Christening in Tanum Church

  • Artist: Harriet Backer
  • Creation date: 1892
  • Object type: Painting

About

A woman is seated on the hindmost pew of the church and turns toward the entryway, where the baptismal procession is coming closer. It is first upon closer scrutiny that the viewer discovers a man standing by the door, as well as two other women to the very right of the painting. Harriet Backer’s virtuoso skills are on fine display here, as she captures the variously illuminated surfaces as the sunlight filters into the dusky interior of the church. The view from the church interior and out into the open allows for a striking perspective.

Stylistically, the viewer’s gaze is led from the academically trained realism of the foreground to the vividly pastose impressionism of the open-air scene framed by the doorway. Backer may have been inspired here by Wilhelm Leibl’s Three Women in Church (1878–82), which she would have been able to see during her studies in Munich.

Backer’s choice of this room was nonetheless not solely motivated by formal considerations. Church interiors played a crucial role in Backer’s art, providing her with a motif that was ideally suited for combining the spiritual and national themes that typify her output in the 1890s. The romantic Tanum Church in Bærum is a recurring motif. She herself considered Christening in Tanum Church to be her masterpiece, and the painting was selected by a jury and displayed at the Chicago World’s Fair in 1893.

Harriet Backer studied in Munich 1874–78 and subsequently in Paris, where she lived from 1878 to 1888. She was inspired by realism, and is considered to be both a naturalist and an early impressionist. Backer was a key figure in the clique of painters who met at Fleskum Farm in Bærum during the summer of 1886.

Text: Nils Ohlsen

From "Highlights. Art from Antiquity to 1945", Nasjonalmuseet 2014, ISBN 978-82-8154-088-0

Artist/producer

Harriet Backer

Billedkunstner, Painter

Born 1845 in Holmestrand, death 1932 in Oslo

Throughout Harriet Backer's 50-year career, women's rights changed radically. Being a woman and an artist became accepted. Backer was talented and determined, inspiring a new generation of women and men in the Norwegian art world.

In Backer’s family, art and culture were part of how the children were raised. Her older sister Agathe was musically gifted and wanted to become a pianist. She had to go abroad to learn, and Harriet became her sister's traveling companion. This gave Harriet the opportunity to visit art museums and get to know the historical masters of the art world at a young age. Agathe eventually became a renowned composer and concert pianist, while Harriet became an important artist. 

Art academies for men only 

Backer showed an early talent and interest in art, but embarked on full-time studies rather late in life. In 1874, at 29 years, she decided to travel to Munich. The art community in Norway was small, so one had to go abroad. 

The art academies in Europe were reserved for men in those days, but women could receive private tuition or attend "women's classes". During her years in Munich, Backer had several teachers. In 1878 she moved to Paris to continue her studies. 

An important recognition 

Being accepted for exhibition at the Salon in Paris was an important step on the path to becoming a professional artist. In 1880, Backer was accepted with the painting Solitude. Hundreds of artists exhibited at these exhibitions at the same time, and the paintings hung close together, from floor to ceiling. The jury thought Backer's painting was excellent, and she was honoured with a diploma, known as a Mention honorable. 

Contrasts in light and colours 

In Munich, Backer learned to paint in a style characterised by a high level of detail and dark colours. We see this for example in Avskjeden (The Farewell), from 1878. 

When she came to Paris, she was greatly inspired by impressionism. In one of her best-known paintings, Blått interiør (Blue Interior), painted five years after Avskjeden, the transformation of her painting style is evident. Clear and pure colours dominate the composition. From this point on, the interaction between figure, interior and light effects became a theme that permeated Backer's paintings. How to create contrasts between the light indoors and outdoors? How are colours perceived in lamplight compared to daylight? She approached her subjects with these issues in mind. 

Portraits and interiors 

Backer started her career with a desire to become a portrait painter. She painted many friends and acquaintances, and also received portrait commissions. But it is her interior scenes she has become best known for. She painted interiors from all walks of life – from farmhouses to bourgeois living rooms. For the most part, Backer's rooms are populated by women. 

I think I serve the cause of women best by concentrating like a man 

– Harriet Backer 

In 1888, Backer established herself in Norway, and from 1892 to 1910 ran a painting school in Kristiania. She became a popular teacher. Her openness to new ideas in both art and social development was appreciated. She sympathised with the women's movement, but did not actively participate in political work. 

In the women's cause, Backer was recognised more for what she did than what she said – as a renowned artist she was an important role model. Together with friend and fellow artist Kitty Kielland, she was a pioneer who paved the way for women to have the opportunity to choose art as a career path. 

About Harriet Backer: 

  • Born 21 January 1845 in Holmestrand. 
  • Lived in Paris in 1878–1888. 
  • Started an art school in Kristiania in the 1890s. Backer’s students included Nikolai Astrup, Halfdan Egedius, Harald Sohlberg, Henrik Lund, Helga Ring Reusch, Astri Welhaven and Sara Fabricius (Cora Sandel). 
  • Died 25 March 1932 in Oslo. 

Important works: 

  • Solitude (1878–1880) 
  • Blått interiør (Blue Interior) (1883) 
  • På blekevollen (Bleaching) (1886–1887) 
  • Ved lampelys (By Lamplight) (1890) 
  • Barnedåp i Tanum kirke (Baptism at Tanum Church) (1892) 
  • Inngangskoner (Women in Church) (1892) 
  • Interiør fra Uvdal stavkirke (Interior from Uvdal Stave Church) (1909) 

 

Work info

Creation date:
1892
Other titles:
Barnedåp i Tanum kirke (NOR)
Object type:
Materials and techniques:
Olje på lerret
Technique:
Material:
Dimensions:
  • Width: 143 cm
  • Height: 110.8 cm
  • Depth: 2.7 cm
Keywords:
Classification:
Acquisition:
Acquired 1959
Inventory no.:
NG.M.02465
Cataloguing level:
Single object
Owner and collection:
Nasjonalmuseet for kunst, arkitektur og design, The Fine Art Collections
Photo:
Lathion, Jacques