Moderne, Klassisk & Munch
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Møter Med Utvalgte Malerier Av Inger Sitter 1952
Møter med utvalgte malerier av Inger Sitter 1952 – 1967 Emnekode KVI-3900 Sissel Dybvik Mastergradsoppgave i kunstvitenskap Fakultet for humaniora, samfunnsvitenskap og lærerutdanning Universitetet i Tromsø Våren 2010 Forsidebilde: Inger Sitter med maleriet Bibbi, 10.09.08. 2 Takk - Først og fremst til min veileder Svein Aamold for en spesielt krevende og inspirerende veiledning. - Til Ola for gode samtaler og positiv mottakelse av mine uavklarte spørsmål. - Til Liv Ragna for god støtte hele veien. - Til Torgrim for glimrende datateknisk bistand. - Til fakultetet for økonomisk bistand til mine galleri- og museumsbesøk. - Til min arbeidsplass Stakkevollan bedriftshelsetjeneste som gjorde det mulig å tilrettelegge dagen slik at jeg kunne følge forelesningene ved UiT. 3 ”Jeg skulle ønske at bildene mine kunne bli like naturlige og selvsagte som vær og vind og blodets kretsløp – og at de kunne oppleves som et stykke natur i seg selv, et stykke levende liv. Jeg skulle ønske at tilskueren ga tid, kunne gå inn i bildet – og fremfor alt ga opp sin redsel for ikke å forstå”. Inger Sitter 1990 4 Innhold Kap. I Introduksjon 7 1.1 Innledning 7 1.2 Om kunstneren Inger Sitter 9 1.3 Forskningshistorikk/litteratur 11 Kap. II Møte med maleriene 14 2.1 En gryende forenkling - abstraksjon 14 2.1.1 Gjenspeiling av modernismen 17 2.1.2 Konstruktivisme 28 2.1.3 Abstrakt eller nonfigurativt? 36 2.2 Det nonfigurative maleriet 41 2.2.1 Farge blir til form 44 2.2.2 Lyrisk abstrakt 52 2.2.3 En ny spontanitet 60 2.2.4 Fra mørke til lys 67 Kap. -
'Northern Gods in Marble'
‘NORTHERN GODS IN MARBLE’ The Romantic Rediscovery Marble of Norse Mythology [ KNUT LJØGODT ABSTRACT The Norse myths were rediscovered in the late 18th century, and became important to contemporary culture during the first half of the 19th century. The Romantics discussed the usage of themes from Norse mythology; soon, these themes became widespread in art and literature. Their popularity is closely connected with the national ideals and political situations of the period, but they were often given individual artistic interpretations. The ] Romantic interest in Norse myths and heroes held sway over artists and writers throughout the 19th century. KEYWORDS Norse myths, Norse heroes, pagan religion, Knud Baade, Romanticism vs Classicism. Introduction Karen Blixen’s short story ‘Sorrow-Acre’, published in Winter’s Tales (1942) takes place at a Danish country estate in the late 18th century. During a conversation between the baron and his nephew, they discuss Classical versus Norse mythol- ogy. The young man has discovered the Norse myths through a recently pub- lished work: ‘He mentioned the name of the author, Johannes Ewald, and recited a couple of the elevated verses.’ The book he refers to is Ewald’s play The Death of Balder (1775). He goes on to praise the Norse gods: ‘And I have wondered, while I read,’ he went on after a pause, still moved by the lines he himself had declaimed, ‘that we have not till now understood how much our Nordic my- thology in moral greatness surpasses that of Greece and Rome. If it had not been for the physical beauty of the ancient gods, which have come down to us in marble, no modern mind could hold them worthy of worship. -
Henrik Ibsen
