'Northern Gods in Marble'

Home , Adolph Tidemand, Hans Gude, Henrik Wergeland, Johan Herman Wessel, Johan Sebastian Welhaven, Knud Baade

‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT

ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to

contemporary culture during the ﬁrst half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The

] Romantic interest in Norse myths and heroes held sway over artists and writers throughout

the 19th century......

KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism.

Introduction

Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythology. The young man has discovered the Norse myths through a recently published work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods:

‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic mythology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. They were mean, capricious and treacherous. The gods of our Danish forefathers are as much more divine than they as the Druid is no- bler than the Augur. For the fair gods of Asgaard did possess the sublime human virtues, they were righteous, trustworthy, benevolent and, even within a barbaric age, chivalrous.’

(Blixen 178)

The old baron, however, defends the established mythology of the Greeks. The alleged mildness of the Norse gods he despises as weakness, while admiring the Greek gods for their almighty power. In this encounter, Karen Blixen has given

KNUT LJØGODT, Director of The Art Museum of Northern Norway, Tromsø Aarhus University Press, Romantik, 01, vol. 01, 2012, pages 141-165 141 776) 1 These ( 1 The Poems of The Poems 770, the poet 1 . These opposite against the rational- against Later, he painted Thor Later, 770s. In 3 1 770s, they became where 1 02). 1 8th century, when new ideas when new 8th century, 1 768), an interpretation of ‘The768), an interpretation l’ancien regime 1 37-40; Histo- Uthaug 92-93; Ljøgodt, 44). Sturm und Drang Drang und Sturm 1 1 22- 1 8; Nettum 8; Nettum and, five and, five Rolf) published the historical Krake drama 11 1 Each nation now wanted to find its own heroes and to and to heroes find its own to wanted nation now Each 2 78 6). 1 809) and the Anglo-Swiss Henry809) and the (Johann Heinrich Anglo-Swiss Fuseli 1

1 5- 8th century subjects, among them authors also used Norse 1 1 743- 1 743- 1 760s by the Scottish writer the760s by Scottish in his James Macpherson, 825). They both studied in Rome in the studied both 825). They 1 1 -

1 8th century German Gottfried as Johann by such Herder philosophers 1 74 1 The Nordic Renaissance Around the same time, subjects from Norse mythology were also appearing were mythology Norse the same time, subjects from Around The rediscovery of Norse history and mythology – often referred to as the – often to history referred and mythology of Norse The rediscovery The first attempt to create a literature based on national themes made as was a literature create to attempt The first in the visual arts. Two pioneering the artists Dane Nico- in this were respect in the visual arts. Two ( lai Abildgaard friends. At this time, the two artists started to depict Norse subjects. Fuseli took took friends. subjects. Fuseli artists this At started Norse depict time, the to two the Prophecy of Balder’s Death Odin Receives his drawing for the inspiration rien fremstilt i bilder ‘Nordic Renaissance’ in the‘Nordic place in Denmark – took reinvent its own mythical past. For the Scandinavian nations, this nations, the necessitated Scandinavian For past. mythical its own reinvent mythology. of the and of Norse history of theera saga investigations early as the early and the Schlegel brothers. Soon, themes from folklore, mythology and history mythology folklore, Soon, themes from brothers. and the Schlegel artists also visual – in Germany eventually authors – and different by treated were world. of theand in the Western rest opposed the of the old ones: the emotions must mythology and Romantics’ with Norse fascination The Proto-Romantics and of theirbe seen in the period’s light Revolution The French national ideals. Among the the fresh- political map of Europe. had changed Wars the Napoleonic define a need to there as the was old kingdoms, as well nation states, emerged ly na- nations and peoples. The idea of defining theboth identity of the different exploring in tions and peoples by introduced their and history first culture was the late ism of the Enlightenment, as well as the desire for liberty as the for desire and the as well ism of the discovery of Enlightenment, of the powers supreme national identity against and the of the old man, who use the by young gods represented here are forces as their allegorical champions. respectively of Olympus and Valhalla that belonged to the circle around the Norwegian Society [Norske Selskab] in Selskab] [Norske Society the Norwegian around thethat to circle belonged (BliksrudCopenhagen 98- us a good illustration of the the situation in late illustration us a good from Gray’s poem (Monrad and Nørgaard Larsen Larsen and Nørgaard poem (Monrad Gray’s from Dreams of Balder’Dreams the Elder Edda. Other from Scandinavian draumar] [Baldrs writers in the late Johannes Ewald ( Johannes Ewald Füssli, poems about mythical heroes became a craze throughout Europe, including in including Europe, throughout a craze became heroes poems about mythical countries the Scandinavian (Mjøberg, vol. , which are recognized are as the The Death of Balder, which the aforementioned later, years literature. Scandinavian into and myths gods the that Norse reintroduced works the had addressed author the Thomas Gray earlier English years a few However, same subject in his poem ‘The Descent of Odin’ ( , presented as a cycle of ancient, Celtic or Gaelic epics (Macpherson). of ancient, as a cycle Ossian, presented

ROMANTIK · 4 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 43 1 790. 1

d Serpent, Thor Battling the Midgar cm. Royal Academy of Arts, London] 1 x 9 1 3 1 [Henry (Johann Fuseli Heinrich Füssli), 1 Oil on canvas, Ill. 777). 1 777; its subject ill. 2) takes 1 (ca. w Audhumbla, (ca. ) as his reception piece for the Royal Acad- the Royal piece for ) as his reception 1 790; ill. 1 ( 4 Ymer Suckling the Cow Audhumbla Suckling Ymer Abildgaard’s Abildgaard’s Abildgaard also depicted other subjects from Norse and Germanic mythology Norse subjects from also depicted other Abildgaard and history later in his career. Both Abildgaard and Fuseli were scholarly artists scholarly were and Fuseli Abildgaard Both and history later in his career. but also in the Ossian mythology in Norse only themes new not who researched alternatives These themes offered of Shakespeare. as the works poems, as well until this which time had of the Classical world, the mythology to established the also important Romantics, it was For art and literature. dominated Western had national relevance. mythology that Norse from the Norse creation myth. creation the Norse from Ill. 2 [Nicolai Abildgaard, Ymer Suckling the Co Serpent Battling the Midgard emy of Arts in London. emy Oil on canvas, 37 x 45.5 cm. Statens Museum for Kunst, Copenhagen, photo SMK Foto] Oil on canvas, 37 x 45.5 cm. Statens photo Copenhagen, Museum for Kunst,

