19世紀(jì)瑞典風(fēng)景畫(huà)家阿爾弗雷德·沃爾伯格(Alfred Wahlberg)曾在斯德哥爾摩和杜塞爾多夫(Dusseldorf)短暫學(xué)習(xí)，但在巴黎受到了現(xiàn)代法國(guó)繪畫(huà)的影響，他的作品既表現(xiàn)了北方畫(huà)派的陰郁陰郁，又表現(xiàn)了法國(guó)畫(huà)家的明亮色調(diào)。在他的很多作品中，甚至是那些我可能認(rèn)為比較古老且不太受法國(guó)風(fēng)格影響的作品，你可以在繪畫(huà)中看到出乎意料的開(kāi)放、松散的毛筆作品，在較小的復(fù)制品中看起來(lái)更加緊密。沃爾伯格的作品經(jīng)常被戲劇化地照亮，傍晚的太陽(yáng)穿過(guò)風(fēng)景，或者聚光燈穿透云層。貫穿始終的是美妙的紋理元素，在表現(xiàn)和表面的油漆。

19th century Swedish landscape painter Alfred Wahlberg studied briefly in Stockholm and in Dusseldorf, but took influence from his exposure to modern French painting in Paris; and his work shows both the dark moodiness of the northern schools and the brighter palette of the French painters. In much of his work, even pieces that I might assume to be older and not as much influenced by the French styles, you can see unexpectedly open, loose brush work in paintings the look more tightly rendered in smaller reproductions. There are some relatively large images on an ad-laced Ukrainian site at nevspic.com and some medium sized images on the Scandinavian auction site Bukowskis that lead to high-resolution versions for those who care to create a free account. Wahlberg’s compositions are often theatrically lit, with late day sun cutting across the landscape or carving spotlights through breaks in clouds. Throughout are wonderful textural elements, both in the representation and in the surface of the paint.  <