Henrik Ibsen Edmund Gosse The Project Gutenberg EBook of Henrik Ibsen, by Edmund Gosse Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg eBook. This header should be the first thing seen when viewing this Project Gutenberg file. Please do not remove it. Do not change or edit the header without written permission. Please read the "legal small print," and other information about the eBook and Project Gutenberg at the bottom of this file. Included is important information about your specific rights and restrictions in how the file may be used. You can also find out about how to make a donation to Project Gutenberg, and how to get involved. **Welcome To The World of Free Plain Vanilla Electronic Texts** **eBooks Readable By Both Humans and By Computers, Since 1971** *****These eBooks Were Prepared By Thousands of Volunteers!***** Title: Henrik Ibsen Author: Edmund Gosse Release Date: May, 2005 [EBook #8152] [Yes, we are more than one year ahead of schedule] [This file was first posted on June 20, 2003] Edition: 10 Language: English Character set encoding: ASCII *** START OF THE PROJECT GUTENBERG EBOOK HENRIK IBSEN *** Produced by Ted Garvin, Nicole Apostola and David Widger HENRIK IBSEN By Edmund Gosse CONTENTS CHAPTER I: CHILDHOOD AND YOUTH CHAPTER II: EARLY INFLUENCES CHAPTER III: LIFE IN BERGEN (1852-57) CHAPTER IV: THE SATIRES (1857-67) CHAPTER V: 1868-75 CHAPTER VI: 1875-82 CHAPTER VII: 1883-91 CHAPTER VIII: LAST YEARS CHAPTER IX: PERSONAL CHARACTERISTICS CHAPTER X: INTELLECTUAL CHARACTERISTICS LIST OF ILLUSTRATIONS Henrik Ibsen Ibsen in 1868 Ibsen in Dresden, October, 1873 From a drawing by Gustav Laerum Facsimile of Ibsen's Handwriting Ibsen. -
Bibliotekliste Pr 3. August 2018
Bibliotekliste pr 3. august 2018 AAMODT, Tine. LØKKEN, Line Bøhmer. Manual. Oslo. 2006. Prosjekt. Bok. 2007 AASBØ, Kristin(red). Standard for fotokatalogisering. Oslo. 2007. Fotografi. Katalogisering. Skriftserie, ABM-skrift #44. 2007 AASERUD, Anne (red.). Nordnorske bilder og bildet av Nord-Norge. Tromsø. 2002. Bok. Alle teknikkar, Nord-Norge. Katalog til utstilling ved Nordnorsk Kunstmuseum. AASERUD, Anne (red.). Voyage pittoresque – Reiseskildringar fra nord. Tromsø. 2005. Temautstilling. Måleri og grafikk. Katalog Nordnorsk Kunstmuseum. AASERUD, Anne, LJØGODT, Knut og BERG, Jan Martin. Katalog over samlingene. Tromsø. 2008. Biletkunst. Alle sjangre. Verkskatalog. 2012 AASERUD, Anne, LJØGODT, Knut, BERG, Jan Martin. Nordnorsk Kunstmuseum- katalog over samlingene. Tromsø. 2008. Samling. Trearbeid, måleri, teikningar, foto, tekstil. Bok. 2008 AASERUD, Anne. Einar Berger. Tromsø. 1999. Katalog. Måleri. Katalog Nordnorsk Kunstmuseum. AASERUD, Anne. Fra Nesna til Nilen: Akvareller fra Hans Johan Fredrik Bergs reiser. Tromsø. 2007. Monografi. Akvarell. Katalog Nordnorsk Kunstmuseum. AASERUD, Anne. Mellom indre og ytre natur – Oscar Bodøgaards kunstnerskap. Tromsø. 2003. Katalog. Måleri. Katalog Nordnorsk Kunstmuseum. ABBS, Peter. Essays on Creative and Aesthetic Education. Sussex. 1989. Kunstformidling. Bok. Abm-skrift #57. Statistikk for arkiv, bibliotek og museum 2008. Oslo. 2009. Museumsfaglig. Softback. 2009 ALBIEZ, Simone. Olaf Otto Becker – Above Zero. Greenland 2007-2008. Ostfildern, Germany. 2009. Biletkunst. Fotografi. Bok. 2012 ALHAM. Det sto i avisen – 20 portretter gjennom 20 år. Bergen. 1986. Karikaturteikning. Teikning. Bok. ALMAAS, Ingerid Helsing (red.). Arkitektur N, 08-2007. Oslo. 2007. Tidsskrift. Tidsskrift. Tidsskrift. 2007 ALVEBERG, Kjersti. Visjoner øye på dans. 2005. Dans. ALVER, Ivar B. Lykkelige bilder – Et kunstnerportertt av Jan Harr. Stavanger. 1986. Monografi. Måleri. Grafikk. Bok. Anders Svor Museum. Anders Svor Museum: 1953-2003: Jubileumsskrift. -
