be mentioned the brothers Grönvold, Olav Rusti, Oscar
Wergeland, and Ekenæs. They were the vanguard. Later
came Otto Sinding, Eilif Peterssen, and Hans Heyerdahl,
Erik Werenskiold and Gerhard Munthe, Harriet Backer
and Kitty Kielland, Jacob Glöersen and Theodor Kittelsen;
further, Karl Uchermann, Elisabeth Sinding, and Asta Nör-
regaard. Still later appeared representatives of a new gen-
eration, namely Fredrik Kolstö, Sven Jörgensen, Jacob
Sömme, and Jacob Bratland. The greater number of those
named became pupils of Löfftz. To these young painters,
who for the rest of their lives faced the prospect of working
in a land such as Norway, where they would have to recon-
cile themselves to the absolute lack of good examples of
older art, the opportunities for study in the Pinakothek at
Munich were of inestimable value. The culture and refine-
ment of taste which were thus added to their native endow-
ments during these impressionable years gave that inward
security which culture is capable of providing against seasons
of ferment and strife.

Meanwhile the air in Munich was full of disquieting
vibrations. Without doubt such of the Norwegian pupils
at the Academy as thought at all deeply, Werenskiold espe-
cially, were conscious of something untenable at the bottom
of the dominating academic tendencies. Routine was fastening
its grip round about them and even beginning to seize upon
their own circle. Not a few seem to have experienced a stifling
sensation and to have realized the desirability of getting
away. Nevertheless, it was not till 1878 that the general
migration commenced. Eilif Peterssen returned to Norway
and remained at home one winter, whereupon he went to
Rome and there made his first full surrender to realism.
Heyerdahl hastened to Paris, where he scored a success at
the Universal Exposition with his picture, Adam and Eve.
Harriet Backer also removed to Paris. In July, 1879, the
International Art Exhibition was opened in Munich. The
productions of the Frenchmen had the greatest effect on the
entire world of art in Munich. The French made such an
impression on Erik Werenskiold that he sent out the winged

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