ROMANTIK · 44 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 45 , 1 1 80 807- one. 1 1 Æstetiske The Gods of the 6). Furthermore, 30). 808, he published 1 1 845) and his circle 845) and his circle 4, Norway gained a gained 4, Norway 1 5- 1 1 8 1 808- 1 847) and Pehr Henrik Ling and Pehr 847) 1 850) published a dissertation 783- 1 1 779- 1 Æstetiske Skrifter defacing destructive the nature; latter the defacing Historien i bilder fremstilt 825) is a Romantic epic about the life and 825) is a Romantic epic about the life 1 of time. (‘Argument of the Poem’, Oehlen- of the Poem’, spiritvariable of time. (‘Argument 846), Gustaf Geijer ( Geijer 846), Gustaf 1 782- 1 840s (Mjøberg; Ljøgodt, 840s (Mjøberg; Ljøgodt, 1 9th century, subjects from Norse mythology became quite popular popular quite became mythology Norse subjects from 9th century, 1 9), he realized his dream of an epic based on Norse mythology. The mythology. on Norse of an epic based his dream 9), he realized 1 One of his arguments was that was One of his arguments the use of ancient history the stimulates 5 8 1 839). Tegnér’s Frithjof’s ( 839). Tegnér’s Saga 1 ( 830s and The Gods of theThe Gods Northin Literature 1 In Norway, saga history and Norse mythology were held in high regard as regard held in high were mythology history saga and Norse In Norway, There was also a great interest in Norse themes in Sweden, particularly in particularly themes in Sweden, in Norse also a great was interest There 776- 875) treated subjects from Norse mythology and history in several poems from poems from and history in several mythology Norse subjects from treated 875) 1 certain degree of independence, but was forced into a union with Sweden. This a union with into Sweden. certain degree forced of independence, but was and of course folklore – nature, all things an enthusiasmcreated Norwegian for ( Henrik Wergeland The poet history and mythology. people’s love for the fatherland. Norse themes became a part Norse the of a national pro- people’s fatherland. for love this material being of the also had advantage Oehlenschläger, to According gram. (Oehlen- than interpretation mythologies open to the established more more Skrifter’; ‘Fortale til Poetiske schläger, Oehlenschläger emphasized the allegorical value of Norse myths: the of Norse allegorical emphasized value Oehlenschläger ( ( themes, while the the writerurged use of Norse Welhaven Johan Sebastian 1 the As a poet, Oehlenschläger used Norse themes extensively. With themes extensively. used Norse Oehlenschläger As a poet, among Scandinavian authors and artists (Mjøberg; Grandien; Nykjær). In authors and artists (Mjøberg; Grandien; among Scandinavian of nature; conﬂicting powers the two (Giants), represent and the Jetter The Asar (gods), the embellishing the former creative, represent as the both, between Lok vacillates Gods of the North lxxix) schläger, North the ( Danish writer Oehlenschläger Adam defending the use of Norse instead of Greek subjects (Oehlenschläger, (Oehlenschläger, subjects of Greek instead the use of Norse defending Skrifter). deeds of the Viking hero Frithjof. It soon became well-known and was translated translated and was Frithjof.deeds of the hero Viking It soon became well-known among artists. Although source also a much-used it was languages; several into the literary more than epic’s theme it made historical is really or mythological, popular at the time. subjects highly Norse seen as an important of the nation; they age of the were golden representative the background against be considered part This must of thecountry’s identity. political situation. With the of constitution of Norway’s In the early In the early work was also intended as a source of inspiration for other poets, as well as paint- as well poets, other for of inspiration also intended as a source was work themes in Norse Danish writer Another interested who was and sculptors. ers In his hymns. for Grundtvig, known who is best F. N. S. was the milieu of the Gothic Society [Götiska Förbundet], which included authors included which Förbundet], the [Götiska of the milieu Society Gothic ( as Esaias Tegnér such a dissertation on Norse mythology in which he, like Oehlenschläger, regards the regards Oehlenschläger, he, like in which mythology a dissertation Norse on and between and evil, good as allegories of the and myths battlegods between intellectuals of the time. many civilization and barbarism, that held by a view was 9th cen- 1 863) brought out a book on Norse out a book on Norse 863) brought 9th century, the com- 9th situation was century, 1 1 0- 1 8 1 844, theirpointed out that he the arts have must 1

It soon became popular and ran into several later editions. several into It soon became popular and ran 6 840. 1 823, the Elder Edda was published in a Danish translation by the by 823, the published in a Danish translation Elder Edda was 1 - 1 2, a Danish theologian Jens Møller published a dissertation called on

1 82 8 1 1 820s onwards had a considerable impact on both Danish and Norwegian Norwegian Danish and on both impact had a considerable 820s onwards 1 Visual Arts Artists often their which the in subject matters found sources, original, Norse According to Høyen and others, folk culture was perhaps the important perhaps most was culture folk and others, Høyen to According Despite their different sources, all of these artists faced the same challenge: all of faced challenge: these artists sources, the same Despite their different this Møller’s topic. the the stimulate people’s nation for also to aim was love themes flourished of Norse the in the cultivation follow, to (Nykjær). In the years of Arts The art in Copenhagen. historian Lau- Niels Academy milieu of the Royal from in Copenhagen these at the pursued his lectures ideals; Academy rits Høyen the tury. In tury. artists at the time. Høyen stressed the of a national art, importance stressed essentially artists at the time. Høyen history and mythology. Old Norse the from use of subject matters encouraging in In an influential lecture Icelandic scholar Finn Magnusson, who also lectured on Norse mythology at mythology Magnusson, on Norse Finn lectured who also scholar Icelandic the books were importance Of equal Copenhagen. in Artthe Academy Royal In Norway, history the and published by historianson mythology of the day. A. ( Munch the pioneering historian P. Literature made Norse mythology popular, and soon many – Oehlenschläger in- – Oehlenschläger and soon many popular, mythology made Norse Literature in painting and sculpture subjects of depicting such the question – raised cluded In too. roots in the people and in the history of the nation if they were to have a chance a chance in the people and in the have to historyroots of the nation if they were among the people. of finding acknowledgement the throughout modern languages into Scandinavian translated were pletely the opposite. Artists simply had no idea about how the Old Norsemen the Norsemen Old had no idea about how the opposite. Artists simply pletely the impor- themselves set therefore They and heroes. had imagined their gods this, on artists drew achieve To iconography. a Norse tant task of developing and combined it with the that available, limited material was the era saga from and the and periods cultures antiquity other as Greco-Roman models from such artists of this, many One of the identified by ages. dangers medieval European of the that time, was their Classical than become more depictions could Norse (Wilson). preserved elements of peoples supposedly these artists. for different The source the Scan- times – for ancient to back that could be traced tradition an unbroken How should they depict the gods and heroes of the Norse universe? Literary universe? of the should they Norse and heroes depict the gods How knowledge this At stage, but what about visual sources? available, were sources about the very material was limited. The archaeological of the era culture Saga late in the place until century. take did not of Viking ships and graves excavations both Classical mythology, themes from for an abundance of sources was There iconography. literary had an established addition, this and visual. In mythology half of the in the first mythology Norse For However, many of the painters and sculptors of the period seem to have found found the of period of the have and sculptors seem to painters many However, Teg- as Oehlenschläger, authors such of contemporary their in the subjects works nér or Welhaven. mythology in mythology