Christian Tony Norum: an Homage to Art and the Artist Wenche Volle
Christian Tony Norum: An Homage to Art and the Artist Wenche Volle Christian Tony Norum wanders around with a cap emblazoned with the message “I love Edv. Munch”, a declaration of love written in ballpoint pen on light-blue fabric. That artists have their particular heroes from the history of art is well-known. Such idolization is a matter of relating to a legacy of art, of working to forge a career and find one’s place. Art history presents us with a complex system of influence running from one artist to the next. While some sources of inspiration are proudly trumpeted, others are more surreptitious: the great nineteenth-century figure painter Adolph Tidemand, for example, was inspired by none other than Raphael.1 A few generations later, the encounter with Picasso’s Guernica at Kunstnernes Hus in 1937 proved to be a defining moment for Rolf Nesch, while the American painter Philip Guston had a reproduction of Piero della Francesca on his studio wall. Cézanne studied Poussin, while Claude Monet, Henri Matisse, Edgar Degas, Paul Signac, and Paul Gauguin all owned paintings by Cézanne. And during a major retrospective at the National Gallery in Oslo in 1945, Edvard Munch’s paintings resonated deeply with Asger Jorn. When it comes to hero worship in art, however, Christian Tony Norum takes some beating. In recent years he has carried out a major project that renders homage to artists such as Edvard Munch, Asger Jorn, Pablo Picasso, and Henri Matisse. The painting Looking In to Dimensions Documenting History (2017) shows a bus full of luminaries from the world of art, including Munch, Picasso, and Hilma af Klint. -
Natee Utarit Demetrio Paparoni
Natee Utarit Demetrio Paparoni NATEE UTARIT Optimism is Ridiculous Contents Cover and Back Cover First published in Italy in 2017 by Photo Credits Special thanks for their support 6 The Perils of Optimism. Passage to the Song of Truth Skira editore S.p.A. © 2017. DeAgostini Picture Library/ and collaboration to and Absolute Equality, 2014 Palazzo Casati Stampa Scala, Firenze: pp. 14 (top), 76, 102 The Art of Natee Utarit (details) via Torino 61 © 2017. Digital image, The Museum Demetrio Paparoni 20123 Milano of Modern Art, New York/Scala, Art Director Italy Firenze: pp. 14 (bottom), 18, Makati Avenue corner Marcello Francone www.skira.net 124 (bottom) De La Rosa Street, Greenbelt Park, Makati City, 147 © 2017. Foto Austrian Archives/ 1224 Philippines Optimism is Ridiculous Design © All rights reserved by Richard Koh Scala, Firenze: p. 90 Luigi Fiore Fine Art, Singapore © 2017. Foto Joerg P. Anders. © 2017 Skira editore for this edition Editorial Coordination Foto Scala, Firenze/bpk, Bildagentur 241 Writings by the Artist © 2017 Demetrio Paparoni for his Vincenza Russo fuer Kunst, Kultur und Geschichte, text Berlin: p. 134 Editing © 2017 Natee Utarit for his works © 2017. Foto Klaus Goeken. 249 Appendix Valeria Perenze and texts Foto Scala, Firenze/bpk, Bildagentur © Joseph Beuys, Juan Muñoz, Layout fuer Kunst, Kultur und Geschichte, by SIAE 2017 Antonio Carminati Berlin: p. 82 Jl. Medan Merdeka Timur No. 14 © Man Ray Trust, by SIAE 2017 Jakarta Pusat 10110 - Indonesia © 2017. Foto Scala, Firenze: pp. 8, Translation © Succession Marcel Duchamp 29 (top left), 34, 48, 116 Natalia Iacobelli by SIAE 2016 © 2017. Foto Scala, Firenze/bpk, © Succession Picasso, by SIAE 2017 Iconographical Research Bildagentur fuer Kunst, Kultur © The Andy Warhol Foundation for Paola Lamanna und Geschichte, Berlin: pp. -
