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Oil Paintings
Come From United Kingdom
An option that you can own an 100% hand-painted oil painting from our talent artists. |
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bruno liljefors Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators.
Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality.
The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1]
During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon.
He amassed a collection of animals to act as his living models. Ernst Malmberg recalled:
The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1]
The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote:
The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]
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bruno liljefors rav som lurar pa ander olja pa duk, 30x45cm,
1884, privat ago
se
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bruno liljefors rav som lurar pa trastar olja pa duk, 62x46cm
1887,privat ago
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bruno liljefors fyra jagande hundar isho olja pa duk, 44x102cm
1891, goteborgs kommun
se
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bruno liljefors tryckande hare olja pa duk
114x201cm
1914
se
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bruno liljefors hostmorgon med andjakt olja pa dukä, 42x52cm
1886. privat ago
se
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bruno liljefors andjakt olja pa duk, 70x100cm
1916, privat ago
se
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bruno liljefors tjuvskytt olja pa duk
190x118cm
1894
se
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bruno liljefors duvhok slar tjadertupp olja pa duk , 86x110cm
1881,privat ago
se
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bruno liljefors duvhok och orrar olja pa duk, 143x203cm
1884
se
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bruno liljefors kungsorn och hare olja pa duk, 150x235cm
1904
se
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bruno liljefors kungsorn och hare olja pa duk
1917, privat ago
se
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bruno liljefors larkfalk och angspiplarka olja pa duk, 80x100cm
1920
se
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bruno liljefors pilgrimsfalk och grasander grisaille, 49x39cm,
1890
se
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bruno liljefors rapphons med prastkragar olja pa duk 33x43.5cm
1890, privat ago
se
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bruno liljefors grasander i vass grisaille, 37x57cm,
1890, gkm
se
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bruno liljefors strackande ejder olja pa duk,
200x495cm
1901
se
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bruno liljefors sadgass olja pa duk,
155x200cm
1905
se
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bruno liljefors tjaderlek i gryningsljus olja pa duk
50x35cm,
1885, privat ago
se
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bruno liljefors ovan thorburne efter j. wolf tjaderlek. efter lord lilford, 1885-98
se
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bruno liljefors tjaderlek olja pa duk 186x275cm
1888, gkm
se
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bruno liljefors
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Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators.
Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality.
The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1]
During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon.
He amassed a collection of animals to act as his living models. Ernst Malmberg recalled:
The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1]
The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote:
The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]
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