The assumption that the altarpiece in Fjære church (Grimstad, Norway) was originally a so-called catechism board is confirmed by the existence of several corresponding retables in North Jutland (Denmark). Two of the paintings that decorate the present altarpiece are modelled on illustrations found in Theatrum Biblicum. This illustrated bible from the 17th century, printed by Nicolas Joannes Visscher (or Piscator), was also the basis for three paintings (of the sons of Jacob) and two inscriptions on the front of the gallery. Even if several renovations during the centuries have ruined the original picture program embellishing the front of the galleries, it may be reconstructed with a degree of certainty.
Two miniature portraits from the 18th century stand out in Norwegian portraiture. Anna Elieson (1731–1772), born Collett and Karen Anker (1759–1796), born Elieson both belonged to the rich Christiania nobility. Their portraits reveal different mentalities in 18th century philosophy. Anna appears as a distinct example of the Enlightenment, whereas Karen reveals her sensibility and feelings for her husband. Both works of art may be self portraits.
The Collett family’s hunting lodge ‘Flateby’ was an important informal social meeting place for the Norwegian elites from the second half of the 18th Century until the 1820s. The actual design of the lodge, built around 1756, has been unknown since it was demolished in 1845–1855. Previously unknown archival material now shows that the building had an almost square plan and was typical of the European hunting lodge tradition.
Norwegian art history has been little concerned with the influence of the French impressionists on Norwegian artists of the 1880s. This article looks at the decisive influence of Édouard Manet on the art of Eilif Peterssen (1852–1928) and traces important parallels bet- ween Peterssen and the impressionists regarding technique and the use of motifs.