ROMANTIK · 4 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 47 1 9th century, in paral- 9th century, 1 853), both professors at professors 853), both 7. 1 8. Eckersberg’s first large large first 8. Eckersberg’s 1 1 8 1 8 1 , 783- 1 26-30). Echoes of this 26-30). Echoes debate The Death of Balder 78 cm. Det Kongelige Danske Kunstakademi, Copenhagen, Kunstakademi, Copenhagen, Danske 78 cm. Det Kongelige 1 66; Ljøgodt, Historien66; Ljøgodt, bilder fremstilt 42 x 1 1 64- 1 867) and Christoffer Wilhelm Eckersberg ( Wilhelm Eckersberg 867)Christoffer and 1 Northern Gods in Marble Not everyone shared the Romantic enthusiasm for Norse themes. The move- the shared Norse Romantic enthusiasm for everyone Not 777- 1 could be heard in Scandinavian countries the in Scandinavian throughout could be heard ment’s as pointing partly such opponents used arguments that practical, were the models, and partly claiming Northernout the aesthetic, of Norse lack cul- be crude (Meldahl and to ture the of the and lacking refinement Classical world Johansen dinavian people meaning to their Viking forefathers. Thus, in many history paint- Thus, in many their people meaning to Viking forefathers. dinavian carvings as tapestries artefacts such subject matters, and wooden ings with Norse Romantic thinking, which element in National This idea became a central appear. Tidemand. paintings of Adolph life the instance, folk later in, for echoed was Ill. 3 [Christoffer Wilhelm Eckersberg, the Royal Academy of Arts in Copenhagen from of Arts from in Copenhagen Academy the Royal photo Det Kongelige Danske Kunstakademi] Danske Det Kongelige photo Two of the Danish artists who depicted Norse themes were Johan Ludwig Lund themes of the were artists Danish who depicted Norse Two ( lel with the artists’ attempts to give the Norse gods physical form. physical gods thelel with Norse give the to artists’ attempts Oil on canvas, 0). 1 8 1 8th century. 8th century. 1 820). 1 7; ill. 3) as a reception piece 7; ill. 3) as a reception 1 8 1 854) displayed a drawing at this a drawing 854) displayed 1 8, the Gothic Society organized the organized 8, the Society Gothic 1 782- , a subject he later also executed as a , a subject he later also executed 8 1 1 807). The deathmyths of Balder and related 1 ( alkyries Riding to Battle, (ca. Riding to alkyries V

0 cm. Nationalmuseum, Stockholm, photo Erik0 cm. Nationalmuseum, Stockholm, photo Cornelius] 1 Balder the Good 40 x 2 1 7, Pehr Henrik Ling gave a series of lectures in Stockholm, urging the a series in Stockholm, of lectures Henrik Ling gave Pehr 7, 1

4- 1 8 1 In Sweden, artists in the circles around the Gothic Society and The Society for for and The Society the Society Gothic artists around in theIn Sweden, circles In The subject matter is based partly on the Elder Edda, and partly on Oehlen- the Study of Art [Sällskapet för Konststudium] took on the challenge of depict- on the took challenge Konststudium] för the of Art Study [Sällskapet subjects. ing Norse Oil on canvas, use of Norse myths in the visual arts. myths In use of Norse ﬁrst of a series of exhibitions, asking for works with subjects from Norse history Norse with subjects from of a series works ﬁrst of exhibitions, asking for Sandberg ( Johan Gustaf and mythology. Ill. 4 [Johan Gustaf Sandberg, subject, Loki and Sigyn ( as a history painter depicts a mythological work Valkyries Riding to Battle exhibition entitled Valkyries painting (ill. 4). Some years later, he painted The Death of Balder ( he painted later, Some years schläger’s drama for the Academy. for had drawn the writers attention of both the since and painters late had drawn

ROMANTIK · 4 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 49 The 786- 1 1 and appeared occasionally occasionally The Death of Balder and appeared . , Odin, Thor, ca. , Odin, Thor, At the exhibition of the Gothic Society, the sculptor Bengt Fogelberg ( Bengt Fogelberg the sculptor the At exhibition of the Society, Gothic The Valkyries were war goddesses who sometimes participated who sometimes in battle, goddesses but war were The Valkyries In the final versions of Fogelberg’s godly trio, Frey was replaced by the by popu- replaced was trio, godly Frey of Fogelberg’s In the final versions 854) showed three statuettes of Norse gods: Odin, Thor and Frey. During the Odin, Thor and Frey. gods: of Norse three statuettes 854) showed in the works of Oehlenschläger and other authors. The first visual depictions of authors. and other The first of Oehlenschläger in the works Ewald’s work. for illustrations Daniel Chodiowiecki’s probably were the Valkyries Norwe- W. Bissen and the H. artists, as such the Danish sculptor different Later, women, visualize these to forceful attempted Nicolai Arbo, gian painter Peter Wagner’s cycle scene in Richard on thewho also made their opera entrance Ring of the Nibelungen whose main task was to bring slain warriors to Valhalla. They were introduced introduced were They bring to whose main task was warriors slain Valhalla. to theto modern in Ewald’s public 1 of the com- statues, versions marble made large-size Fogelberg years, following king of the XIV Johan. As the Bernadotte King Carl first dynasty, missioned by be asso- to Johan wanted Carl and Norway, holding the Sweden of both thrones history depictions of Norse history;ciated with Nordic favoured he particularly Napoleon’s by inspired probably was as did his son Oscar I. He and mythology, with 2005). the (Björk fascination legends Ossian lar Balder (ill. 5). 850. Reproduced after Ill. 5 [Bengt Fogelberg, The Asa Gods: Balder 1 an old lithograph, Nordnorskphoto Kunst- museum, Tromsø] 822. 1 820. Collin saw 820. Collin saw 1 835. On Odin, he com- 1 . These were to become to Mjölnir. These were Ill. 6 [Herman Ernst Loki, Freund, Statuette in red clay, height 29 cm. Statuette in red clay, Ny Carlsberg Copenhagen, Glyptotek, Ole Haupt] photo 9th-century Odin, depictions. The standing 1 840) started to work with similar themes. and As a student 840) started work to

