Z všech obrazů autora Halfdan Strøm je nejznámější dílo Portrait of Mathea Strøm, the Artist's Mother (1885); visí v Národní muzeum umění, architektury a designu, Oslo. Hned za nimi následují Dolce far niente. Interior with the Artist's Parents (1883) a Girl Friends (1888). Z 21 děl umělce Halfdan Strøm v našem katalogu je těchto 21 nejuznávanějších, z nichž každé je uvedeno s datem vzniku, muzeem a příběhem.
Seřazeno podle našeho skóre popularity, které kombinuje počet vyhledávání, návštěv a objednávek u každého díla. Aktualizováno listopad 2026. Každý obraz na této stránce lze objednat jako ručně malovanou olejovou reprodukci na lněném plátně, nebo jako umělecký tisk vyrobený v požadovaném rozměru.
2 muzea, v nichž je umístěno nejvíce obrazů z této stránky.
| Muzeum | Město | Díla autora Halfdan Strøm | Obrazy z tohoto seznamu |
|---|---|---|---|
| Oslo | 16 | Portrait of Mathea Strøm, the Artist's Mother, Dolce far niente. Interior with the Artist's Parents, Girl Friends | |
| Oslo | 5 | Portrait, Portrait, Self-portrait |
Portrait of Mathea Strøm, the Artist's Mother (1885), Národní muzeum umění, architektury a designu, Oslo. Následují Dolce far niente. Interior with the Artist's Parents (1883) a Girl Friends (1888).
Halfdan Strøm, narozen 1863, měl 22 let: dílo Portrait of Mathea Strøm, the Artist's Mother pochází z roku 1885.
Portrait of Mathea Strøm, the Artist's Mother, Dolce far niente. Interior with the Artist's Parents, Girl Friends, From the Restaurant in the Labour Society in Torvgaten, The Violin Player, Farm Interior, Portrait of a Woman, Portrait of Emilie Gulowsen, b. Gabrielsen, Portrait of Museum Director Emil Hannover a Scene from the Vegetable Market. U každého plátna v uvedeném žebříčku je uveden rok jeho vzniku a muzeum, ve kterém se nachází.
V našem katalogu je 21 děl umělce Halfdan Strøm, datovaných od 1883 do 1920.
Většinou v Národní muzeum umění, architektury a designu (Oslo) a Oslo Museum (Oslo); výše uvedený seznam obsahuje názvy jednotlivých muzeí a jejich pláten.
V období 1880s, které tvoří 6 z 21 děl na této stránce, mezi nimi i Portrait of Mathea Strøm, the Artist's Mother.
Nejstarší plátno se zde datuje do Dolce far niente. Interior with the Artist's Parents (1883); nejnovější je z Self-portrait (1920).
Muzeum Národní muzeum umění, architektury a designu, Oslo se vlastní 16 děl z této stránky, mezi nimiž jsou i Portrait of Mathea Strøm, the Artist's Mother, Dolce far niente. Interior with the Artist's Parents a Girl Friends.
Ano. Každý obraz na této stránce lze objednat z jeho vlastní stránky jako ručně malovanou olejovou reprodukci nebo jako umělecký tisk v požadovaném rozměru.
Norway, 1883. The Industrial and Art Exhibition at Tullinløkka provides the stage for a debut. Halfdan Strøm, fresh from his studies at the Royal Drawing School in Kristiania, presents his vision to an audience in Oslo. He moves quickly from the local scene toward the broader European landscape. Munich becomes his classroom during 1883 and 1884, a period of intense technical absorption. The light changes as he joins Frits Thaulow in the outdoor academy at Modum. Here, the focus shifts to the immediate, tangible world.
The year 1889 marks a significant shift in international recognition. In Paris, at the World Exhibition, his work Skomakerverksted earns an honorable mention. This moment anchors his place within the early movement of realism in Norwegian painting. He does not merely observe; he captures the weight of everyday life through oil on canvas and board.
The trajectory moves from student to leader. Strøm occupies a central position in the Norwegian art establishment, serving as a professor at the Norwegian National Academy of Fine Arts from 1909 until 1935. By 1924, he assumes the role of Director at the same institution. His influence is codified through honors: Knight, First Class of the Royal Norwegian Order of St. Olav in 1910 and Commander of the Danish Order of the Dannebrog.
Gold medals follow his travels across the globe. The halls of the World Exhibition in Paris in 1900, the galleries of Munich in 1901, and the exhibition in San Francisco in 1915 all witness his technical precision. His work remains grounded in a specific reality, often utilizing an interplay of light and shadow to define form.
His oeuvre contains a deep connection to personal and social subjects. Some works focus on the intimate, such as the 1885 Portrait of Mathea Strøm, the Artist's Mother, while others capture the pulse of public life. The following pieces represent his varied gaze:
His legacy is held within the permanent collections of the National Gallery of Norway and the National Museum of Art, Architecture and Design. Through these works, the realism he helped establish remains visible in the textures of Norwegian life.