Anders Monsen Askevold stands as a significant figure in 19th-century Norwegian art, celebrated primarily for his evocative landscape and animal paintings. Born on Christmas Day, December 25, 1834, in the picturesque coastal municipality of Askvoll in Sunnfjord, Norway, he entered a world that would become the primary subject of his artistic endeavors. His life spanned a period of great change and development in European art, yet Askevold remained largely dedicated to a style rooted in detailed observation and a romantic appreciation for nature, particularly the majestic scenery of his native Western Norway. He passed away on October 22, 1900, leaving behind a legacy of works that continue to charm viewers with their serene beauty and technical skill.
Early Life and Artistic Awakening
Anders Monsen Askevold was the second of ten children born to Mons Andersson Askevold, a teacher and parish clerk, and Malene Monsdotter Vasset. Growing up in a large family within the stunning natural environment of Sunnfjord likely instilled in him an early appreciation for the landscapes he would later paint. His father's profession perhaps contributed to an environment where learning was valued, although the path towards art required seeking opportunities beyond his immediate home.
Recognizing his artistic inclinations, Askevold was sent to Bergen, the major city of Western Norway, at the young age of thirteen. There, he began his formal artistic training under the guidance of Hans Leganger Reusch (often cited simply as Haakon or Haavard Reusch in some records), a landscape painter based in the city. This initial instruction provided Askevold with the foundational skills in drawing and painting, focusing on the landscape genre that would define his career. Bergen, with its bustling harbor and surrounding mountains, offered ample inspiration and a context for developing his observational abilities.
Düsseldorf: The Center of Scandinavian Art Training
In 1855, seeking more advanced training, Askevold made a pivotal move to Düsseldorf, Germany. At this time, the Düsseldorf Academy of Arts, and the city's art scene in general, was a major hub for painters from across Europe, particularly Scandinavia. The "Düsseldorf School" became renowned for its emphasis on detailed realism, meticulous technique, and often dramatic or idyllic landscape painting, frequently imbued with romantic or nationalistic sentiments.
In Düsseldorf, Askevold became a student of the acclaimed Norwegian landscape painter Hans Gude. Gude was a leading figure for Scandinavian artists studying abroad, known for his majestic depictions of Norwegian mountains and fjords. Studying under Gude was a significant step, placing Askevold within the mainstream of contemporary landscape painting and connecting him with a network of influential artists. The Düsseldorf environment reinforced a commitment to careful rendering of nature, combined with a desire to capture the specific character and atmosphere of the Norwegian landscape. Other prominent Norwegian artists associated with Düsseldorf during this era included Adolph Tidemand, known for his genre scenes, and Morten Müller, another landscape painter who also studied with Gude.
Developing a Signature Style: Fjords, Farms, and Fauna
Askevold quickly absorbed the lessons of the Düsseldorf school, developing a style characterized by detailed realism and a focus on the interplay of light and atmosphere. His subject matter centered firmly on the landscapes of Western Norway. He became particularly known for his depictions of fjords, tranquil lakes, cascading streams, and the pastoral life associated with these settings. His canvases often feature traditional farms nestled by the water, reflecting a poetic sensibility towards rural architecture and its harmony with nature.
A defining element of Askevold's work is his skillful integration of animals, especially cattle, into his landscapes. Unlike some landscape painters who treated animals as mere staffage, Askevold depicted them with care and realism, capturing their placid nature as they grazed by fjords or rested near farm buildings. His ability to render the textures of their coats and their calm demeanor added a layer of authenticity and idyllic charm to his scenes. These animal depictions became a hallmark of his work, contributing significantly to his popularity. His palette often emphasized lush greens and the clear blues of water and sky, capturing the verdant life of the Norwegian summer.
Parisian Interlude and Continued Development
Seeking to broaden his artistic horizons and perhaps refine his skills, particularly in animal painting, Askevold spent a period in Paris. Sources indicate he traveled there sometime after 1860 and stayed for about four years, likely returning around 1866. Paris was then the undisputed center of the avant-garde art world, witnessing the rise of Realism under Gustave Courbet and the early stirrings of Impressionism.
While in Paris, Askevold likely focused on studying animal painting more intensively. France had a strong tradition in this genre, with artists like Constant Troyon and the highly successful Rosa Bonheur specializing in realistic and often large-scale depictions of livestock and other animals. Exposure to their work, and the general artistic ferment of Paris, may have further honed Askevold's technique and observational skills, even if he did not adopt the emerging modernist styles. This period likely enriched his ability to portray animals with anatomical accuracy and naturalism within his established landscape framework.
Representative Works and Artistic Themes
Anders Askevold was a prolific painter, and several works stand out as representative of his style and preferred subjects. One notable painting is Bondhusbreen, held by the National Museum of Art, Architecture and Design in Oslo. This work likely depicts the Bondhus Glacier, an arm of the larger Folgefonna glacier, showcasing his ability to capture the grandeur of Norwegian nature, contrasting the ice with the surrounding landscape.
