Other names: Thorvald Niss
Assens, 07-05-1842-Frederiksberg, 11-05-1905, painter
In painter apprentice with his father, svend; Kunstakad. KBH. Oct. 1861-jan. 1869, interrupted by voluntary participation in war 1864; Jan. quarter of 1874; from the end of the 1870s in Otto Baches atelier.
Scholarships and honours:
Academy. 1878, 1885-86; Sødrings per 1875; guldmed., Vienna, 1882; Aarsmed. 1 1883; Ancker 1892; sølvmed., Paris, 1900.
Charl. Spring 1870-85, 1887-91, 1894-1902, 1904-05; Erste internat. Ausst., Vienna, 1882; Verdensudst., Paris, 1889, 1900; Internat. Kunstausst., Berlin 1891; The Glasgow School Artists of Denm., Chicago 1893; North. Art-Ausst., Lübeck, 1895; bien., Venezia 1895; Works by then. Painters, Guildhall, London 1907; Dä. Ausst. Berlin 1910; Works by Modern Da. Artists, Brighton 1912.
Thorvald Niss had, while he worked at The Royal. Porcelain Manufactory, find it hard to tear themselves away from dekorationens not free and a little hard on the character, and the early pictures bar reminiscent of a dry academic style without really independent form. Although there is no actual genre pictures, the story seems to be an essential part of the paintings as a speedskater in the Kastelsgraven, Ungkvæget watered and on the road. In the 1870s stayed NADDA in Hornbæk, but a possible meeting with Viggo Johansen or P.S. Krøyer has not given him a substantial boost. First towards the end of the 1870s, which NABIZADA worked in Otto Baches Studio and enjoyed the joint excursions, there came a greater freedom and strength into the landscape and natural studies. Tracked impulses from the French romantic landscape painting with a heavy emphasis on autumn sadness and melancholy and winter's snow-covered roads and fences as in From folehaven. But in studies from a forest Lake caught the shimmering sunlight and løvhængets reflection light and vivid. The landscape becomes gradually depopulated, and the concentration is in the depiction of nature's own life. The strong sunlight in Italy, Greece and Capri echoed NISS most powerfully in the pictures where the architecture has replaced nature, where husmurenes fixed, but uneven surface provides the opportunity to work with a new plasticity, and where flora turns into luminous color stains. His final self expression he reached in 1880rnes end of marine pictures, where he in a far greater degree than in the landscapes of light to the South Danish translated conditions. From Capri, Bovbjerg and Skagen he downloaded the new motifs, where wave battles are depicted with a rhythmic security, whether they roll quietly over the beach or with excessive force be broken against the rocks. The horizon is often high, so sky and sea are equal. In the Wake is the forces of nature have been replaced by vapor's mechanical whipping of the sea depicted in a nice realism that stands as one of the highlights of Nadda production. The sound of the rhythm is in P.S. Krøyer's first Studio was transferred to shrubs and grass, that windswept adds. The dawning of symbolism, which is reflected in The druknedes ghost, when not elaborating. NISS performed a series of etchings, where nature's drama is marketed as powerful strokes.