1 786- 1

These statues demonstrate the iconographic challenges which the which artists the challenges iconographic demonstrate These statues With these works, Fogelberg became the first sculptor in modern times to sculptor became the first Fogelberg With these works, Thor’s attributes standard in later faced in depicting such motifs. All the sculptures seem to have Greek or Ro- Greek have All seem to the motifs. in depicting such sculptures faced of statues modelled on Classical is obviously instance, for man models. Thor, equipped has Fogelberg god, him as a Nordic distinguish to However, Hercules. him with a bear skin and with his sledgehammer, assistant of Bertel Thorwaldsen in Rome, Freund was schooled in the schooled Classi- of Bertel was assistant Thorwaldsen in Rome, Freund the by art inspired Jonas Collin, he soon turned patron However, cal universe. a competi- On Collin’s initiative, gods. of the Norse thehis attention to world in arranged subjects was with Norse arttion calling for works ments: ‘At first glance, all ideas about a Greek god are forgotten. The impression The impression forgotten. are god all ideas about a Greek glance, first ments: ‘At no means modern,is Romantic, but by the has a Classical pose. It ex- while image In or affectation.’ without exaggeration but calm and simple, greatpresses force, is impression thatspite of the concludes the Classical elements, Nyström overall there one […] is wisdom, a Greek but not as the ‘a Jupiter, to head belongs Nordic, 272-273; translation). Nordensvan my from (quoted but the of Vala’ Wisdom Hermann the Danish sculptor later, years a few subjects. Only deal with Norse ( Ernst Freund holding a spear and a shield and wearing a crown, seems to take statues of Jupiter statues take seems to holding a spear and a shield and wearing a crown, was style subject depicted in a Classical of a Nordic as its model. The problem in Nyström, Axel writer, a contemporary pointed out by

ROMANTIK · 5 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 1 5

1 5). 1 850. 1

7 42). Freund participated the in 42). Freund 1 - 1 4 1 825-26), a relief depicting the Norse depicting the825-26), a relief Norse 1 . However, his a prize Odin. However, 822, and won for 1 ater-Sprite and Ägir’s Daughters, ater-Sprite and Ägir’s The Ragnarok Frieze ( 47 cm. Nationalmuseum, Stockholm, photo Erik photo cm. Nationalmuseum, Stockholm, Cornelius]47 1 853). Originally specializing in subject matters from folk tales, folk 853). Originally from specializing in subject matters 1 4 x 6- 11 1 8 9th century, Loki was interpreted as the personification of evil in as the interpreted of evil Loki was personification 9th century, 850; ill. 7), he combines a figure from Northern from with850; ill. 7), he combines a figure crea- folklore 1 1 1 . The art historian Julius Lange regarded this as a turn-Gods of the North. The artregarded historian Julius Lange (ill. 6) is regarded as a more successful attempt at the depiction of successful attempt as a more Loki (ill. 6) is regarded The Norse gods also appear in several works by the Swedish painter Nils the by Swedish works also appear in several gods The Norse In the This reminds us that the Romantics regarded folk culture as a live link to the link to live as a culture folk us thatThis reminds the Romantics regarded Blommér ( Old Norse culture, as expressed by Høyen and others. In other paintings, such as paintings, such In other and others. Høyen by as expressed culture, Old Norse tures from Norse mythology. Norse from tures Norse mythology, and it is this aspect that gives Freund his focus here. Later, Later, here. his focus and it is this Freund aspect that gives mythology, Norse also executed Freund deities, for Christiansborg in Copenhagen. deities, for Palace The Water-Sprite and Ägir’s In The Water-Sprite turned world. the to mythological he eventually Daughters ( that Freund was sent an invitation for this of Oehlen- and also sent him a copy for sent an invitation was that Freund schläger’s of a the development for but even artistic career, in Freund’s only ing-point, not Skrifter Udvalgte (Lange, iconography Norse [Nils Blommér, The W Ill. 7 [Nils Blommér, statuette statuette a Nordic figure by most art most critics by figure 3 and historians (Poulsen a Nordic Oil on canvas, competition with several bozzetti in with several competition 5). 1 0- 1 870) settled 1 (Alsvik 787- 11 1 8 1 826. 1 826; ill. 8), a scene from Frith-826; ill. 8), a scene from 1 876), Danish-born another artist 1 794- 1 , Blommér has a more genre- , Blommér has a more and Heimdall or Freya rithjof Slaying two Trolls at Sea, Trolls two rithjof Slaying

5 cm. Bergen Kunstmuseum, photo Bergen Kunstmuseum] photo 5 cm. Bergen Kunstmuseum, 11

painted by Carl Peter Lehmann ( Peter Carl painted by In Norway, artistic life was not as developed as in the other Scandinavian as in the Scandinavian other as developed not was artistic life In Norway, in the Norwegian capital Christiania (present day Oslo) in capital Christiania day in the (present Norwegian (Haverkamp; ill. 8). (Haverkamp; jof’s Saga countries, but had to be built up more or less from scratch. Art as litera- as well scratch. countries, or less from be built up more but had to and folk Nature part an important nation’s self-image. in the young played ture history and mythology themes, subjects from but gradually preferred were life The Danish-born artist ( Johannes Flintoe a following. found Ill. 8 [Carl Lehmann, F Peter of her Husband in Search Freya in the ideals of history a change subjects, reﬂecting mythological to approach like painting. He was genuinely interested in ancient history. Though he only executed one executed he only Though in ancient history. interested genuinely was He part an important in transmit- he played know, as we historyreal painting as far at attempt An early Norway. the to milieu in Copenhagen ideas from ting new at Sea ( Trolls two subject is Frithjof Slaying a Norse Oil on canvas, 86 x

ROMANTIK · 5 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 53 1 828. 1 Baade’s 8 879). His first attempt attempt 879). first His 1 828; ill. 9. Willoch; Ljøgodt, Ljøgodt, 828; ill. 9. Willoch; 808- 1 1 ( Ill. 9 [Knud Baade, Heimdall Summons the Gods to Battle, .5 cm. Norsk Norsk Oslo, photo Folkemuseum, Folkemuseum] 1 0 1 50 x 1 One of the first Norwegian artists who devoted himself whole-heartedly to artists who devoted Norwegian One of the first This was painted when Baade was studying with Eckersberg at the Academy in at the Academy with studying Eckersberg when Baade was painted This was Oil on canvas, subjects from Norse mythology was Knud Baade ( was mythology Norse subjects from Heimdall Summons the Gods to Battle Heimdall was in the genre Copenhagen; the young Norwegian was obviously well acquainted with the acquainted con- well obviously was Norwegian the young Copenhagen; recount: Baade would Later in life, mythology. with Norse fascination temporary youth. had great me in my appeal to mythology ‘The of Norse mysteriousness at- childish Calling the Battle were Gods to Heimdall and Hermoder in Helheim in Copenhagen.’ (Baade’s note). stay autobiographical during my tempts ‘Knud Baade als Historienmaler’;). Måneskinnsmaleren Ljøgodt, painting represents Heimdall, guardian of the gods, blowing his horn call the blowing of the to gods, guardian Heimdall, painting represents This scene is battle to at Ragnarokgods mythology. – the of Norse apocalypse seems in the Elder Edda. Baade, however, described poem ‘Voluspa’ in the Norse ‘The of Vola’ Prophecy Oehlenschläger, in a poem by his motif found have to is foretold: the end of the The Gods of the North. Here world Spaadom], from [Volas

