Early Life, Family and Training

Eilert Balle Lund entered the world on June 19, 1815, in Trondheim, Norway. He was born into a family headed by his father, Øivind Balle Lund, and his mother, Klara Birgitte Rosberg. Growing up in the heart of Trondheim, his early years were shaped by the local environment and the family life that surrounded him during his formative years in the Norwegian region.

His path toward becoming a painter began through formal instruction under Georg Frederik Berg. Studying in Trondheim, Lund worked to refine his technical skills under Berg's guidance. This period of training provided the foundation for his later work in various mediums, including oil on canvas and pastel. His education was not merely about the brush and pigment, but about developing the discipline required for a life dedicated to visual art.

The early development of his skills eventually led him toward a career that balanced creative practice with instruction. Before he became widely known for his portraits and religious works, he spent time as a drawing teacher in Trondheim. This role allowed him to engage deeply with the mechanics of form and line, a skill set that would remain central to his professional identity throughout his life.

Professional Career and Teaching

Lund’s professional life was marked by a variety of roles that took him away from the easel and into the service of his community. Between 1844 and 1849, he stepped away from his artistic pursuits to serve as a lensmann in Bjørnør. This period of administrative responsibility provided a steady rhythm to his life before he returned his focus more fully to the instruction of others.

By 1850, his path led him back to the classroom, where he spent much of his later years shaping the hands and eyes of young students. He held several teaching positions in Trondheim, sharing his knowledge of drawing at the public drawing school. His influence extended through the local educational system, as he also taught at the cathedral school and the boys' private school. These roles allowed him to remain a constant presence in the civic life of the city while maintaining his connection to the technical foundations of art.

Religious Commissions and Altarpieces

Much of Lund's professional life was spent creating triptych altarpieces, a format that allowed him to explore complex religious narratives. These works often featured a large central image flanked by side panels, which he frequently used to depict Moses and the evangelist John. His ability to handle these large-scale commissions saw him working in churches across various regions, from the southern reaches of Bratsberg to the northern landscapes.

His religious work was a steady presence in his career, though not without loss. In 1864, he completed altarpieces for the church in Soknedal, but these works were unfortunately destroyed in a fire. Despite such setbacks, his reputation for sacred art remained intact. He continued to receive commissions for various parishes, including work for the church in Mosjøen and a piece for Mo i Rana in 1866. His later years also saw him contributing to the spiritual spaces of Eide kirke in Nordmøre in 1871.

The following works represent his significant contributions to Norwegian church interiors:

• Altarpiece for Bratsberg kirke (1850)
• Altarpiece for Dolstad kirke (1856)
• Altarpiece for Eide kirke, Nordmøre (1871)

Key Works and Artistic Techniques

Lund found his greatest success through the soft textures of pastel portraits, a medium that allowed him to capture the likenesses of his subjects with a gentle touch. When working on larger scales, he turned to oil on canvas to bring his visions to life. His skill in this medium is evident in his 1856 work, Instruction in Lute Playing. He also applied his hand to several religious triptych altarpieces. These specific compositions often featured a large central scene flanked by side panels depicting Moses and the evangelist Johannes.

His portraiture extended into the sacred spaces of Norway, where he documented the people who served the church. In 1860, he painted a portrait of the organist Chr. Lindeman for Leksvik kirke. He also completed portraits of prost Bødtker and his wife, which were intended for Støren kirke. Through these various works, Lund moved between the intimate detail of a person's face and the structured requirements of formal religious art.