1Journal for the S Tud Y of R Omantic Is Ms Journal for the S Tud Y of R
Romantik 01 0 0 JOURNAL JOURNAL This inaugural1 issue of Romantik: Journal 1 for the Study of Romanticisms contains seven articles that explore the connection between Romanticism and the political sphere. This FOR FOR topic has long been in need of redefinition. By gathering work from across disciplines THE THE with an interdisciplinary or cross-cultural STUDY STUDY scope, the topic is opened up to new perspectives of investigation. The articles in this first issue present new and excit- OF OF ing analyses of such diverse discourses as mythology, the fairy tale, historiography, R R OMANTICI OMANTICI elite culture, landscape painting, sculpture and dreaming. S S MS MS 9 788771 240863 ISBN 978-87-7124-086-3 91912_cover_romantik_.indd 1 03/11/12 14.30 01 OF ROMANTICISMS JOURNAL FOR THE STUDY Editors Robert W. Rix (Aalborg University), Lis Møller (Aarhus University), Karina Lykke Grand (Aarhus University), Anna Lena Sandberg (University of Copenhagen) Editorial Board Elisabeth Oxfeldt (University of Oslo), Gunilla Hermansson (University of Gothenburg), Tomas Björk (Stockholm University), Lauri Suurpää (Sibelius Academy, Helsinki), Leena Eilittä (University of Helsinki) Advisory Board Charles Armstrong (University of Bergen), Paula Henrikson (Uppsala University), Jacob Bøggild (Aarhus University), David Fairer (University of Leeds), Karin Hoff (Georg- August-Universität Göttingen), Stephan Michael Schröder (University of Cologne) Nordic Co-Editor (first issue) Leena Eilittä (University of Helsinki) Main editorial contact Robert W. Rix [[email protected]] Editorial Secretary Kasper Rueskov Guldberg Subscription services Aarhus University Press [[email protected]] The cover illustration is Scene from the Era of Norwegian Sagas (1850), a painting by the Norwegian artist Knud Baade (1808-1879). -
The History of Modern Painting Volume 2
The History of Modern Painting Volume 2 by Richard Muther The History Of Modern Painting BOOK III THE TRIUMPH OF THE MODERNS CHAPTER XVI THE DRAUGHTSMEN INASMUCH as modern art, in the beginning of its career, held commerce almost exclusively with the spirits of dead men of bygone ages, it had set itself in opposition to all the great epochs that had gone before. All works known to the history of art, from the cathedral pictures of Stephan Lochner down to the works of the followers of Watteau, stand in the closest relationship with the people and times amid which they have originated. Whoever studies the works of Dürer knows his home and his family, the Nuremberg of the sixteenth century, with its narrow lanes and gabled houses; the whole age is reflected in the engravings of this one artist with a truth and distinctness which put to shame those of the most laborious historian. Dürer and his contemporaries in Italy stood in so intimate a relation to reality that in their religious pictures they even set themselves above historical probability, and treated the miraculous stories of sacred tradition as if they had been commonplace incidents of the fifteenth century. Or, to take another instance, with what a striking realism, in the works of Ostade, Brouwer, and Steen, has the entire epoch from which these great artists drew strength and nourishment remained vivid in spirit, sentiment, manners, and costume. Every man whose name has come down to posterity stood firm and unshaken on the ground of his own time, resting like a tree with all its roots buried in its own peculiar soil; a tree whose branches rustled in the breeze of its native land, while the sun which fell on its blossoms and ripened its fruits was that of Italy or Germany, of Spain or the Netherlands, of that time; never the weak reflection of a planet that formerly had shone in other zones. -