9 886) 823). 1 1 843; ill. 1 ( 820- 1 Vala Appears to Appears ( Thor Vala 876); all were interested in interested 876); all were 1 The Prophecy of Vala The Prophecy of Vala 4- 1 8 1 The Gods of the North. In Oehlenschläger’s 828 and was later acquired by King Carl Johan, whose Johan, whose King Carl by later acquired 828 and was 1 852, the University’s arts committee decided that a they wanted 852, the University’s 1 Upon the bridge, Upon his horn fearfully blows perch’d Heimdaller riseto th’eternalto all nature strife; While Jormundgardur lifts his head and hisses. Gods of the North) (Oehlenschläger, Vala is the seeress of Norse mythology. In thethe Elder Edda, story is that mythology. is the of Norse seeress Vala The debate over the use of Norse subjects in the visual arts reached Norway subjects in the visual arts the Norway use of Norse reached The debate over Another relevant work by Baade is the drawing Baade is the by drawing work relevant Another 0). The choice of subject matter was left to him [Middelthun]. First he had thought of a he had thought left him [Middelthun]. of subject matter was to The choice First about his talked we then me. Later, by Blommér, Minerva, by but that opposed, ﬁrst was himself, with both for well spoke He and Heimdall. Snorre Sturlason ideas: Idun, other I argued his idea about Idun. himself preferred He understanding. historical and poetical translation.) 84; my Gran from (Quoted Idun. Snorre, against for without anything In the background, Odin and Thor arrive, leftIn the as in the background, in the epic, while lower at the the out at the heads peek giants fretting scene, probably troll corner two at the Copenhagen shown was The picture gathering of the gods sight war. for Exhibition of Academy 1 end- and the of the the world, gods fate Odin summons her and she prophesies ing with the Ragnarok. subject in Oehlen- found have Baade must Once again from schläger’s ‘The of Vala’ Prophecy the Thor is surrounded by giants he has slain, as Baade’spoem, as well drawing, be found The same subject can appears. of theirand out of the blood Vala vapor in the painting Danish artist Ludvig Koop’s Andreas in connection with the decoration of the newly erected University buildings in buildings University erected in connection with of the the newly decoration Christiania the Marmor- middle of the around century ‘“… nordiske (Ljøgodt, Saint paint a scene from to asked Tidemand was guder’”). Adolph Originally, Olaf’s abandoned – partly was but this against opposition saga, project due to the theme. In Romantic interpretations in art and literature vary, as we see, from the original see, from as we vary, in artRomantic interpretations and literature their artists in subjects found Baade’s how of examples Edda Poem. are pictures necessarily not in the and sources. original Norse of the day, the literary works Middelthun had stud- the commission eagerly. and he accepted approached, was themes in Norse an interest and had acquired in Copenhagen ied at the Academy this At time, and the writings of Oehlenschläger. the of Høyen lectures through artists that of Scandinavian the to circle living in Rome and belonged he was Nils Blommér, Bengt Fogelberg, the others, abovementioned amongst included, Molin ( Johan Peter sculptor and the Swedish Norse themes. Middelthun naturally discussed his task with discussed his themes. his friends Middelthun naturally Norse and col- writes in his diary: writer theleagues, of which Swedish Gunnar Wennerberg interest in Norse mythology has already been mentioned. has already mythology in Norse interest sculpture for the main hall. The young sculptor Julius Middelthun ( sculptor the main hall. The young for sculpture

ROMANTIK · 54 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 55 1 852, arguing against the artist’s852, arguing against sug- 1 843. 1 ophecy of Vala, ophecy of Vala, 0 [Knud Baade, The Pr However, Middelthun’s fascination with Norse themes met with scepticism with themesscepticism met with Middelthun’s Norse fascination However, 1 ), pictured carrying), pictured of the apples of youth. a basket gestions: ‘You seem to favour subject from the Norse myths. I am sceptical I am sceptical myths. the Norse subject from favour seem to ‘You gestions: from certain circles in Norway. Johan Sebastian Welhaven, who as a poet had who as a poet Welhaven, Johan Sebastian in Norway. certainfrom circles these to opposed heavily was mythology, Norse from motifs himself treated themes arts in the visual arts. committee, he As a member of the University’s Middelthun to in the autumn of wrote (ill. Idun home, including subjects back of the different Middelthun sketches sent 11 Ill. Pencil and watercolour on paper, 406 x 472 mm. Bergen Kunstmuseum, Kunstmuseum, Bergen mm. 406 x 472 and watercolour on paper, Pencil Bergen Kunstmuseum] photo 852-53). 1 903) executed a series903) executed of 1 Skandinaviska Konst-Exposi- 11 825- 1 Ill. [Julius Middelthun,, (ca. Idun Statuette in red clay, height 33 cm. Statuette in red clay, Nasjonalmuseet for kunst, arkitektur Børreog design, Oslo, photo Høst- land] 859) made four statuettes of Nor- statuettes 859) made four 2). 1 1 789- 1 executed was Oscarshall, a neo-gothic building a neo-gothic Oscarshall, was executed

was chosen. The painter Hans Gude ( The painter Hans chosen. was 896). For the frontispiece of the University, he suggested a relief of a relief he suggested of the the University, frontispiece 896). For 1 866, the Norwegian art historian Lorentz Dietrichson raised the art ques- 866, the raised Dietrichson historian Norwegian Lorentz 7-

1 1 8 1 Ghosts and Bogeymen One major project that was project One major tion of Norse topics in the topics visual arts (Dietrichson, tion of Norse Odin seeking wisdom with Mime. But this project was not realized either: realized Odin seeking wisdom with not the was Mime. But this project ‘Northern in marble’. any gods got of Christiania never University landscapes from Sognefjorden, where the saga is supposed to have taken place. Sognefjorden, taken landscapes from have the to is supposed where saga themes, and made a series depict Norse to a chance got Christopher Borch Here epic (ill. Tegnér’s withof reliefs scenes from about the the idea, as I ﬁnd these visual arts. subjects unsuitable for I am sur- us Northern make in to gods urged are prised I hear that sculptors whenever argument was An important translation.) 87-89; my Gran from marble.’ (Quoted that could be used as models. original no which existed of these images gods on account of this opposition, MiddelthunProbably abandoned his ideas. An- themes Christopher was the of Norse use encouraged who eagerly sculptor other ( Borch wegian kings from the saga era. As an overall theme for the decoration program, program, the theme decoration for As an overall the era. saga kings from wegian Frithjof’s Saga As late as constructed for King Oscar I of Sweden and Norway at Bygdø outside of Christi- outside at Bygdø and Norway constructed King Oscar I of Sweden for Norwe- by the The King commissioned works middle of theania around century. and life folk nature, gian artists that of the Norwegian depicted themes day from ( Michelsen Hans The sculptor history.

