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bruno liljefors
Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators. Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality. The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon. He amassed a collection of animals to act as his living models. Ernst Malmberg recalled: The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1] The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote: The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]

 

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bruno liljefors gasflock oil painting

Painting ID::  65178

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bruno liljefors
gasflock
olja pa duk 73x137cm 1915 se
   
   
     

 

 

bruno liljefors fallande knipa oil painting

Painting ID::  65179

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bruno liljefors
fallande knipa
olja pa duk, 74x144cm 1905 se
   
   
     

 

 

bruno liljefors fallannde vildgass oil painting

Painting ID::  65180

X 
 

bruno liljefors
fallannde vildgass
olja pa duk, 69x173cm 1899 se
   
   
     

 

 

bruno liljefors ejderlock oil painting

Painting ID::  65181

X 
 

bruno liljefors
ejderlock
olja pa duk 1899 se
   
   
     

 

 

bruno liljefors morgonbris oil painting

Painting ID::  65182

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bruno liljefors
morgonbris
olja pa duk, 128x276cm 1901 se
   
   
     

 

 

bruno liljefors havstrut vid boet oil painting

Painting ID::  65183

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bruno liljefors
havstrut vid boet
olja pa duk, 160x200cm 1913 se
   
   
     

 

 

bruno liljefors landskap med orrar, tidig var oil painting

Painting ID::  65184

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bruno liljefors
landskap med orrar, tidig var
olja pa duk, 69x100cm 1914 se
   
   
     

 

 

bruno liljefors sommarang oil painting

Painting ID::  65185

X 
 

bruno liljefors
sommarang
olja pa duk , 66x90cm, se
   
   
     

 

 

bruno liljefors beckasin oil painting

Painting ID::  65186

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bruno liljefors
beckasin
olja pa duk, 75x145cm 1905 se
   
   
     

 

 

bruno liljefors sankmark oil painting

Painting ID::  65188

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bruno liljefors
sankmark
olja pa duk, 69x104cm 1890 se
   
   
     

 

 

bruno liljefors beckasin i vatmark oil painting

Painting ID::  65189

X 
 

bruno liljefors
beckasin i vatmark
olja pa duk 74x98cm 1909 se
   
   
     

 

 

bruno liljefors andfamilj bland nackrosor oil painting

Painting ID::  65190

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bruno liljefors
andfamilj bland nackrosor
olja pa duk 70x100cm 1917 se
   
   
     

 

 

bruno liljefors stenskvatta oil painting

Painting ID::  65191

X 
 

bruno liljefors
stenskvatta
olja pa duk, 50x65cm 1930-talet se
   
   
     

 

 

bruno liljefors seglaren oil painting

Painting ID::  65192

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bruno liljefors
seglaren
olja pa duk, 31x37.5cm 1910-talet se
   
   
     

 

 

bruno liljefors sjalvportratt oil painting

Painting ID::  65193

X 
 

bruno liljefors
sjalvportratt
olja pa duk, 98x70cm 1938 se
   
   
     

 

 

bruno liljefors blomvass oil painting

Painting ID::  65194

X 
 

bruno liljefors
blomvass
skvarell, 35x26cm 1880-talet se
   
   
     

 

 

bruno liljefors ejderhona oil painting

Painting ID::  65195

X 
 

bruno liljefors
ejderhona
olja pa duk, 90x150cm 1903 se
   
   
     

 

 

bruno liljefors sommarnatt, lyftande ander oil painting

Painting ID::  65196

X 
 

bruno liljefors
sommarnatt, lyftande ander
olja pa duk, 132x220cm 1901 se
   
   
     

 

 

bruno liljefors branning oil painting

Painting ID::  65197

X 
 

bruno liljefors
branning
olja pa duk, 130x294cm 1901 se
   
   
     

 

 

bruno liljefors frisk bris oil painting

Painting ID::  65198

X 
 

bruno liljefors
frisk bris
olja pa duk, 60x90cm 1903 se
   
   
     

 

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bruno liljefors
Bruno Andreas Liljefors (1860-1939) was a Swedish artist, the most important and probably the most influential wildlife painter of the late nineteenth and early twentieth century.[1] He also drew some sequential picture stories, making him one of the early Swedish comic creators. Liljefors is held in high esteem by painters of wildlife and is acknowledged as an influence, for example, by American wildlife artist Bob Kuhn.[1] All his life Liljefors was a hunter, and he often painted predator-prey action, the hunts engaged between fox and hare, sea eagle and eider, and goshawk and black grouse serving as prime examples.[1] However, he never exaggerated the ferocity of the predator or the pathos of the prey, and his pictures are devoid of sentimentality. The influence of the Impressionists can be seen in his attention to the effects of environment and light, and later that of Art Nouveau in his Mallards, Evening of 1901, in which the pattern of the low sunlight on the water looks like leopardskin, hence the Swedish nickname Panterfällen.[1] Bruno was fascinated by the patterns to be found in nature, and he often made art out of the camouflage patterns of animals and birds. He particularly loved painting capercaillies against woodland, and his most successful painting of this subject is the largescale Capercaillie Lek, 1888, in which he captures the atmosphere of the forest at dawn. He was also influenced by Japanese art, for example in his Goldfinches of the late 1880s.[1] During the last years of the nineteenth century, a brooding element entered his work, perhaps the result of turmoil in his private life, as he left his wife, Anna, and took up with her younger sister, Signe, and was often short of money.[1] This darker quality in his paintings gradually began to attract interest and he had paintings exhibited at the Paris Salon. He amassed a collection of animals to act as his living models. Ernst Malmberg recalled: The animals seemed to have an instinctive trust and actual attraction to him...There in his animal enclosure, we saw his inevitable power over its many residents??foxes, badgers, hares, squirrels, weasels, an eagle, eagle owl, hawk, capercaillie and black game.[1] The greatness of Liljefors lay in his ability to show animals in their environment.[1] Sometimes he achieved this through hunting and observation of the living animal, and sometimes he used dead animals: for example his Hawk and Black Game, painted in the winter of 1883-4, was based on dead specimens, but he also used his memory of the flocks of black grouse in the meadows around a cottage he once lived in at Ehrentuna, near Uppsala. He wrote: The hawk model??a young one??I killed myself. Everything was painted out of doors as was usually done in those days. It was a great deal of work trying to position the dead hawk and the grouse among the bushes that I bent in such a way as to make it seem lively, although the whole thing was in actuality a still life.[1]