Gerhard Munthe. Enchanted Design” in the National Gallery

"Odin riding Slepner", 1899. The National museum in Oslo shows this summer the largest presentation of the norwegian designer and painter Gerhard Munthe in 100 years. May 28, 2018 12:56 BST Invitation to a press viewing of “Gerhard Munthe. Enchanted Design” in the National Gallery ” Time: Wednesday, 6 June, 11:00 a.m., the National Gallery This summer, the National Gallery’s entire ground floor will be used to showcase over 230 works of design and decorative art by Gerhard Munthe (1849–1929), the largest such presentation in over a hundred years. Munthe was one of Europe’s foremost Art Nouveau artists around 1900, and his Viking-inspired imagery and vibrant colours resonate today as well. To attend, please notify Media and Press Manager Elise Lund ([email protected]). Inspired by Norwegian sagas and folk art. AlthoughGerhard Munthe (1849–1929) was known as a landscape painter, his most original and significant contributions were in the fields of design and decorative art. Inspired by ancient history, Norwegian folk art, Japanese art, and Art Nouveau, Munthe became one of the first Norwegian industrial designers during the late nineteenth century. He sought to create good Norwegian alternatives to the large amount of foreign imports, with his first patterns for rugs, tapestries, porcelain, and graphic design stemming from 1891–93. He subsequently expanded his repertoire to include furniture, silverware, bookbinding, illustrations, typefaces, and decorations of entire rooms. With his Fairy Tale Room for the Holmenkollen Turisthotell in Oslo and his work on restoring the medieval Haakon’s Hall in Bergen, Munthe realized his vision of combining various forms of art in a Gesamtkunstwerk. The exhibition reconstructs part of his Haakon’s Hall decorations for the first time since they perished in a fire in 1944. Also featuring Munthe’s graphic designs and his illustrations for Heimskringla, a thirteenth-century history of the Norwegian kings, the exhibition provides a rare glimpse into the early history of Norwegian design and interior decoration. Munthe’s motifs and colour schemes once again in vogue. Munthe’s imagery was influenced by the Viking Age, an era that has served as the backdrop for quite a few recent movies and TV series. Similarly, Munthe’s vibrant use of colours in watercolours and tapestries is being echoed in today’s interiors. The exhibition runs until 2 September. In conjunction with the exhibition, Jan Kokkin’s survey Gerhard Munthe: Norwegian Pioneer of Modernism will be published by the German publishing house Arnoldsche Art Publishers. For more information, please contact the exhibition curators Widar Halén ([email protected], tel. +47 412 91 849) or Jan Kokkin ([email protected], tel. +47 970 64 862). Nasjonalmuseet - We Build A New Future For Art! Contacts Simen Joachim Helsvig Press Contact Communications advisor [email protected] +47 917 64 327 Ole-Morten Fadnes Press Contact Senior Communications Advisor [email protected] +47 932 56 211.

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Gerhard Munthe Eventyrlige Interiører Veiledning for Lærere Og Formidlere
GERHARD EVENTYRLIGE MUNTHE INTERIØRER VEILEDNING FOR LÆRERE OG FORMIDLERE VEILEDNING FOR LÆRERE GERHARD MUNTHE OG FORMIDLERE EVENTYRLIGE INTERIØRER Veiledningen anbefales brukt sammen med formidlingsbrosjyre og all informasjon som ligger på utstillingens nettside 2 GERHARD MUNTHE EVENTYRLIGE INTERIØRER OM GERHARD MUNTHE Gerhard Munthe (1849-1929) var en av de mest originale og fremtredende kunstnerne innen art nouveau-bevegelsen i Europa. Hans radikale, abstrakte stil basert på inspirasjon fra japanis- men, syntetismen og gammel norsk folkekunst anses i dag som en forløper til modernismen i det 20. århundre. Munthes største innsats er hans utallige romdekorasjoner, blant annet Eventyrværelset i Holmenkollen Turisthotell (1896-98) i Oslo og Håkonshallen (1910-15) i Bergen. En serie tapet- og tekstil mønstre (1891-92) samt eventyrakvarellene (1892-93) inspirert av norske folkeviser og norrøn mytolo- gi, la grunnlaget for en fornyelse av den dekora- tive kunsten i Norge, særlig innenfor design og kunstindustri. Hans vignetter og illustrasjoner til Snorres ↑ Christian Krohg, Gerhard Munthe, 1885 Olje på lerret / Oil on canvas, Nasjonalmuseet Kongesagaer påvirket en rekke europeiske kunstnere. Munthe var blant Norges første designere, og hans arbeider dekket de fleste feltene innenfor dekorativ kunst: tapeter, porselen,møbler, glassmalerier, sølv, smijern, bokbind, skrifttyper, billedvev og ex libris. Les mer om Munthe her 3 GERHARD MUNTHE EVENTYRLIGE INTERIØRER OM UTSTILLINGENS ORGANISERING Utstillingen er konsentrert om fire interiører Eventyrværelset på Holmenkollen Turisthotell, eller romdekorasjoner: Leveld; Munthes hjem på Lysaker, Strand gård i Numedal og Håkonshallen i Bergen, alle tegnet av Gerhard Munthe. Her er maleri, akvarell, billedvev, møbler, fotografi, porselen, en 3 D-animasjon eller - gjenskaping av Håkonshallen, noen reproduksjoner og bøker.