Many of his paintings carry titles that clearly indicate his focus, such as Summer Day by a Norwegian Fjord or similar variations. An example documented in auction records is a work depicting a Norwegian fjord scene, dated 1890 and measuring 63 x 100 cm. Such paintings typically feature calm waters reflecting mountains, perhaps a small boat, and often cattle grazing peacefully on the shore. These compositions encapsulate the serene, idyllic vision of Norway that became his trademark.
Another documented work, Summer Boats in the Nærøyfjord (1889), is noted as a collaboration with the Dutch painter Pieter Cornelis Dommersen. Dommersen specialized in seascapes and town views, and collaborations between artists, particularly those sharing studios or working in similar circles, were not uncommon. This specific work highlights Askevold's engagement with the dramatic scenery of the Nærøyfjord, a UNESCO World Heritage site known for its narrow passage and steep cliffs.
An early work, Stillleben med Kalbskop (Still Life with Calf's Head) from 1854, provides insight into his training period. This oil-on-wood study (22.7 x 25.5 cm) demonstrates his early focus on realistic rendering and perhaps his burgeoning interest in animal subjects, albeit in a different format than his later landscapes.
Career, Recognition, and Personal Life
Askevold achieved considerable success during his lifetime. He exhibited his works regularly, likely participating in exhibitions in Düsseldorf, Berlin, Vienna, and Christiania (Oslo), as well as potentially international expositions. His paintings found favor with the public and collectors both in Norway and, significantly, in Germany, where he spent much of his working life. His idyllic and technically proficient landscapes appealed to a bourgeois taste for recognizable and picturesque scenery.
His connection to Germany remained strong throughout his career. Although he made frequent summer trips back to Norway to gather sketches and inspiration directly from nature, Düsseldorf appears to have been his primary base for much of his later life. His works were acquired by German private collectors, indicating a sustained market for his art there.
In his personal life, Askevold married Kathinka Pauline født Diedrichsen (1830-1910) in 1862. The couple had several children, including a daughter named Jeanne Askevold and a son, Anders Askevold Jr. Surviving family archives contain correspondence between Askevold, his wife, children, and friends, offering glimpses into his personal relationships and the practicalities of an artist's life during that period. These letters form part of the historical record preserved in Norwegian archives.
An interesting anecdote relates to a commission for an altarpiece for the Holmedal Church in his home region. While Askevold was considered for this prestigious task, the project ultimately did not proceed due to financial constraints, illustrating the economic realities faced even by established artists.
Askevold in the Context of Norwegian and European Art
Anders Askevold occupies a specific place within the broader narrative of Norwegian art. He belonged to the generation deeply influenced by Romantic Nationalism and the Düsseldorf School's landscape tradition, alongside contemporaries like Amaldus Nielsen, who also specialized in coastal scenes. His teacher, Hans Gude, was perhaps the most influential proponent of this style. Askevold's work represents a continuation and popularization of this approach, focusing on the picturesque rather than the sublime or overtly dramatic aspects of nature that characterized some earlier Romantic painting.
Compared to the generation of Norwegian artists who followed him, Askevold's style appears more conservative. Artists like Frits Thaulow embraced Impressionist techniques to capture light and atmosphere, while Christian Krohg and Erik Werenskiold pursued Realism and themes of modern life or national folklore. Gerhard Munthe explored Symbolism and decorative styles inspired by Norwegian folk art. And, of course, the younger Edvard Munch would radically break from tradition to become a pioneer of Expressionism.
While Askevold did not engage with these emerging modernist trends, his dedication to his chosen style resulted in a consistent and high-quality body of work that resonated with many viewers. He can be seen alongside German contemporaries associated with the Düsseldorf school, such as Andreas Achenbach and Oswald Achenbach, who also excelled in detailed landscape painting, though often with different geographical focuses. His connection with P.C. Dommersen places him within a network of Northern European landscape and marine painters active during the period. Even comparing him to a German artist like Hans Thoma, known for his blend of Realism and idyllic, sometimes symbolic scenes, highlights the different paths artists took within the representational traditions of the late 19th century.
Later Years and Legacy
Anders Monsen Askevold continued to paint actively into his later years, maintaining his base primarily in Düsseldorf while returning to Norway for inspiration. He died in Düsseldorf on October 22, 1900, at the age of 65.
His legacy rests on his contribution to Norwegian landscape painting within the Düsseldorf tradition. He captured a specific, idealized vision of Western Norway, characterized by serene fjords, pastoral life, and harmonious integration of animals. His works remain popular, particularly in Norway, where they evoke a sense of national heritage and natural beauty. They are held in major collections, including the National Museum of Art, Architecture and Design in Oslo and the Bergen Kunstmuseum, as well as appearing regularly on the art market.
While perhaps not an innovator in the mold of later modernists, Askevold was a master craftsman within his chosen genre. He provided a lasting visual record of the Norwegian landscape, rendered with technical skill and a gentle, poetic sensibility that continues to appeal to audiences today. He remains a beloved figure for his ability to transport viewers to the tranquil shores and sunlit pastures of 19th-century Norway.
