Summarize this content to 2000 words in 6 paragraphs in Arabic \u201cThe sun shines at midnight, and it is night at noon\u2009.\u2009.\u2009.\u2009the aurora borealis flares among the stars and storm clouds and waves chase each other\u2009.\u2009.\u2009.\u2009Fogs almost palpable in their density hide the world away in an instant.\u201d This was Anna Boberg\u2019s account of painting in Norway\u2019s Lofoten Islands in the 1900s. It also describes the elemental, luminous, majestic dramas playing across Northern Lights, a stirring winter show of late 19th and early 20th century landscapes at Basel\u2019s Beyeler Foundation.\u00a0At the entrance, Munch\u2019s \u201cChildren in the Forest\u201d invites you to stand on the fringe of a sunlit wood with six tiny figures, seen from the back, contemplating a frieze of trees rising like giants with mask faces, animal snouts, curling arms, a big boot. Will the children plunge in or shrink back? Eerie as a Hansel-and-Gretel stage set, this was painted in 1901 and claims nature as a mysterious, mythic force, site for psychological as well as physical exploration.\u00a0All sorts of magical, transporting lights in darkness follow. Bright white trunks entice you deep into Ivan Shishkin\u2019s vast charcoal forest \u201cWind Fallen Trees\u201d (1888). Akseli Gallen-Kallela\u2019s icy torrent \u201cMantykoski Waterfall\u201d (1892-94) drips abstract lines of glowing gold; puffy snowdrifts and coloured shadows in his \u201cLair of the Lynx\u201d (1908), painted after a hunting trip, record midwinter close to Finland\u2019s Karelia region bordering Russia. The border runs through extensive taiga \u2014 a landscape of pines, spruce and larches. On one side, Gallen-Kallela, who fought in Finland\u2019s war of independence, sought a distinctive national art. On the other Shishkin,\u00a0\u201ctsar of the forest\u201d, insisted his epic scenes represented \u201cexpanse, space, land\u2009.\u2009.\u2009.\u2009God\u2019s grace. Russian wealth.\u201dHarald Sohlberg\u2019s \u201cCountry Road\u201d (1916) in blazing midnight sun hangs next to his spectacular \u201cWinter Night in the Mountains\u201d (1901), where the Rondane peaks \u2014 backdrop for Ibsen\u2019s and Grieg\u2019s Peer Gynt \u2014 glisten in a crepuscular haze. Gazing at the mountain, Sohlberg felt \u201cwhat a solitary pitiful atom I was in an endless universe,\u201d but also that \u201cI had suddenly awakened in a new, unimagined and inexplicable world.\u201dThe pyrotechnics of the Northern Lights are both dazzling motif \u2014 Boberg painted them as ghostly turquoise and magenta curtains raining down on the Arctic sea, Tom Thomson as phantom lime-green spires over Ottawa \u2014 and metaphor for artists\u2019 imaginative transformations of the boreal forest landscapes in Scandinavia, Russia and Canada. The years between 1880 and 1930 were the northern landscape\u2019s heyday, when geography and politics \u2014 a flight from industrialisation to untouched nature, the opening of polar travel, surging romantic nationalism \u2014 aligned with aesthetic opportunity as French impressionism and post-impressionism spread globally.The Beyeler has a distinguished record of recalibrating modernism\u2019s story, pulling in the view from the edge, and here illuminates a dozen artists with individual displays. Some, for example Boberg, were never known outside Scandinavia:\u00a0a Stockholm architect\u2019s wife who strapped easel and frame to her thick fur coat, she painted en plein air with the hardy obsessiveness of Monet, creating vertiginous close-ups such as the translucent, horizonless \u201cGlacial Lake\u201d.Others had international careers, then were forgotten by Paris-centred modern art history. Swede Gustaf Fjaestad\u2019s delicately drifting \u201cNewly Fallen Snow\u201d (1909) and flaming tangle \u201cFrozen Trees at Dusk\u201d (1913), combine meticulous observation with art nouveau ornamental sinuosity and pointillism\u2019s pulsating dots and dashes. They come from storerooms at Vienna\u2019s Belvedere and the Mus\u00e9e d\u2019Orsay \u2014 Fjaestad was collected across Europe before the first world war.In 1912-13 an American touring exhibition of Scandinavian art starring Fjaestad and Sohlberg attracted Canadian artists to its Buffalo venue, including wealthy Lawren Harris. He founded and funded Canada\u2019s modernist Group of Seven, and supported two Canadian free spirits, Thomson and Emily Carr. More self-conscious and abstract-leaning than the Europeans, though absorbed in beloved landscapes, the Canadians\u2019 paintings are exhilarating.Carr\u2019s swirling dynamic \u201cForest, British Columbia\u201d (1931-32), and her vortices of brilliant white