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KA Kat 1-313
005022 Hovedkatalog Sist oppdatert 23. januar 2020 Nome Antikvariat www.nomeantikvariat.no Hovedkatalog Oppdatert 23. januar 2020 Velkommen til ny katalog. Dette er en ajourført utgave av vår tidligere hovedkatalog, pluss en del nytt, tilsammen 4319 titler. Denne katalogen inneholder bare en liten del av samlingen vår. Flere titler finnes i Bokliste-katalogen. I tillegg har vi mye litteratur som ikke er lagt ut på internett enda. Så hvis det er ting dere er på jakt etter, og ikke finner i katalogene, er det bare å ringe eller sende et brev eller en e-post. Bestilte bøker sendes vanligvis i posten med giro. I noen tilfeller brukes postoppkrav eller for- skuddsbetaling. Porto kommer i tillegg.Vi tar forbehold om at enkelte titler kan være utsolgt. God bokjakt! Boken er en venn for livet, en uselvisk venn å leve sammen med og som ikke bråker. - Ignacy Krasicki Nome Antikvariat E-post: [email protected] Øvre Verket Tlf: 35 94 54 51 3830 Ulefoss Mobil: 97 16 37 88 Bankgiro: 2650.07.12103 VIPPS: 94072 Org. nr. 985 191 883 Åpningstider: Onsdag til fredag kl. 11 - 16, lørdag kl. 11 - 15. I sommersesongen: Tirsdag til søndag kl. 12 - 17. 2 Innhold SKJØNNLITTERATUR....................................................................................................................5 - NORSK SKJØNNLITTERATUR......................................................................................................5 - UTENLANDSK SKJØNNLITTERATUR............................................................................................44 - NORSK KRIM
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Introduction
Notes Introduction 1. I am using the terms ‘space’ and ‘place’ in Michel de Certeau’s sense, in that ‘space is a practiced place’ (Certeau 1988: 117), and where, as Lefebvre puts it, ‘(Social) space is a (social) product’ (Lefebvre 1991: 26). Evelyn O’Malley has drawn my attention to the anthropocentric dangers of this theorisation, a problematic that I have not been able to deal with fully in this volume, although in Chapters 4 and 6 I begin to suggest a collaboration between human and non- human in the making of space. 2. I am extending the use of the term ‘ extra- daily’, which is more commonly associated with its use by theatre director Eugenio Barba to describe the per- former’s bodily behaviours, which are moved ‘away from daily techniques, creating a tension, a difference in potential, through which energy passes’ and ‘which appear to be based on the reality with which everyone is familiar, but which follow a logic which is not immediately recognisable’ (Barba and Savarese 1991: 18). 3. Architectural theorist Kenneth Frampton distinguishes between the ‘sceno- graphic’, which he considers ‘essentially representational’, and the ‘architec- tonic’ as the interpretation of the constructed form, in its relationship to place, referring ‘not only to the technical means of supporting the building, but also to the mythic reality of this structural achievement’ (Frampton 2007 [1987]: 375). He argues that postmodern architecture emphasises the scenographic over the architectonic and calls for new attention to the latter. However, in contemporary theatre production, this distinction does not always reflect the work of scenographers, so might prove reductive in this context.
