his aesthetic tenets may be formulated in a single sentence:
One should paint nature as it is; yet there are things in nature
that are not worth painting. Hunter, lover of the open, and
tenacious pedestrian as he was, he lived for the most part
in the woods and among the mountains and so became the
portrayer of the spruce forest and of winter in the inland
regions of eastern Norway. His pictures bear titles such
as Winter, Hauling Timber, The Snow Storm, A Thaw.
The fine picture, Hunting Woodcocks, is to be found in the
National Gallery. Glöersen's art is so unaffected and sober
that his paintings at times narrowly escape photographic
dryness. Even so they carry the appeal of truth and sin-
cerity. Moreover, if he lets himself go and uses the broad
brush, he shows a fresh and flowing style equalled by few.
Still his stroke can be suave and careful. Nothing else is so
soft as motionless air filled with falling snow. This Glöer-
sen has painted. Jacob Glöersen died in 1912.

Fredrik Kolstö was born at Haugesund in 1860. At the
age of seventeen he came to Munich, and there painted in
1880 his first genre picture, A Norwegian Fisherman's
Home. Here reached maturity so early that, after his return
to Norway the following spring, he was able during the sub-
sequent summer to finish the large painting which in its way
still remains his masterpiece, A Stril at the Bergen Fish-
market. By its realism and bold, broad, palette knife tech-
nique the picture created a sensation at the Exhibition of the
same year, and contributed considerably to the current talk
about a school of daubing. After a sojourn in Paris in 1885
he painted a Studio Interior, now in the gallery at Trond-
hjem, which probably is the best work he has done. It is a
thoroughly impressionistic canvas, executed with the extreme
decomposing technique used by the pointillists.

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