and later the drawing class of Julius Middelthun, the Norwegian sculptor, at the Royal School of Art and Design of Christiana (Oslo).
On April 13th 1873, during his university studies, Christian’s father Georg died, aged fifty-six. The following year, at the end of his five year law course, he attained a law degree but instead of practicing law he decided to travel to Germany with his friend and fellow artist, Eilif Peterssen and they both enrolled at the Baden School of Art in Karlsruhe, where two of his professors were Karl Gussow, the German Realist painter, and Hans Gude, the Norwegian Romanticist painter and one of Norway’s foremost landscape painters. Gude spent most of his adult life as a professor of art and was a leading figure in the advancement of Norwegian art. To young, aspiring Norwegian artists of the mid and late nineteenth century, Gude was a god and they would travel to Germany to enrol on courses taught by him at academies in Dusseldorf, Berlin and Karlsruhe.
Christian Krohg remained at the Baden School of Art in Karlsruhe for a year before moving on to the Berlin Academy in 1875, a move that had already been made by his former professor, Karl Gussow. Krohg remained in Berlin for three years. Whilst there he made friends with the German symbolist painter, Max Klinger and the Danish writer and philosopher, Georg Brandes. Brandes writings were centered on the concept of realism and were diametrically opposed to the world of fantasy in literature. He was looked upon as the founder of the Cultural Radicalism movement. According to Aarhus Universitet’s Institut for Kultur og Samfund, Cultural Radicalism can be looked upon as:
“…Cultural radicalism must be understood from its cultural and philosophical origins in the modern breakthrough in the last half of the 19th century, as well as from the actual roots of rationalism of enlightenment. In Denmark, cultural radicalism has rooted in the bourgeois radicalism of the 1870s and in the intellectual environment around the brothers Georg and Edvard Brandes and Viggo Hørup. The bourgeois radical ideas constituted a cultural battle against the authority of the church and the state, and they concerned in particular the right to individual expression, freedom of opinion and tolerance, and criticism of what was considered to be a restricted, oppressive and colorless civil culture…”
Charles Lundh, a Norwegian painter, lived together with Christian Krohg and the Swedish painters Johan Krouthén and Oscar Björck in a house in Skagen in 1883
Krohg was very attentive to the views of Brandes and became more aware of the social and political problems of the time. These views were enhanced by the poor quality of his living standards during his time in Berlin, which almost bordered on out and out poverty More importantly for Krohg it was his friendship with Georg Brandes that led to him being introduced to Emile Zola, the great French writer, playwright and journalist. Zola was interested in the world of art and as a journalist in the late 1860’s and early 1870’s, he produced many newspaper articles defending the art of Cézanne, Manet, and the emerging Impressionists, such as Monet, Renoir and Degas, all of whom were being criticised by the artistic elite. It was also Zola who first coined the term Naturalism, defining it as a literary movement, which gave emphasis to observation and the methodology used in the fictional portrayal of reality.
It was in the following year, 1876, that Krohg exhibited his painting entitled A Farewell. For the time he concentrated on his portraiture and two works of note was his 1876 portrait of Lucy Eyeberg and his depiction of his friend Georg Brandes which he completed in 1879
The year 1879 was of great importance to Christian Krohg as it was during that summer that he first went to Skagen, a Danish fishing community on the north coast of Jutland. Christian and his fellow Norwegian painter and former fellow student in Karlsruhe, Frits Thaulow, travelled to Skagen in Thaulow’s small sailboat and remained there through to the end of autumn. Skagen had become a summer meeting place for artists in the late 1870’s and remained such up until the end of the nineteenth century.
It was because of its favourable natural light that it was so popular with the plein-air artists from Scandinavia, such as husband and wife artists, Anna and Michael Ancher, Peder Severin Krøyer and his wife Marie, Karl Madsen and Viggo Johansen, as well as painters from northern Europe. It was this fascination with the changing natural light that had also inspired the Impressionists. Many of the Skagen artists had spent time in Paris and they were influenced by the French Barbizon artists and the world of Realism. This style of painting was contrary to the inflexible conventions set out by academies such as The Royal Danish Academy of Fine Arts and the Royal Swedish Academy of Arts, which believed students should adhere to painting in the favoured Academic styles of Historicism and Neoclassicism. Michael Ancher, Karl Madsen and Viggo Johansen had also studied at the Royal Danish Academy in Copenhagen.
