bruno liljefors Oil Painting Reproductions

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bruno liljefors
skogsladan
Painting ID:: 65092
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skogsladan
olja pa duk, 80x95cm 1894 se

bruno liljefors
landskapsstudie
Painting ID:: 65094
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landskapsstudie
olja pa duk, 81x105cm 1901 se

bruno liljefors
enbuskar
Painting ID:: 65095
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enbuskar
olja pa duk 105x85 se

bruno liljefors
vattenlandskap
Painting ID:: 65096
new22/bruno liljefors-743587.jpg

vattenlandskap
lavering, 26x9.5 se

bruno liljefors
solnedgang
Painting ID:: 65097
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solnedgang
olja pa duk, 40x100cm 1894 se

bruno liljefors
olja
Painting ID:: 65107
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olja
se

bruno liljefors
morgon
Painting ID:: 65108
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morgon
olja pa duk 80x95cm, 1894 se

bruno liljefors
havsstudie
Painting ID:: 65109
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havsstudie
olja pa duk 25x32cm se

bruno liljefors ytterskargard i dimma oil

bruno liljefors
ytterskargard i dimma
Painting ID:: 65110
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ytterskargard i dimma
olja pa duk, 38x75cm se

bruno liljefors
afton
Painting ID:: 65111
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afton
olja pa duk, 17.5x32cm se

bruno liljefors
rav med beckasin
Painting ID:: 65112
new22/bruno liljefors-829288.jpg

rav med beckasin
olja pa panna. 33x23.5cm 1891 se

bruno liljefors
kragjappe
Painting ID:: 65113
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kragjappe
ur g thayer 1909 se

bruno liljefors
grunt vatten
Painting ID:: 65114
new22/bruno liljefors-938992.jpg

grunt vatten
olja pa duk, 66x95cm 1906

bruno liljefors
vassbunke
Painting ID:: 65115
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vassbunke
olja pa duk, 92x121cm 1907 se

bruno liljefors
terrangstudie
Painting ID:: 65116
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terrangstudie
olja pa duk, 70x100cm se

bruno liljefors
rapphonskull
Painting ID:: 65117
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rapphonskull
olja pa duk,70x99.5cm 1913 se

bruno liljefors
rapphons i sno
Painting ID:: 65118
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rapphons i sno
olja pa duk, 35x50cm 1903

bruno liljefors
simmande ander
Painting ID:: 65150
new22/bruno liljefors-226536.jpg

simmande ander
lavering, 18.5x37.5cm 1900 se

bruno liljefors
afton ,vildander
Painting ID:: 65151
new22/bruno liljefors-479222.jpg

afton ,vildander
olja pa duk 92x193cm 1901 se

bruno liljefors vildgass upplandsk oversvamning oil

bruno liljefors
vildgass upplandsk oversvamning
Painting ID:: 65153
new22/bruno liljefors-544348.jpg

vildgass upplandsk oversvamning
olja pa duk 177x375cm 1916 se

bruno liljefors uven djupt inne i skogen oil

bruno liljefors
uven djupt inne i skogen
Painting ID:: 65154
new22/bruno liljefors-664494.jpg

uven djupt inne i skogen
olja pa duk 166x191cm 1895 se

bruno liljefors
berguv
Painting ID:: 65156
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berguv
akvarell, 35x51cm 1894 se

bruno liljefors
uv i mansken
Painting ID:: 65158
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uv i mansken
uppklistrad olja pa duk 60x99cm 1900 se

bruno liljefors
berguv i snoig skog
Painting ID:: 65159
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berguv i snoig skog
olja pa duk 206x297cm 1907 se

bruno liljefors
granar i sno
Painting ID:: 65161
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granar i sno
olja pa duk , 31.5x42.5cm se

bruno liljefors
natt i skogen
Painting ID:: 65162
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natt i skogen
olja pa duk, 185x160cm 1895 se

bruno liljefors
aftonlandskap
Painting ID:: 65164
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aftonlandskap
olja pa duk 60x90cm 1902 se

bruno liljefors
gasstrack
Painting ID:: 65165
new22/bruno liljefors-935226.jpg

gasstrack
olja pa duk 71x102cm 1890 se

bruno liljefors
buskskvstta
Painting ID:: 65166
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buskskvstta
olja pa duk 87x105cm 1906 se

bruno liljefors
hakbo
Painting ID:: 65167
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hakbo
olja pa duk 92.5x123cm 1886 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]



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