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POLHØGDA POLHØGDA from the Home of Fridtjof Fra Fridtjof Nansens Bolig Til Nansen to the Fridtjof Nansen Fridtjof Nansens Institutt Institute Av Ivar M
POLHØGDA POLHØGDA From the Home of Fridtjof Fra Fridtjof Nansens bolig til Nansen to the Fridtjof Nansen Fridtjof Nansens Institutt Institute av Ivar M. Liseter by Ivar M. Liseter 1 Fridtjof Nansen. Portrett tatt I London I 1893, like før han la ut på Framferden. Fridtjof Nansen. Potrait taken in London in 1893, just before he set in the Fram for the Arctic Sea. FRIDTJOF NANSEN Fridtjof Nansen (1861-1930) became Fridtjof Nansen (1861-1930) ble berømt famous in the 1880s and ’90s for his daring i 1880- og 90-årene for sine dristige expeditions across Greenland and the Arctic ekspedisjoner over Grønland og Polhavet. Ocean. In Norway, a nation then striving for I Norge, som den gang strebet mot independence, he became a national symbol selvstendighet, ble han et nasjonalt symbol and idol, but his fame travelled far and og et ideal, men hans berømmelse var wide. He described his expeditions in many internasjonal. Han beskrev sine ekspedisjoner books, often with his own illustrations, which i en rekke bøker som ble bestselgere i mange became bestsellers in many countries, and land, og han gjennomførte omfattende made extensive lecture tours in Europe and foredragsturneer i Europa og Amerika. America. His international contacts enabled Hans internasjonale kontakter satte ham him to play a key part in the successful i stand til å spille en betydelig rolle i Norges dissolution of the union between Sweden vellykkede løsrivelse fra unionen med Sverige and Norway in 1905, and he served as i 1905, og han tjenestegjorde som det independent Norway’s first ambassador to selvstendige Norges første ambassadør til the United Kingdom.
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Mikael Van Reis
Sandra Ballif Straubhaar Gustav Storm’s 1899 Heimskringla as a Norwegian Nationalist Genesis Narrative hile the construction of national identity in various European nations has been of great interest in the last two decades,1 the Wengagement of the Nordic countries in that process has been cited less often in the overview literature. However, considerable atten- tion has lately been given to the topic within Norden,2 particularly in Norway.3 For instance, in the Winter 1995 issue of Scandinavian Studies (67:1), a flagship essay by John Lindow and Timothy Tangherlini asks: “How do people express their identity? What role does storytelling ... play in the negotiation of identity?”4 Edward Said’s questions are analo- 1 See, for instance, Benedict Anderson, Imagined Communities (London and New York: Verso, 1991); Eric J. Hobsbawm and Terence Ranger, eds., The Invention of Tradition (Cambridge: Cambridge UP, 1983); Eric J. Hobsbawm, Nations and Nationalism since 1780 (Cambridge: Cambridge UP, 1990); Homi Bhabha, Nation and Narration (London: Routledge, 1993); Doris Sommer, Foundational Fictions: The National Romances of Latin America (Berkeley: University of California Press, 1991). 2 “Norden” is perhaps the most satisfactory and inclusive term for Denmark- Finland-Iceland-Norway-Sweden. “Scandinavia” is sometimes constructed as excluding Finland (for reasons of language) and/or excluding Iceland (for reasons of geography). The reader is referred to the discussion on this topic at the FAQ website: http://www.lysator.liu.se/nordic/scn/faq21.html#2.1 3 Thomas Hylland Eriksen, Typisk norsk (Oslo: C. Huitfeldt forlag, 1993) and Et langt, kaldt land nesten uten mennesker (Oslo: Universitetsforlaget, 1998); Anne Cohen Kiel, ed., Continuity and Change: Aspects of Contemporary Norway (Oslo: Scandinavian University Press, 1993); Steinar Bryn, The Americanization of Norwegian Culture (Diss., University of Minnesota, 1993).
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Visions of History Gerhard Munthe’S Rhythm and Revival in Fin-De-Siècle Norway
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Johanna Bugge Berges Utsmykning I Lunde Kirke
Johanna Bugge Berges utsmykning i Lunde kirke Folkekunst og kristen ikonografi UNIVERSITETET I OSLO Institutt for filosofi, idé- og kunsthistorie og klassiske språk Masteravhandling i kunsthistorie Høst 2017 Anne Strømvoll Veileder: Førsteamanuensis Erik Mørstad 2 © Anne Strømvoll, 2017 Johanna Bugge Berges utsmykning i Lunde kirke. Folkekunst og kristen ikonografi. http://www.duo.uio.no Trykk: Reprosentralen, Universitetet i Oslo 3 4 Sammendrag Lunde kirke i Nome, Telemark, ble bygget i nygotisk stil og sto ferdig i 1872. Kirken var bygget i en stil hvor det var den himmelstrebende arkitekturen med de ulike bygningselementene som skulle fremheves og fremstå som innvendig utsmykning, dekor utover dette hadde liten eller ingen plass. I 1927 fikk kirken en ny og omfattende utsmykning. Hensikten med avhandlingen har vært å forklare bakgrunnen for denne endringen av kirkerommet. Hvorfor gikk menighetsrådet på tvers av arkitekturens hensikt? Forklaringen må søkes i flere forhold. Modernismen med nye tankesett. Satsingen på monumental- utsmykning i første halvdel av forrige århundre. En fortsatt levende nasjonal og lokal stemningsbølge. Alt dette var med å gi aksept for en ny type utsmykning av kirkerommet på begynnelsen av forrige århundre. 5 Forord I 2014 mente menighetsrådet i Lunde og Flåbygd menighet at tiden var moden for å se nærmere på utsmykningene i Lunde kirke, og tok kontakt med Agder og Telemark bispedømme ved seniorrådgiver Tone Klev Furnes. De valgte å gi oppdraget til en masterkandidat, og jeg føler meg heldig som fikk denne spennende muligheten. Underveis har jeg blitt kjent med kunstnerens familie og mange andre i Lunde-bygda som har tilknytning til kirken. Møter og samtaler underveis med tidligere sogneprest i Lunde og Flåbygd menighet, Haakon F.