ROMANTIK · 5 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 57 1 880) 1 804- 892), who Wild Hunt Wild Hunt 1 1 - 1 The 83 1 896) and August 896) and August 1 825- 1 872, Winge showed his his 872, showed Winge 1 9th century. A new generation of generation A new 9th century. 1 849. 1 850s, and who all specialized in Norse 850s, and who all specialized in Norse 1 857), another subject related to the conflicts between the857), to conflicts between subject related another 870s (Björk, ‘Från Ragnar The 870s ‘Från (Björk, til Laokoon’). Lodbrok 1 1 rithjof and King Ring, ( ), and the Norwegian Peter Nicolai Arbo ( Nicolai Arbo Peter ), and the Norwegian 1 10 Ägir 5). 90 1 1 860s and 4, 1 1 829- 1 3, 1 The Feast of The Feast 59). The Romantic interest in these themes held its sway over the artistic over in these themes59). The Romantic interest held its sway 2 [Christopher F Borch, At the Scandinavian Exhibition in Copenhagen in Exhibition in Copenhagen the At Scandinavian These pictures are all forceful representations of Norse deities, rushing of Norse representations all forceful are These pictures 1 subjects. While Malmström favoured subjects from the heroic sagas, the myths of the sagas, the myths heroic subjects from favoured subjects. While Malmström and Arbo. Winge both depicted in paintings by were gods the Norse through the sky, prepared for battle. We might say that they bring say might into the gods battle. We for prepared the sky, through the Both presentations. Valkyries serene more with the earlier, action, in contrast artists and since theand Thor had been popular among poets beginning of the The Valkyrie and The Valkyrie works his major Thor Battling the Giants, and Arbo of Odin (ills. Malmström ( Malmström the Asa gods and the evil forces represented by Loki. In particular, the fascination the fascination Loki. In particular, by represented and thethe forces evil Asa gods themes flourishedwith and Norwegian Norse a small group among of Swedish in thepainters tionen the into half of the second imagination well Ill. painted had studied together in Düsseldorf in the together had studied artists, who could be described in themes as Late Romantics, became interested ( Hansen Constantin In Denmark, history and mythology. Norse from Relief in plaster, 59 x 77 59 x cm. Oscarshall, The Royal Court] Oslo, photo Relief in plaster, most important were the Swedes Mårten the ( Swedes Eskil Winge were important most

Ill. 14 [Peter Nicolai Arbo, The Valkyrie, 1869. Oil on canvas, 243 x 194 cm. Nasjonalmuseet for kunst, arkitektur og design, Oslo, photo Jacques Lathion]

< Ill. 13 [Mårten Eskil Winge, Thor Battling the Giants, 1872. Oil on canvas, 484 x 333 cm. Nationalmuseum, Stockholm, photo Erik Cornelius] 159 identiﬁed this as an 05). Another visual source was was visual source 05). Another 845. The subject of the Norse 845. The subject of the Norse 1 1 02- 860-62), in which the gods appear the860-62), in which gods 868. 1 1

1 ( 835), Jacob Grimm had 765-766), The artist also knew depictions of 765-766), The artist knew also 1 1 Bråvallaslaget ild Hunt of Odin, The W cm. Drammens Museum, on long term loan to one of the few attempts to visualize all the Norse gods in gods visualize all the to Norse attempts one of the few 1 69 x 24 1 , on the other hand, is in addition to Freund’s of Odin, on the Freund’s hand, is in addition to other The Wild Hunt [Peter Nicolai Arbo, Nicolai 5 [Peter 1 gods is blended with the traditional European legend of ‘der Wilde Jagd’. In his of ‘der Wilde Jagd’. legend is blended with European thegods traditional Mythologie ( Deutsche work important in the sky above the combatants (Lange, ‘Historiemaleren Peter Nicolai Arbo’). Peter the ‘Historiemaleren (Lange, combatants in the sky above as contemporary as well and folklore mythology from used variousArbo sources, and art, this create composition. grand to literature August Malmström’s painting Malmström’s August example of how elements of pagan religion could survive Christian religion into elements of pagan times as of how example daemonic phenomena (Grimm vol. this motif by other German other by this artists, as Joseph Führich motif such and Rudolf Friedrich Historien (Ljøgodt, Henneberg i bilder fremstilt Ill. century. The Ragnarok Frieze poem, Welhaven’s Johan Sebastian by The subject matter is inspired one work. of Odin], from [The Wild Hunt ‘Asgaardsreien’ Nordnorsk Kunstmuseum, Tromsø, photo Nordnorsk photo Kunstmuseum] Nordnorsk Tromsø, Kunstmuseum, Oil on canvas,