The early members of the Skagen artistic community had been befriended by Brøndum family, who were the owners of a local shop/bar and soon it became the meeting place for the Skagen painters and their literary friends. Peder Severin Krøyer became very friendly with the Brøndum’s fifteen-year-old daughter Marie and six years later the pair were married.
Christian Krogh became a regular summer visitor to Skagen during the mid and late 1880’s and it was during those times that he focused on one family, the Gaihede family, for the subject of many of his works. Husband and wife, Niels and Ana Gaihede, along with their son Rasmus and daughter-in-law, Tine and their two children Ane and Sofus. One such painting featured the matriarch of the family Ana Gaihede who modelled for Krohg’s 1879 painting Woman Cutting Bread. Sixty-six year old Ana is seen in three-quarter length profile against a blank background, save for three small pictures, which allows us to focus completely on the subject of the work. It is a fascinating depiction, which gives us an insight into the people and their culture of the time.
In another of Krohg’s works featuring the Gaihede family, The Net Mender, we see both Ana and her husband Niels depicted. In this 1880 work Niels can be seen repairing his fishing net whilst Ana sits stony-faced in the background making balls of fibre, which will be used in the repairing of the net. The walls of their home are a dull grey and the only thing breaking up the monotony of the colour are a few magazine pictures of animals and boats which may have been for the benefit of Sofus their six-year-old grandson. Looking at the interior furnishings of the home and the dress of the two characters one can detect a frugal standard of living, maybe not poverty-stricken but one in which every krone counts.
Christian Krohg won a state stipend in 1881 and travelled to Paris, where he taught at an art school for women. In those days most of the prestigious art establishments denied women access to art tuition and Krohg could see the error of this dictate and wanted to be supportive of the female cause. Maybe Krohg was sympathetic with regards the plight of women in general as it is known that at about this time he was also becoming more and more interested in painting pictures which highlighted people’s struggle with everyday life and especially the great effort women had to make just to survive.
In 1881 he completed a very poignant painting entitled The Sick Girl. It was the depiction of a girl who had been struck down by tuberculosis and was dying. Krohg would be painfully aware that this killer disease had also taken his youngest sister, Nanna, thirteen years earlier. It is a haunting depiction. The girl sits upright in a wooden chair with a cushioned back. A thick woollen blanket covers the lower part of her body. Look at the girl’s tight-lipped facial expression. It is a mixture of sadness and fear. Maybe she is aware that her life is ebbing away. Her hands are tightly clasped together, as if in prayer, as she clutches the stem of a pale pink rose, the leaves and petals of which are starting to fall to the ground. The rose like the girl is dying. One cannot help but be moved by such a depiction.
During his time in the French capital he became influenced by the works of Édouard Manet and his modern scenes, which were often controversial. Even now, Manet is looked upon as the father of modernism. During his stay in Paris Krohg had two of his works accepted for the 1882 Salon. One of which was entitled Port Side, which he had started whilst living in Berlin but did not complete until 1879 whilst living in Skagen. It is a depiction of great detail. Look how Krohg has portrayed the clothes worn by the seaman. They have been well worn and impregnated with oil and dirt. They are old and have had to be patched and these details, along with the backdrop of the rough seas, add to the atmospheric mood of the work and we can sense how the bow of the vessel is about to dive headlong into the unforgiving swell.
During his stay in Paris Krohg had been very interested in the works of the leading French Social Realist painters of the time, Jules Breton, who was known for his depictions of peasant themes, Jules Bastien-Lepage, a painter noted for his sentimental naturalistic paintings of rural life and Léon Lhermitte, whose main theme for his paintings was also rural scenes depicting peasants at work.
Krohg’s developing interest was the plight of women and their everyday trials and tribulations, which had to be overcome just to survive. Tiredness is one of the greatest afflictions that beset mothers with small children and Krohg’s 1883 painting Mother and Child highlights this perfectly. The work is housed in the National Museum of Art, Architecture and Design in Oslo.
Again exhaustion features in his 1885 work simply entitled, Tired, which shows a young woman who has fallen asleep during working on her sewing machine.
In the second part of the blog about Christian Krohg and his family I will be looking at his fascination with and his depiction of “fallen women” and how it got himself into trouble with the authorities. I will also look at the life of his wife, Oda, and his unusual and sometimes turbulent marriage.
my daily art display 