Katalogen Finner Du Intervju Med Vår Verksmester Kjell Johansson, Som Har
inger sitter 64 år som grafiker 1946 / 2010 - inger sitter 64 år som grafiker Da Kunstverket startet samarbeidet med assistert henne i produksjonen av litgrafiene Inger Sitter i 1996, hadde hun allerede og monotypiene hun skaper her. I essayet arbeidet som kunstner i femti år. Sist høst ”Inger Sitter og Atelier 17 i Paris” kan du lese feiret hun åtti, og det er med stor takk- om hennes periode i Paris, og kunstneren nemlighet vi nå for tredje gang holder en kommer selv til orde i intervjuet med Anny separatutstilling med kunstneren som regnes Fremmerlid. som en av Norges fremste modernister. Inger Sitter fortsetter på imponerende vis å Med et brennende engasjement for en utvikle sitt kunstneriske uttrykk, og hennes bredere kunstformidling har Sitter lagt bak energi og vitalitet smitter over på de som er seg en imponerende produksjon som så heldige å få arbeide med henne. Det nye setter henne i en særstilling i norsk kunst- Gråmølna Trondheim Kunstmuseum huser historie. I denne utstillingen, som er laget i nå permanent en stor samling av Sitters samarbeid med Trondheim Kunstmuseum og bilder, donert av kunsteren selv. Vi vil takke Henie Onstad Kunstsenter, viser vi et utvalg dem, Henie Onstad Kunstsenter og Anny grafiske arbeider som speiler Sitters bredde Fremmerlid for et inspirerende samarbeid og og utvikling gjennom hele hennes kunstnerliv. gleder oss til å følge denne store kunstneren videre i hennes utvikling. Inger Sitter er en kunstner som deler på sin innsikt og kunnskap. Hennes forståelse for grafikk, som hun dannet grunnlaget for Oslo august 2010 allerede i 1950-årene hos S.W. -
Rom Anticism in the North from Friedrich to Turner
ROMANTICISM IN THE NORTH Wild seas and volcanic eruptions; quiet moonlit art. It was then that painters – apart from carefully nights and serene meadows. Landscapes can have observing their natural environment – also started both an historic dimension and feature traces of also to look within, focusing on the inner self. national history, as well as prompt a more religious, spiritual experience. In its varied manifestations The influence of Romanticism is unmistakably landscape art remains an important genre within omnipresent in our modern world. The movement, the visual arts. which included the arts as well as intellectual thought, swept through Europe from the late During the Romantic Era landscape painting eighteenth century onwards. Romanticism in reached its height of popularity through artists the North offers a broad overview of landscape such as J.M.W. Turner in Great Britain, Caspar painting from that epoch-making period. For the David Friedrich in Germany and Johan Christian first time the Scandinavian and Dutch varieties of Dahl in Norway. Whilst to this day their paintings Romanticism are also placed within an international continue to fascinate our imagination, a whole new context to ask: how do these lesser known but artistic vision emerged during this era which would highly gifted landscape artists relate to their more prove to have a determining influence on modern celebrated contemporaries? FROM FRIEDRICH TO TURNER LENDERS TO THE EXHIBITION Amsterdam, Rijksmuseum Basel, Kunstmuseum Basel Bautzen, Museum Bautzen Cambridge, -
Henrik Ibsen