ROMANTIK · 60 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 1 6 1 (ill. 9th-cen- 1 8th century, and during8th century, the Ro- 1 Scene from the Era of Norwegian Sagas of Norwegian Scene from the Era 850, 1 . A recurring motif in his work is theThe Gods of the North. A recurring in his work motif 872, Lange was highly critical of the mythological works of critical works highly the of 872, was mythological Lange 1 The Romantics and the Norse Myths However, once introduced, the Norse myths started to develop a life of their a life started develop to myths the Norse once introduced, However, have in the of this of Knud Baade. We example oeuvre is can be found A good Contemporary critics regarded these pictures as essentially ethical allegories, ethical these critics as essentially pictures Contemporary regarded The lonely Viking, the last of his kind, is a motif we also know from Romantic from also know we Viking, the of his kind, is a motif The lonely last 6), a Viking stands alone on the top of a cliff, contemplating the moonlit sea. contemplating alone on the of a cliff, 6), a Viking stands top own in art and literature. One of the in art alluringown and literature. these aspects of themes the was open to and thus were iconography an established that have theyfact did not pointed out. The art- license, as Oehlenschläger poetic and even interpretation kind of sources. themes and different different from freely it seems, chose ists, writers as Oehlenschläger of contemporary such oftenMore the than works not, that the art- I believe, This suggests, the to sources. original preferred Norse were with as they were iconography a Norse so occupied with recreating not were ists a matter of ﬁnding original It was and and storiesthe as subject matter. myths of art: works artistic – and very interest for ofteninteresting – motifs obscure antiquarian research. over prevailed taken mythology Norse with both subjects from of his works, seen two already Oehlenschläger’s from mantic period they became popular sources of inspiration for art and literature, art for mantic period and literature, of inspiration they became popular sources in particular connected with countries. in the the closely Scandinavian This was political thinking of the period, and in particular with the cul- ideals of national im- it was Norway, as such nation state emerged a freshly and identities. For tures portant link the with to present thekingdoms glory of the In old, powerful past. ancient history also emphasized. the to was lineage and Sweden, Denmark like had been on the that should recall Denmark losing side of the Napoleonic We and later in the century the was victim of Germanwar, also aggression. Sweden dy- royal in addition it had a new Russia, and to had its losses, giving up Finland Norse themes became the ways, with legitimize itself. In different nasty a need to a part in these countries. of national programs In a painting from warrior. lonely rather than representations of real deities, a view already held by early early held by already deities, a view of real thanrather representations The Norse myths were rediscovered in the late rediscovered were myths The Norse both Arbo and Winge, referring to them as ‘Ghosts and Bogeymen’ (Lange, ‘Den (Lange, referring them and Bogeymen’ Winge, and to as ‘Ghosts Arbo both Kunst’ 443). og norske Realism this had become the At stage, dominant svenske Within of art the boundaries and literature. force of the movement’s ideals, new the Late Romantics’ for littlethere was no room or imaginaryof the depictions myths. Norse 1 as Geijer’s such and Welhaven’s ‘The Warrior’ Last kämpen] poetry, [Den siste a representation Baade’s not Scene’ painting is probably ‘Coastal [Kyst-Billede]. tury and Grundtvig. was writers as Oehlenschläger The Romantic tradition such a sceptical long. The critics, took for Julius Lange, headed by – but not alive still of the Scandi- In his review myths. the to depiction of Norse position with regard Exhibition of navian 850. 1 om the Era of Norwegian Sagas, om the Era 9.5 cm. Collection of Asbjørn Lunde, New York, 9.5 cm. Collection of Asbjørn Lunde, New York, 11 6 [Knud Baade, Scene fr 1 Ill. the reﬂects likely but more mythology, Norse story or scene from concrete of any in- of the of an encounter with perhaps mood ancient past, a hero melancholy Baade’s to statement, own According or Welhaven. the by poems of Geijer spired Element’ and poetic the it was ‘mysterious that him in the appealed to Norse (Baade’s Rathermyths note). autobiographical than an antiquarian reconstruc- so many – like myths of the interpretation Norse a poetical tion, Baade prefers artistsother of the Romantic era. photo Nordnorskphoto Tromsø] Kunstmuseum, Oil on canvas, 87.5 x Oil on canvas, 87.5

ROMANTIK · 62 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 3 6 . 1 900. 1 892. 1 - 1 . MS 83 1 872: 4. 1 4. 1 994. 1 . Ed. Hans Hen- . Ed. Hans 873. 430-447. . Oslo: Asche- 866. 1 1 . Oslo: Nasjonal- 986. 5- 1 . 1 . Lund: Bokförlaget 890. Lund: Bokförlaget 88 1 1 . Stockholm: 800-talet. Stockholm: 983. 1 1 845- 1 800-tallet. Eds. Hannemarie -2. Christiania: Chr. Tønsbergs Tønsbergs -2. Christiania: Chr. 1 1 946. . Stockholm, 866. Stockholm, 1 1 940. 1 . Vols. . Vols. 0. Eds. Georg Christensen and Hal Koch. Koch. 0. Eds. Georg Christensen and Hal . Copenhagen: Det Nordiske Forlag, Forlag, Nordiske Det . Copenhagen: 872. Documentation Archive, National Mu- National 872. Documentation Archive, . Stockholm: Nordiska Nordiska . Stockholm: 800-talets bildvärld 1 1 1 1 - 1 . 11 . Oslo: Aschehoug, . Oslo: Aschehoug, . Copenhagen: P. G. Philipsens Forlag, Forlag, G. Philipsens P. . Copenhagen: . Harmondsworth: Penguin, . Harmondsworth: Penguin, . 958. -2. Wiesbaden: Fourier Verlag, 2003. -2. Wiesbaden: Fourier Verlag, 1 1 1 Oslo: Pax, 20 . Oslo: Pax, 95 1 -3. Ed. J. L. Ussing. Copenhagen: Den Gyldendalske Boghandel, Boghandel, Den Gyldendalske -3. Ed. J. L. Ussing. Copenhagen: 949. 1 1 . Vol. Skrifter). Udvalgte . Vol. 1 940- 89 Winter’s Tales 1 1 987. 987. 1 3-232 1 Myt och landskap: Unionsopplösning och kulturell gemenskap kulturell och landskap: Unionsopplösning Myt och 800-talet’. 879. 1 1 997. 878- 1 1 999. Inspirationens skatkammer: Rom og skandinaviske kunstnereInspirationens i 1 876. 1 - 1 87 Literature Stockholm: Albert Bonniers Förlag, Albert Förlag, Stockholm: Bonniers galleriet, 2002. i Oslo, thesis. Oslo: Universitetet Ragn Jensen, Solfrod Söderlind and Eva-Lena Bengtsson. Copenhagen: Museum Tusculanums Ragn Museum Tusculanums Bengtsson. Copenhagen: and Eva-Lena Söderlind Jensen, Solfrod 2003. 2 Forlag, seum of Art, Architecture and Design, Oslo. Includes autobiographical note. and Design, note. seum of Art, autobiographical Oslo. Includes Architecture 1 Copenhagen: Gyldendal, Copenhagen: Museet, Museet, Rom’. Rom’. houg, rik Brummer. Stockholm: Prins Eugens Waldemarsudde, 2005. 75-99. Prins Waldemarsudde, rik Eugens Stockholm: Brummer. Eds. Marit Lange and Anne-Berit Skaug. Drammen: Drammens Museum, Eds. Marit Drammens and Anne-Berit Lange Drammen: Skaug. Billeder af Nordens Oldtid’. Nutids-kunst Oldtid’. Billeder af Nordens Forlag, Forlag, Nordiska Museet, Museet, Nordiska konst under konst Signmum, 2000. Høyen, Niels Laurits. SkrifterHøyen, . Vols. . Kristiania, om Kunsten Optegnelser efter Christopher. Borch, Foredrag nogle Baade, Knud. Letter to Thorvald to Christensen.Baade, Knud. Letter 29 March Björk, Tomas. August Malmström: Grindslantens målare og Tomas. Björk, Billedhuggeren Julius Middelthun Billedhuggeren Henning. Gran, Kunstsamlinger, Kommunes Bergen . Bergen: Lehmann Carl Peter Frode. Haverkamp, Minnen. Dikter. Tal och artiklar. Ur Geijers historiska författarskap. Anteckningar. 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980. 99 1 1 925. . 73-87. Christen Pram: Norges første romanforfatter Norges Christen Pram: 1 . Copenhagen: Statens Museum for Kunst, Kunst, Museum for Statens 820. Copenhagen: 845. 11 1 1 Vikinger og guder i europæisk kunst og guder i Vikinger 868. 1 770- 9. 1 1

