Morten Müller
Morten Müller ( * February 29, 1828 in Holme beach, Norway, † February 10, 1911 in Dusseldorf ) was a Norwegian landscape painter.
Life
Morten Müller was the son of a police constable the same name, which allowed him to his talent appropriate training. He undertook the first studies to Lars Hansen in Trondheim. In 1847 he went to study art to Dusseldorf, first to Adolph Hans Fredrik Gude Tidemand and, later as a student at the Academy under Johann Wilhelm Schirmer and Rudolf Wiegmann. Strongly influenced he was by August Cappelen and the Achenbach brothers. Returned in 1848 because of the revolution all Norwegians from Dusseldorf to Norway. From 1850 to 1851 he lived in Stockholm, where he the future King Charles XV. and Marcus Larson met, with whom he painted pictures together. 1851-66 he lived again in Dusseldorf, where the Norwegian painter closer to the current art scene felt than in their homeland and traveled only in the summer in his home. Müller married on September 27, 1857 in Jonkoping Constanze aus'm Werth ( 1834-1914 ). 1863 met him Bjørnstjerne Bjørnson in Dusseldorf know and appreciate. As a result of the German war, he moved in 1866 to Christiania over. 1869 invited Karl XV. him, Gude and other painters after a Ulriksdal. After the death of Johan Fredrik Eckerberg he took over in 1870, the painter of this school founded in 1859 in Christiania, but had to leave in 1873 after a dispute with the also working there painter Niels Bergslien. He moved then for the third time to Dusseldorf, where he stayed from then on. From 1894 until his death in 1911 he was a member of the Düsseldorf artist club paintbox.
Work
He painted the Norwegian landscape in all its diversity, fjords, lakes, waterfalls, forests and coasts. The best known were his depictions of old pine forests, where mostly small lakes or a view of a fjord located. " Of particular interest, " writes Meyer in 1888, " are his depictions of Nadelholzwaldungen the transition of the valleys in the high mountains. " Another common motif miller were prospects of elevated viewpoints. His paintings were mostly in the sense of the late Schirmer composed ideal landscapes with a train to the grandiose and monumental. Behind this was the model of Dutch landscape painting of the 17th century. Müller but transposed this into rough Nordic landscape whose characteristics he sought to reproduce. Of his teachers, he also differed by its coarser brushwork. They elaborated landscapes always show people or traces of people. In addition, Müller also painted small-scale open-air studies, which he also fully signed and sold. After 1880 the idealized landscape became unfashionable, and Muller had to review the Younger, for example by Christian Krohg, accept. The pine landscapes were no longer so much in demand and he began like most Norway painters of this period, mainly to paint fjord landscape with tourist steamers. His paintings were lighter and airier, and he simplified the painting even more.
Müller -fed, inter alia, the world exhibitions in 1855, 1862, 1867, 1873 and 1898. 1874 he became a member of the Academy of Stockholm, 1875 court painter. His paintings were bought by art associations Christiania, Bergen and Trondheim, the King of Sweden and of Frederick William IV. 1897 corporation organized Blomqvist a solo exhibition on the occasion of its 50th anniversary painter.
Ludvig Munthe was his pupil.
Selections
- Area at Christiania, 1855 ( National Gallery, Oslo, Purchase 1857),
- Entrance to the Hardangerfjord, ( National Gallery Oslo, Purchase 1867),
- Pine forest ( in the Gallery at Hamburg )
- Two landscapes in the Museum of Stockholm and two others in the Museum at Bergen,
- Large pine forest,
- Romsdalsfjord with historical figures are by Tidemand (1876 ),
- Night fishing in Norway
- Norwegian Waterfall with fir forest (1879 ) ( Image Gallery Bergen)
- Norwegian fishing village on Christiania (1880 ),
- Norwegian Forest area with Elentieren,
- Norwegian forest (1883 )
- Norwegian distance vision (1886 )
- Worshiper in the landscape ( National Gallery Oslo, Legate 1902)