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• Soleinatt, Jolster (White Night, Buttercups at Jolster)

• Nikolai Astrup

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• circa 1910
  Oil on canvas
  80 x 101.6 cm (31 1/2 x 40 in.)
  
  A recently re-discovered work, Nikolai Astrup's eloquent and powerful depiction of Alhus near Jolster where his father was the local pastor incorporates the two essential themes that preoccupied Astrup throughout his life: the farming community and the primal forces of the natural world.
  
  Surrounded by lush green fields with flowers in bloom, and washed by the waterfalls that cascade down the hills behind, in the present painting Astrup evokes the natural almost Edenic goodness of the setting; the cluster of houses and farm buildings at Alhus are embraced by Mother Earth.
  
  Astrup commented on his depictions of Alhus: 'I have tried to express some of that feeling for nature which comes over you when you make your way through the landscape of Jolster; that smell and mouldy dampness of old heathendom and primitive religion, that earth rich in sagas; these often raw colours have more importance than as mere subjects for my pictures. And this in my opinion is what motifs should be to all painters, that they in other words should be closer bound to the earth... I am perhaps one of the most place- and earth- bound painters in the whole country, and have staked my honour on being uninfluenced by all directions.'
  
  Such sentiments, however, belie his early training in Paris and that his mystical depiction of his homeland was firmly rooted in the primitivistic tendencies that lay at the heart of Modernism. Astrup studied first in Norway with Harriet Backer, then from 1901-02 in Paris at the Académie Colarossi and the Académie Julian. There he came into contact with Gauguin, and younger artists Henri Rousseau and Maurice Denis. 'In 1903 he turned his back on modern life and returned to Jolster for good, preferring a countryside where life was lived in the old Norwegian way, in close proximity with the earth and in battle against the powers of nature, a place where superstition still had a hold on the mind, where old customs ruled.'
  
  The theme of an upstanding community at the farthest reaches of civilization is not only implicit in the subject of Buttercups at Jolster, but also a feature of its history. The painting has been sent for sale by The Scandinavian Cultural Center at Pacific Lutheran University, Washington State. PLU was founded by Norwegian Lutherans in 1890 to bring education and learning to the state's rapidly developing communities and produce graduates among the influx of pioneers to the region to serve both church and community. Today PLU's Scandinavian Cultural Center fosters and supports the university's Scandinavian Studies Program and the Scandinavian Immigrant Experience Collection; promotes development and understanding of Nordic immigrant and Scandinavian-American experiences, cultures, and heritage; and raises awareness of contemporary Nordic cultures and societies.

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Other paintings by Nikolai Astrup:

Soldering Night (Lodden natt)

soleier og regnbue (buttercups and rainbow)

Sonde I Jalster

Spring and Desire