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| Eilif Peterssen - Summer Night, 1886 oil on canvas, 151 x 133 cm The National Museum, Oslo |
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| Suzuki Kiitsu - Moon and Waves, first half 19th century ink and color on silk, 50 1/8 × 21 3/4 in. (127.32 × 55.25 cm) Minneapolis Institute of Art |
Kiitsu, from a family of dyers, had been adopted into the family of Suzuki Reitan (1782–1817), one of Sakai Hōitsu’s students. Kiitsu began to study under Hōitsu in 1813 and served him until his death in 1828. He eventually became head of the family after marrying Reitan’s sister. While his predecessors followed a rather formalized style, Kiitsu created tension in his works by playing with the contrast between flat, decorative shapes and naturalistic depictions. via
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| Frederik Marinus Kruseman - Monk Meditating near a Ruin by Moonlight, 1862 oil on canvas, 78 cm (30.7 in) x 64 cm (25.1 in) Rijksmuseum |
In the right foreground of this nocturnal scene a monk meditates near an overgrown ruin. This is the abbey in Villers-la-Ville near Brussels, the city where the painter lived for a while. The subject and the frame embellished with sheaves of wheat were inspired by the German Romantic painter Caspar David Friedrich’s famous Tetschen Altarpiece depicting a cross atop a mountain. via
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| Louis Douzette - Nächtliche Entenjagd am Bodden (Nocturnal duck hunting on the Bodden), 1918 oil on canvas, 53,5 x 79,5 cm Private collection |
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| Joseph Rebell - Leuchtturm im Hafen von Neapel bei Mondschein, 1827 oil on canvas, 21.5 cm (8.4 in) x 23.5 cm (9.2 in) Belveldere Gallery, Austria |
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| Bartholomeus van Hove - Dutch Town by Moonlight, circa 1826 oil on canvas, 39.9 cm (15.7 in) x 50.6 cm (19.9 in) Museum of Fine Arts Ghent (MSK) |
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| Johan Christian Dahl - Copenhagen Harbor by Moonlight, 1846 oil on canvas, 37 3/4 x 60 5/8 in. (95.9 x 154 cm) The Metropolitan Museum of Art |
Since the early nineteenth-century, the waterfront ship and lumber yard depicted in this view has been known as Larsens Plads, or Larsen’s Place, after its founder, Lars Larsen. Dahl first painted this prospect in 1816 (Kurpfälzisches Museum, Heidelberg), but in reprising it for the present work he doubled the size of the canvas, omitting incidental details and heightening its atmospheric effect. This placid scene, conceived as the pendant to a far wilder, natural one, Tyrolean Landscape with a Waterfall (1823; private collection), remained unsold at the artist’s death. via