Mathilde Smith, 1824 – 1882
Mathilde Smith's 2 Most Famous Paintings
Painting (1900) is the painting Mathilde Smith is best remembered for; it belongs to the Eidsvoll 1814, Eidsvoll. Our catalogue counts 2 works by Mathilde Smith. Here are the 2 most famous, with the year, the museum and the story of each canvas.
Ranked by our popularity score, which combines the searches, visits and orders for each work. Updated November 2026. Each painting on this page can be ordered as an oil reproduction painted by hand on linen canvas, or as a fine art print, made to the size you choose.
- Born · died
- 1824 – 1882, Oslo
- Works in our catalogue
- 2
- Most famous
- Painting (1900)
- Most works at
- Eidsvoll 1814
The ten best-loved paintings by Mathilde Smith
2
Painting
Hand-painted oil reproduction from $178 29 × 34 cm
Same size as the original $298 64 × 77 cm Order at original size →
Where Mathilde Smith's canvases hang
The museum that holds the most of the paintings on this page.
| Museum | City | Works by Mathilde Smith | Paintings from this list |
|---|---|---|---|
 Eidsvoll 1814 |
Eidsvoll | 2 | Painting, Painting |
Mathilde Smith's canvases, question by question
Which canvas is Mathilde Smith most remembered for?Read the answer
Painting (1900).
How many paintings did Mathilde Smith create?Read the answer
2 works by Mathilde Smith are in our catalogue.
Where do Mathilde Smith's most famous canvases hang today?Read the answer
Mostly in Eidsvoll 1814 (Eidsvoll); the list above names each museum and its canvases.
Which paintings by Mathilde Smith are held by the Eidsvoll 1814?Read the answer
The Eidsvoll 1814, Eidsvoll holds 2 of the works on this page, among them Painting and Painting.
Where can I buy a reproduction of a Mathilde Smith painting?Read the answer
Yes. Every painting on this page can be ordered from its own page as an oil reproduction painted by hand, or as a fine art print, in the size you choose.
Meet the painter: Mathilde Smith
The Düsseldorf Influence
The landscape of 19th-century Norwegian art finds a distinct voice in the works of Mathilde Smith. Born in Oslo in 1824, she began her formal training at the Royal Drawing School in Christiania under Johannes Flintoe. By 1850, her trajectory shifted toward the rigorous academic traditions of the Düsseldorf School. Studying under Hans Gude and Johann Wilhelm Schirmer, she absorbed a specific visual language: a preference for dark palettes, meticulous detailing, and the dramatic interplay of mountains and sea. Her early output reflects this training, often leaning into the national romanticism of the era.
In 1852, a state travel scholarship allowed her to venture into the rugged terrain of Telemark. Traveling alongside Aasta Hansteen, she captured the essence of the Norwegian wilderness. This period produced works like Landskap med tjern, where the influence of her mentors meets the raw, topographical reality of the Norwegian landscape. Her compositions often integrated figures in traditional folk costumes, grounding the dramatic scenery in a specific cultural identity.
Evolution of Light and Space
As the decades progressed, the heavy, somber tones of her youth began to recede. A significant shift occurred in the late 1860s. The shadows that once dominated her canvases gave way to a lighter, more luminous approach, reminiscent of the style of Johan Fredrik Eckersbergs. This transition was not merely a change in color, but a fundamental shift in how she perceived the atmosphere of the North.
Her later career saw her moving through several significant locations and professional milestones:
- The establishment of an atelier at the Royal Palace in Christiania in 1867, a distinction granted by King Karl IV.
- A period of residence in Munich from 1871 to approximately 1880, where she marketed both German and Norwegian landscapes to international art associations.
- Frequent exhibitions across major Norwegian cultural hubs, including Trondheim and Bergen.
The change in her palette was noted by contemporary observers. While many sought the dark, wintry moods of the Norwegian landscape, Smith’s later works, such as Henover Hardangerfjords Vande, embraced the warmth of sunlit days. This shift toward brightness allowed her work to function as a source of light within the domestic spaces of her viewers.
Final Years and Legacy
Mathilde Smith remained a dedicated observer of the natural world until her death in 1882. Her ability to navigate the transition from the dark, detailed romanticism of the mid-century to the lighter, more atmospheric styles of the late 1800s marks her as a versatile figure in Norwegian art history. She was one of the few women of her time to establish a professional presence as a landscape painter, navigating the academic circles of Düsseldorf and the urban art markets of Munich. She died in Lovisenberg, leaving behind a body of work that captures the shifting light of the Norwegian landscape.