Since I wrote about Danish landscape painter Peder Mørk Mønstead (sometimes written as Peder Mørk Mønsted) two years ago, the wonderful World Wide Web has continued to do what it does best — grow at an astonishing rate, bringing with it the joy of even more resources on Mønstead’s work.
Notably, Hans Bacher has added a nice article on Mønstead, with lots of images, to his always terrific One1more2time3’s Weblog (see my post on One1more2time3′s Weblog), Art Renewal Center has added a number of higher resolution images to their set (look for the text links to “View High Res Image”), and All Paintings Art Portal has added an extensive section on Mønstead’s work (click “View Larger Image” text links).
I’ve listed some more new resources below, and added to them the listings from my previous post about Mønstead.
Active in the late 19th and early 20th centuries, Mønstead was one of those painters who applied an Impressionist influenced feeling for light, atmosphere and color to a foundation of the kind traditional academic draftsmanship that Monet and many of the other Impressionists rejected, with beautiful results.
Mønstead’s sometimes dark forest glades, intimate views of creeks, ponds and reflective pools were often as much about shadow as the Impressionist’s works were about light.
Mønstead is an impressive painter, one of my favourite 19th century landscapists. Btw, one can find many Monsted’s images on Sotheby’s website. The most recent ones are in high resolution. I zoom them in 100%, made a couple of screenshots (usually 4) and piece them together in Photoshop.
Interesting point you make, that “Mønstead’s sometimes dark forest glades, intimate views of creeks, ponds and reflective pools were often as much about shadow as the Impressionist’s works were about light.” Shadows bring so much to works of art (and photographs), yet it can be an aspect often overlooked.
ops … didn’t saw it was on the body of the text …sorry
Very nice pics…. especially the shades.
“…were often as much about shadow as the Impressionist’s works were about light.” Couldn’t agree more. High key paintings just don’t have the tonal range to float my boat.
The first image would actually look great on a canvas. The texture of a canvas would perfectly compliment the pebbles and ripples in the water.