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shows a hunting party of airborne horsemen who move across a dark sky. They are accompanied by ravens and owls and seem to emerge from clouds in the background. All horses are black except for one white horse at the front. Spearheading the hunt is a helmeted man, possibly
202:'s first wife, and Guro Rysserova, a supernatural female being with a mysterious male companion. The folklorist Christine N. F. Eike has argued that the motif might have its origin in European traditions where young, unmarried men wear masks and move in processions during
338:, with the opening "Through the nightly air stampedes a train of frothing black horses". The poem is about a Christmas wedding that turns violent and is visited by the Wild Hunt. The painting's compositional arrangement, with its diagonal movements, is close to Arbo's
308:. The rest of the hunters appear to be men, with the addition of three captured nude women. The party members are armed with spears and other weapons. Two men at the front wear pelts over their heads, indicating they are
257:(1835) presented it as a pagan element that survived into Christian times, where it had been adapted into a demonic phenomenon. It had been used by 19th-century continental painters such as
380:
656:
Heesch, Florian; Kopanski, Reinhard (2017). "Klang - Text - Bild: Intermediale
Aspekte der Black Metal-Forschung". In Chaker, Sarah; Schermann, Jakob; Urbanek, Nikolaus (eds.).
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and abduct unfortunate people who have failed to find a hiding place. In the
Norwegian material, figures other than Odin who have been named as leaders of the hunt include
247:, they viewed their mythological paintings as ethical allegories and not as representations of real deities. In modern culture, the Wild Hunt had been popularized by
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276:. Arbo depicted the Wild Hunt several times and made a first oil painting of it in 1868. The 1868 version, which shows the hunters in profile, is owned by the
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359:(1860–62) by Malmström, which depicts the Norse gods in the sky above a battlefield. The way the mythological subjects are treated aligns with
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described it in 2013 as his "chief work" and complimented its "true, dramatic pathos" and "rich and imaginative composition".
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from the early 19th-century
Romantics. The most prominent painters in this group were the Norwegian Arbo and the Swedes
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By 1872, the depiction of Norse myths was largely out of fashion among art critics, who had more enthusiasm for
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Analyzing Black Metal - Transdisziplinäre Annäherungen an ein düsteres Phänomen der
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The Wild Hunt for Norway: Peter
Nicolai Arbo and Artistic Hybridity in the Nineteenth-Century
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456:(1988). This established the Wild Hunt as a popular motif in metal music in general and
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771:Åsgårdsreia : en studie av folkelige forestillinger på 1800- og 1900-tallet
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166 cm × 240.5 cm (65 in × 94.7 in)
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dismissed Arbo's and Winge's mythological works as "ghosts and bogeymen".
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708:'Northern Gods in Marble': The Romantic Rediscovery of Norse Mythology
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239:(1829 – 1901). In accordance with writers like
157:National Museum of Art, Architecture and Design
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675:Huvaere, Dani Kathleen Barrett (April 2018).
417:has been among Arbo's most celebrated works.
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155:. The painting is in the collection of the
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374:was first shown in public at Copenhagen's
223:(1831 – 1892) belonged to a group of Late
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344:Saint Olav at the Battle of Stiklestad
346:(1859). Another visual influence was
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660:(in German). Transcript Verlag.
108:Nasjonalmuseet Collection online
804:Asgaardsreien (J. S. Welhaven)
280:and is on a long-term loan to
139:') is an 1872 painting by
16:Painting by Peter Nicolai Arbo
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862:Paintings based on literature
474:Düsseldorf school of painting
388:Thor's Fight with the Giants
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690:Lerberg, Ellen J. (2014).
639:Heesch & Kopanski 2017
450:on the cover of the album
361:Johann Joachim Winckelmann
198:, sometimes identified as
151:and is based on a poem by
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376:Nordic Exhibition of 1872
274:Peter Christen Asbjørnsen
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837:Paintings of Norse myths
683:Montana State University
340:Kunstakademie Düsseldorf
332:Johan Sebastian Welhaven
304:, and two bare-breasted
153:Johan Sebastian Welhaven
713:Aarhus University Press
292:Subject and composition
789:Norsk kunstnerleksikon
722:10.7146/rom.v1i1.15854
705:Ljøgodt, Knut (2012).
420:Norsk kunstnerleksikon
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184:Scandinavian tradition
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448:The Wild Hunt of Odin
415:The Wild Hunt of Odin
372:The Wild Hunt of Odin
324:The Wild Hunt of Odin
320:and wearing a crown.
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214:The Wild Hunt of Odin
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172:The Wild Hunt of Odin
149:Scandinavian folklore
117:The Wild Hunt of Odin
22:The Wild Hunt of Odin
857:Works based on poems
785:"Peter Nicolai Arbo"
768:Løwe, Hilde (2012).
832:Norwegian paintings
254:Deutsche Mythologie
241:Adam Oehlenschläger
776:University of Oslo
259:Joseph von Führich
245:N. F. S. Grundtvig
235:(1825 – 1896) and
233:Mårten Eskil Winge
221:Peter Nicolai Arbo
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141:Peter Nicolai Arbo
51:Peter Nicolai Arbo
732:978-87-7124-339-0
667:978-3-8376-3687-1
641:, pp. 29–30.
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599:, pp. 40–41.
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423: [
413:Over time,
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249:Jacob Grimm
178:motif from
816:Categories
681:(Master).
480:References
318:war hammer
310:berserkers
167:Background
82:Dimensions
759:ignored (
749:cite book
741:2245-599X
510:Løwe 2012
498:Løwe 2012
485:Footnotes
367:Reception
306:valkyries
251:, who in
192:midwinter
182:. In the
176:Wild Hunt
145:Wild Hunt
122:Norwegian
28:Norwegian
468:See also
334:'s poem
225:Romantic
180:folklore
90:Location
649:Sources
444:Bathory
404:Realism
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104:Website
62: (
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302:Sigurd
286:Tromsø
137:Asgard
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446:used
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328:Paris
270:]
196:Lussi
147:from
842:Odin
761:help
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727:ISBN
662:ISBN
460:and
397:Oslo
314:Thor
261:and
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188:Odin
161:Oslo
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64:1872
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