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Harriet Backer
Blue Interior (nn02)
1883 Oil on canvas,
33 1/16 x 26'' Nasjonalgalleriet,Oslo
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Harriet Backer
Uvdal Stave Church (nn02)
1909
Oil on canvas,45 1/8 x 53 1/8'' Rasmus Meyers Collection,Bergen Norway
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Harriet Backer
by lamplight
mk247
1890,oil on canvas,21x26 in,55x66.5 cm,rasmus meyers samlinger,bergen,norway
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Harriet Backer
Alteret i Tanum kirke
Oil painting.
Painted 1891
ttd
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Harriet Backer
Kolbotnstua
Oil painting.
Painted 1896.
cjr
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Harriet Backer
Chez moi
Oil painting.
Painted 1887.
cjr
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Harriet Backer
Pa blekevollen
Oil painting.
Painted 1886-87.
cjr
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Harriet Backer
Bygdeskomakere
cjr
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Harriet Backer
Kone som syr
Oil painting.
Painted 1890
cjr
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Harriet Backer
Barnedap i Tanum kirke
Painted 1892.
Oil on canvas.
cjr
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Harriet Backer
Drying clothes
ca 1890
cjr
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Harriet Backer
Lesende_dame_i_renessansedrakt
1878(1878)
cjr
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Harriet Backer
Portrait of Nenna Jahnson
ca 1890
cjr
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Harriet Backer
Alteret i Uvdal kirke
Oil painting.
Painted 1910.
cjr
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Harriet Backer
Fra Trefoldighetskirken
Oil painting.
Painted 1898-1908.
cjr
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Harriet Backer
Inngangskoner
Painted 1892.
cjr
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Harriet Backer
Interior med figurer
Oil painting.
Painted 1886.
cjr
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Harriet Backer
Pike ved vinduet
Oil painting.
Painted 1891
cjr
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Harriet Backer
Storebror spiller
Oil painting.
Painted 1890.
cjr
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Harriet Backer
To barn og tregruppe
Oil painting.
Painted 1885.
cjr
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| Harriet Backer
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Norwegian Painter, 1845-1932
Norwegian painter. In the 1860s and early 1870s she took lessons in drawing and painting in Christiania (now Oslo) and also travelled extensively in Europe with her sister Agathe, a composer and pianist. She copied works in major museums and took occasional art lessons; she later considered this experience to have been of fundamental importance to her artistic development. Little Red Riding Hood (1872; Oslo, N.G.) is impressive in technique, and the early portrait of her sister, Agathe Backer-Grendahl (1874; Holmestrand, Komm.), shows a refined colour scheme. At the age of nearly 30 Backer decided to train professionally as a painter and in 1874 went to Munich. She was never attached to a particular institution, but the influence of her friend the artist Eilif Peterssen was crucial to her development. In Munich she made a thorough study of perspective, which formed a secure basis for her later work.
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