Henrik Ibsen By Edmund Gosse Henrik Ibsen CHAPTER I CHILDHOOD AND YOUTH The parentage of the poet has been traced back to a certain Danish skipper, Peter Ibsen, who, in the beginning of the eighteenth century, made his way over from Stege, the capital of the island of Möen, and became a citizen of Bergen. From that time forth the men of the family, all following the sea in their youth, jovial men of a humorous disposition, continued to haunt the coasts of Norway, marrying sinister and taciturn wives, who, by the way, were always, it would seem, Danes or Germans or Scotswomen, so that positively the poet had, after a hundred years and more of Norwegian habitation, not one drop of pure Norse blood to inherit from his parents. His grandfather, Henrik, was wrecked in 1798 in his own ship, which went down with all souls lost on Hesnaes, near Grimstad; this reef is the scene of Ibsen's animated poem of Terje Viken. His father, Knud, who was born in 1797, married in 1825 a German, Marichen Cornelia Martie Altenburg, of the same town of Skien; she was one year his senior, and the daughter of a merchant. It was in 1771 that the Ibsens, leaving Bergen, had settled in Skien, which was, and still is, an important centre of the timber and shipping trades on the south-east shore of the country. It may be roughly said that Skien, in the Danish days, was a sort of Poole or Dartmouth, existing solely for purposes of marine merchandise, and depending for prosperity, and life itself, on the sea. -
Samlingsplan for Musea I Hordaland 2015 - 2020
Samlingsplan for musea i Hordaland 2015 - 2020 n e rg e B i t e se u lm m o y h B rt , e n j e H rg in e g B e R le : m to a o G F Innleiing s. 4 Kva er samlingsforvaltning? s. 5 Innhaldet i planen s. 6 Arbeidet med planen s. 7 Økonomi s. 7 Arbeidsprosessen s. 7 Kva styrer musea? s. 10 Fylkeskommunale føringar s. 10 Statlege føringar s. 11 Samlingane til musea i Hordaland s. 12 Omtale av samlingane s. 13 Musea i tal s. 23 Immateriell kulturarv s. 24 Handlingsboren kunnskap s. 24 Vidare arbeid med immateriell kulturarv s. 25 Samlingsutvikling s. 26 Passiv eller aktiv innsamling? s. 28 Prioritering, avhending og destruksjon s. 29 Tematisk ansvarsfordeling s. 29 Private og kommunale samlingar s. 35 Målsetjingar innan samlingsutvikling s. 37 Dokumentasjon s. 37 Dokumentasjon av eigne samlingar s. 38 Registrering og digitalisering s. 38 Industridokumentasjon s. 40 Annan dokumentasjon s. 40 Arkiv s. 41 Målsetjing innan dokumentasjon s. 42 Tilgjengeleggjering s. 42 Rekvisittar s. 43 Formidling s. 44 Publikumstilgjengelege magasin s. 44 Målsetjing innan tilgjengeleggjering s. 44 Magasin og bevaring s. 45 Magasinbehov s. 46 Fellestenester s. 48 Nytt fellesmagasin s. 50 Ønskjeleg utvikling av fellestenester s. 51 Konserveringstenester s. 51 Mobilt Thermo Lignum kammer – insektssanering s. 53 Beredskapsgruppa s. 53 Målsetjingar innan magasin og bevaring s. 54 Oppsummering og vidare arbeid s. 54 Tiltak s. 56 For musea i fellesskap s. 56 For Hordaland fylkeskommune s. 56 For kvart einskild museum s. 56 Vedlegg s. 58 Oversyn over samlingane til musea i Hordaland Statusrapport om private samlingar i Nordhordland Oversikt over samlingar av maritim industrihistorie i Sunnhordland Notat frå møta for musea med eit regionalt ansvar Næringsutvikling i Hordaland 1850–1950 4 Samlingsplan for musea i Hordaland INNLEIING Arbeidet med ein felles plan for samlingane til musea i Da arbeidet med denne planen starta i 2014, var det Hordaland vart sett i gong i kjølvatnet av Musea i berre Bymuseet, Museum Vest, Olav H.