867- -3 1 11 972. 3 København København University Press, 2006. Press, University ge Frederiks Universitet i Christiania på Frederiks Universitet ge sin and Xavier, sin and Xavier, (2008): 289-299. Udgivelse af Oehlenschlägers Skrifter, af Oehlenschlägers Udgivelse 1 Hegel), Hegel), schläger Selskabet, Selskabet, schläger Universitetsforlag, Universitetsforlag, Orkana & Nordnorsk Kunstmuseum, 20 Kunstmuseum, & Nordnorsk Orkana Hagerups Boghandel, Boghandel, Hagerups . Eds. Peder Anker and Patricia og Univer- G. Berman. Anker prosjekt til nasjonalskatt Messel Forlag Oslo: . Eds. Peder i Oslo, 20 sitetet Bonniers Förlag, Förlag, Bonniers Poulsen, Vagn. ‘Herman Ernst Freund’. Dansk kunsthistorie ‘Herman Ernst Freund’. Vagn. Poulsen, . Ed. Howard Gaskill. Edinburgh: Edinburgh Edinburgh Gaskill. Edinburgh: of Ossian and related. Ed. Howard works James. The Poems Macpherson, klassisisme til tidlig realisme malerkunst fra Magne: Norsk Malmanger, eds. Larsen, Nørgaard Kasper and Peter Monrad, Nordens gamle Gude- og Heltesagn A. gamle Nordens P. Munch, Oslo: Universitetsforlaget, A. gude- og heltesagn Norrøne Haavardsholm. . Ed. Jørgen P. Munch, Ljøgodt, Knut. ‘“… nordiske Marmorguder”: Utsmykninger og utsmykningsplaner ved Det kongeli- Det Marmorguder”: ved og utsmykningsplaner nordiske Knut. ‘“… Ljøgodt, Utsmykninger . Trans. William Edward Frye. London: Pickering; Paris: London: Pickering; Frye. Stas- William Edward Gods of the North. Trans. Adam. Oehlenschläger, Wilson, David M. Wilson, David Nettum, Rolf Nyboe. Nettum, konstnärer svenska i nittonde konst och århundradet Georg. Svensk Nordensvan, . Vols. . Vols. Drömmen om sagatiden Mjöberg, Jöran. Oehlenschläger, Adam. Æstetiske Adam. SkrifterOehlenschläger, Det Kongelige Akademi for de skjønne Kunster Johansen. Det Kongelige and P. Meldahl, F. Måneskinnsmaleren/Moonlight Romantic: Måneskinnsmaleren/Moonlight Knut. Ljøgodt, Knud Baade ( Münchner Jahrbuch der Bildenden Kunste 2009 der Bildenden Kunste Jahrbuch Münchner als Historienmaler’. Knut. ‘Knud Baade Ljøgodt, Willoch, Sigurd. ‘Heimdal kaller gudene til kamp: Et maleri av Knud Baade’. Et maleri Knud Baade’. av gudene til kamp: kaller ‘Heimdal Sigurd. Willoch, Poetiske Skrifter. Poetiske Adam. Oehlenschläger, Nykjær, Mogens. ‘Nationalopdragelse, mytologi og historie’. og historie’. mytologi ‘Nationalopdragelse, Mogens. Nykjær, . Vols. Samlede Skrifter Johan Sebastian. . Vols. Welhaven,

ROMANTIK · 6 01 1 JOURNAL FOR THE STUDY OF ROMANTICISMS 5 6 1 926. 1 884. 1 872 This letter consists 872 consists This letter 1 ). 1 80 1 ). The book’s focus is on Norwegian is on Norwegian ). The book’s focus 11 865 version belongs to the belongs to Nationalmu- 865 version 1 872 version belongs to the National Mu- the belongs to National 872 version 1 765, they were published together in an edi- published together 765, they were 1 840). Reissued in several later editions under the 840). Reissued in several 1 ( 763). In (Oslo: Pax, 20 (Oslo: Pax, 1 . The The Valkyrie . The authenticitythe at of the discussed both time poems was 869 painting illustrated here belongs to the National Museum of the belongs to National here 869 painting illustrated 1 ( -62), and Temora 1 76 1 was unfortunately lost in a ﬁre at Christansborg in in a ﬁre Palace lost unfortunately was ( 760), Fingal 1 9th century, Historien9th century, i bilder fremstilt ( 1 868 painting illustrated here belongs to Drammens Museum and is on long-term the Drammens loan to belongs to here 868 painting illustrated Notes mainly of an autobiographical note. A sketch of the note is found in the National Library, Oslo. Library, in the National is found of the note A sketch note. of an autobiographical mainly , og Kultur Kunst Knud Baades papirer’. ‘Av ed., The latter is published in Didrik Grønvold, Poetry 1 while the Tromsø, Art Museum of Northern Norway, was also executed in two versions; the versions; in two also executed was of Odin and Design,Art, Oslo. The Wild Hunt Architecture seum, Stockholm, while the seum, Stockholm, title gude- og heltesagn Norrøne . The Ragnarok Frieze seum in Oslo. The Works of Ossian tion entitled The Works be that opinion seems to the the general Today, of their later generations. publishing and by literary Macpherson. form edited and given by based on old sources, poems are horses. Chuchullin’s one of the a derivation hero of Sulin Sifadda, Siful Sifadda, egos member of an Art Academy. Mythologi nordiske om den gamle, skiønne Litteratur, Nordens for gavnligt det “Var spørsmaal: ( den Grædske?”’ for istedet indførtblev og almindelig antaget, 0 verisons of Arbo’s large two are There of Ancient volumes: Fragments originally published in three different were The Ossian poems art history, a perspective that is also evident in this article. However, I have also attempted to include include to also attempted I have that in this is also evident article. a perspective However, art history, in contemporary the background demonstrate art, as to Danish and Swedish as well from examples in this book. can be found Further references literature. Scandinavian 6 Gude- og Heltesagn gamle A. Nordens Munch, P. 9 Arts, of Copenhagen. the Academy painting belongs to collections of the Koop’s Royal 8 Thorvald 29, to Christensen, March Knud Baade, letter dated Munich 1 1 My interest in this topic theme derives from my research for my book on Norwegian history paint- Norwegian book on my for research in this theme my topic derivesMy interest from ing in the 7 2 one of his alter for took the by Ossian poems that he even fascinated so was Henrik Wergeland 3 the Stockholm. belongs to collections of the Nationalmuseum, Fuseli’s drawing 4 of art that an artist a work made as a sort piece was become a of application to A reception 5 Priis- fremsatte Universitets Kiøbenhavns ved af det til Besvarelse ‘Forsøg Oehlenschläger, Adam