paint\u00a0animating \u201cInside a Forest\u201d (c1935), \u201cSunlight in the Woods\u201d (1934), and \u201cDancing Sunlight\u201d (c1937), set the mind spinning, as if wind tears through the room. An ecowarrior concerned about industrial logging, Carr painted Canada\u2019s Pacific forests from a trailer, using oil paint diluted with gasoline on cheap manila paper in fluid, vital renderings. She can sweepingly simplify\u00a0\u2014 \u201cAbstract Tree Forms\u201d (1931-32), the triangular patterned \u201cReforestation\u201d (1936) \u2014 without letting go of what she called \u201cearth and her dear shapes, her density, her herbage, her juice. I wanted her volume and I wanted to hear her throb\u201d.Harris too began as a lyricist \u2014 \u201cSnow Fantasy\u201d (c1917) with its iridescent laden boughs is a stylised version of Fjaestad\u2019s decorative tapestry of white twigs \u201cWinter Moonlight\u201d (1895) displayed at Buffalo\u2019s 1913 show \u2014 before deciding that Canada\u2019s unique topography, \u201cthe great North and its living whiteness, its loneliness and replenishment\u201d, demanded different responses. In \u201cBeaver Pond\u201d (1921), trees, foliage, reflections in the swamp are stark and crisp; in \u201cLake Superior\u201d (1919) and \u201cMountain Forms\u201d (c1926) stiff summits and black expanses of water become angular flattened shapes, casting metallic gleams \u2014 a new crystalline, North American sublime.The most fascinating transatlantic lineage is from Sohlberg\u2019s filmic, noirish \u201cA House by the Coast\u201d (1906), a solitary beach cottage glimpsed through a silhouette of trees, shown on the American tour, and Thomson\u2019s linear, melancholic \u201cNorthern River\u201d (1915), an autumnal Algonquin Park landscape and its mirror image in water trembling behind a mesh of trees. A young man\u2019s anxious, captivating painting, it conjures Eliot\u2019s line \u201cas if a magic lantern threw the\u00a0nerves\u00a0in patterns on a\u00a0screen\u201d, from \u201cThe Love Song of J Alfred Prufrock\u201d, published the same year.\u201cNorthern River\u201d introduced into Thomson\u2019s compositions the distancing devices of lattice work, trellises, grids of trees that significantly influenced painter Peter Doig in the 1990s. Thomson\u2019s \u201cThe Canoe\u201d (1914) features another motif\u00a0adopted by Doig: the white boat lies empty on the shore. From such a vessel Thomson drowned in 1917.For European audiences, Thomson is the Beyeler\u2019s haunting discovery, but even the show\u2019s most famous artist, Munch, surprises here: how sparky the landscapes are in the absence of his doom-laden figures. \u201cWhite Night\u201d (1900-01) is an insomniac\u2019s vision of jagged sawtooth spruces lining a frozen fjord. In \u201cStarry Night\u201d (1922-24), blue-tinted skies whirl above the enigmatic form of the artist\u2019s shadow. \u201cTrain Smoke\u201d (1900) is a ribbon of steam wreathing like a joyful banner around fat trees in full leaf by pools of mauve water.\u00a0The zany, loosely painted \u201cThe Yellow Log\u201d (1912), lying on snow in a purple wood, beams across the central gallery; David Hockney\u2019s depictions of Woldgate\u2019s fallen trees are descendants.It is a tribute to the Beyeler\u2019s fresh selection that contemporary works frequently come to mind. This is a tremendous show, revelatory about painting as a continuum across continents, ideologies and from past and present.Beyeler Foundation, Basel, January 26 \u2014 May 25, then Buffalo AKG Art Museum, Buffalo, New York, from August<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic \u201cThe sun shines at midnight, and it is night at noon\u2009.\u2009.\u2009.\u2009the aurora borealis flares among the stars and storm clouds and waves chase each other\u2009.\u2009.\u2009.\u2009Fogs almost palpable in their density hide the world away in an instant.\u201d This was Anna Boberg\u2019s account of painting<\/p>\n","protected":false},"author":1,"featured_media":179902,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-179901","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/179901","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=179901"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/179901\/revisions"}],"predecessor-version":[{"id":179903,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/179901\/revisions\/179903"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/179902"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=179901"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=179901"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=179901"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}