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Gerhard Munthe's Folktale Tapestries: Designing a Norwegian National Narrative in the Nineteenth Century A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Erica L. Warren IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Gabriel P. Weisberg, Adviser December 2014 Erica L. Warren Copyright 2014 Acknowledgements In beginning a document that thinks about the longing for home, I find myself overcome with gratitude for those who have provided me with a home, a home that made beginning and finishing this document possible. Home is “the place where one lives or was brought up” as well as “a refuge, a sanctuary; a place or region to which one naturally belongs or where one feels at ease.”1 I feel myself to have “been brought up” as an art historian within the Department of Art History at the University of Minnesota, and it is a place where I feel at ease, a place where I have felt the comfort of supportive and encouraging words from intelligent, engaged, kind, and warm-hearted people. The sort of people that critique chapter drafts, calm fears and frustrations, and provide much needed moments of respite from self-doubt. I know that without the friendship and support of my fellow graduate students the project here would never have been. I am glad to know you, glad to have spent time with you, to have learned from you, to have endured trials, and to have laughed with you. I also must express gratitude to my advisor, Dr.
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Ludvig Munthe
Etterkommere av Ludvig Munthe (1593 - 1649) Denne boken inneholder alle etterkommere av Ludvig Munthe som jeg hittil har vært i stand til å finne. Det finnes mange flere og jeg håper å komme med oppdateringer med jevne mellomrom. Jeg er fullstendig avhengig av tilbakemeldinger fra deg som leser og håper du kontakter meg dersom du har noe av interesse om Ludvig Munthes etterkommere. Når det gjelder årstall som står alene er disse usikre, fullstendige eller delvise datoer (med månedstall) er derimot temmelig sikre. Denne boken kan fritt distribueres så lenge det gjelder privat bruk. Når det gjelder utgivelser av hele eller deler av boken, det være seg på papir, elektronsik eller på andre måter, forbeholder utgiver seg denne retten til eget bruk. Avtaler kan gjøres. Oslo 7/12-95 Sverre Munthe Haraldsvei 9 1450 Nesoddtangen 90 12 55 54 2 Ludvig MUNTHE født 2-08-1593, Tikøb, Frederiksborg, Danmark, døpt 12-08-1593, Tikøb, Frederiksborg, Danmark, Biskop, gift 17-09-1624, Lund, Malmöhus, Sverige, Ingeborg FRIIS , født 1605, (datter av Søren FRIIS og Elisabeth Marie SVANING ) død 16-02-1654, Bergen, HO, Norge. Ludvig døde 12-03-1649, Bergen, HO, Norge, begravet 1649, Bergen, HO, Norge. I. Hans MUNTHE født 1625, Borrby, Malmöhus, Sverige, Borgermester, gift 1664, Zilla RISSBRICH , (datter av Folcfard Broderssøn RISSBRICH ) død 1726, begravet 19-10-1726, Bergen, HO, Norge. Hans døde 1706, Bergen, HO, Norge, begravet 17-06-1706, Bergen, HO, Norge. II. Fredrik MUNTHE født 1627, Borrby, Malmöhus, Sverige, Kapellan, død 25-10-1676. III. Abel MUNTHE født 1628, Borrby, Malmöhus, Sverige, gift 1646, Peder LEM , født 10-08-1617, Yttersø, Sandefjord, VF, Norge, (sønn av Nils LEM og Mette PEDERSDATTER ) Lektor/Sogneprest, død 1663, begravet Bergen, HO, Norge.
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Fig. 28.1: Sigurd and Baldwin, 1900. Tapestry Made by the Norwegian Tapestry Weaving Company/ Det Norske Billedvæveri
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Encounters Between Art and Folk Art Around 1900 in Norway Gerhard Munthe, Theodor Kittelsen and Frida Hansen
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