Hans Fredrik Gude (1825-1903)

Aliases: H. F. Gude; Hans Gude

Professions: Landscape painter; Naval painter; Painter

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  HANS GUDE Norge 1825-1903 Fiskarfamilj vittjar

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  f - HANS FREDRIK GUDE NORWEGIAN, 1825-1903

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  HANS GUDE, Norge 1825-1903, Analkande oväder

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  HANS FREDRIK GUDE

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Hans Fredrik Gude Biography

(b Christiania [now Oslo], 13 March 1825; d Berlin, 17 Aug 1903). Norwegian painter. He was the most renowned Norwegian landscape painter of his time. At the age of 12 he was enrolled as a pupil of Johannes Flintoe (1787–1880). After attending evening classes at the Kongelige Tegneskole in Christiania, he went to Düsseldorf in 1841 to study privately with the landscape painter Andreas Achenbach (1815–1910). In 1842 Gude was admitted to the landscape class at the Akademie under Johann Wilhelm Schirmer. He was later appointed an assistant teacher at Schirmer’s private studio, and he succeeded his master as Professor of landscape painting both at the Düsseldorf Akademie (1854–62) and at the Karlsruhe Akademie (1864–80). In the 1840s Gude established his reputation in Norway and on the Continent with powerful images of the Norwegian mountains. These were shown in the Kunstforening galleries in Düsseldorf and Christiania and at the Berliner Akademische Kunstausstellung, where Gude exhibited throughout his life. Adolph Tidemand and Gude dominated the colony of Norwegian artists who studied in Düsseldorf in the mid-19th century. The two artists worked together on five paintings, all representing people in boats; Gude painted the landscape, Tidemand the figures. The Bridal Procession at Hardanger (1848; Oslo, N.G.) celebrates a ceremony of country life and is the most famous work of Norwegian National Romanticism. In a sunny western Norwegian landscape with snow on the high mountains, the bridal couple and wedding guests in national costume are shown rowing across the water from a medieval stave church on the headland in the background. Gude revealed greater maturity in High Mountain (1857; Oslo, N.G.). The disposition of mountains massed on the high plateau around a little lake produces an effect of monumentality. The predominant colours shade from grey to blue, concentrated in the cloud cover. The influence of Schirmer’s tranquil landscapes is apparent, while the rhythmic arrangement of light and shadow is reminiscent of Achenbach.

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