Gerhard Munthe. Enchanted Design” in the National Gallery

Total Page:16

File Type:pdf, Size:1020Kb

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.
Recommended publications
  • 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.
    [Show full text]
  • 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
    [Show full text]
  • 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.
    [Show full text]
  • 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.
    [Show full text]
  • 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).
    [Show full text]
  • Visions of History ­Gerhard Munthe’S Rhythm and Revival in Fin-De-Siècle Norway
    Visions of History Gerhard Munthe’s Rhythm and Revival in fin-de-siècle Norway Tonje H. Sørensen In 1916 the Norwegian artist and designer Gerhard Munthe (1849–1929) finally completed his decoration of the reconstructed medieval hall Håkonshall in Bergen, Norway. The project had taken several years, and during this time it had greatly expanded from Munthe’s original plan of woven tapestries.1 A contemporary visitor to the hall would have been met by frescos of varying sizes depicting scenes from the Norse sagas. There were benches decorated with woodcarvings, decorated doorframes and even a large music pavilion, and all of these features echoed the ornaments found in the frescos. There was a series of stained-glass windows, ornamental ironwork in the form of chandeliers, door latches and candlesticks, and through it all a selection of textiles in striking colours. While some of the work, such as the woodcarving, had been undertaken by other artisans, the design was all conceived by Munthe. For him the hall was best considered as a whole – a form of Gesamtkunstwerk – and he considered it among his major works, and indeed in some ways it was (Fig. 1). For the interior design of the Håkonshall Munthe drew upon several decades of work and experiments in creating an art that echoed Norse and medieval art, yet without being bound by it. Ever since the late 1880s, he had experimented with art whose forms drew inspiration from Norse and medieval history. In this capacity he had also been a central artist and cultural activist in several projects that were intimately connected to the sentiments 1 Jan Kokkin, Gerhard Munthe: en of Romantic nationalism in late 19th-century Norway.2 Munthe norsk designpioner (Stuttgart: Ar- noldsche Art Publishers, 2018), 228.
    [Show full text]
  • 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.
    [Show full text]
  • Gerhard Munthe's Folktale Tapestries: Designing a Norwegian National Narrative in the Nineteenth Century
    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.
    [Show full text]
  • 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.
    [Show full text]
  • Fig. 28.1: Sigurd and Baldwin, 1900. Tapestry Made by the Norwegian Tapestry Weaving Company/ Det Norske Billedvæveri
    Fig. 28.1: Sigurd and Baldwin, 1900. Tapestry made by The Norwegian Tapestry Weaving Company/ Det norske Billedvæveri. 456 × 340 cm. The Royal Palace, Oslo. Photo: Kjartan Hauglid, De kongelige samlinger. Open Access. © 2021 Torild Gjesvik, published by De Gruyter. This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. https://doi.org/10.1515/9783110639476-029 Torild Gjesvik Chapter 28 Weaving the Nation: Sigurd the Crusader and the Norwegian National Tapestries The Norwegian National Tapestries (1900) portray King Sigurd the Crusader (c.1090–1130) who travelled to Jerusalem in the early twelfth century. This chapter explores how these two tapestries came into being and asks how the Crusader king became a relevant symbol for the Norwegian nation around 1900. The iconography of the tapestries is analysed and compared to the narrative of King Sigurd as it is told in The Saga of the Sons of Magnús from the thirteenth century. The comparison reflects different versions of King Sigurd, as well as changing perceptions of Jerusalem. In the art collection of the Royal Palace in Oslo there are two monumental tapestries representing the Norwegian king Sigurd Magnusson (c.1090–1130) in Jerusalem and Constantinople (Figs. 28.1 and 28.2). The tapestries were made in 1900, almost 800 years after the king’s journey. King Sigurd travelled from Norway in 1108 and reached the Holy Land in the year 1111. The expedition earned him the byname Jorsalfare in Norwegian [Jerusalem-traveller], after the Old Norse name for Jerusalem: Jorsal.1 In English he is often called Sigurd the Crusader, pointing to the purpose of the journey.
    [Show full text]
  • Encounters Between Art and Folk Art Around 1900 in Norway Gerhard Munthe, ­ Theodor Kittelsen­ and Frida­ Hansen
    Encounters between Art and Folk Art around 1900 in Norway Gerhard Munthe, Theodor Kittelsen and Frida Hansen Vibeke Waallann Hansen Throughout the 19th century, various forms of folk culture – literary, musical and visual – were highly valued in Norwegian society. It was the cultural history of the peasantry that the country’s intellectuals worked hardest to preserve and perpetuate. By the end of the century, folk art had assumed a central place in the Norwegian art discourse and artists had begun drawing their inspiration directly from the folk art and vernacular literature that had been collected over the previous 100 years, and which had then become widely accessible through museum displays and publications. Common to three of the most prominent Norwegian artists around the turn of the century was their use of this folk material and the extent to which they were influenced by the debate about art and folk art. The decorative works of Gerhard Munthe, the enchanted scenes based on fairy tales, legends and myths depicted by Theodor Kittelsen, and Frida Hansen’s tapestries, all have their roots in folk traditions. The innovative art they developed was the outcome of their interest in and thorough knowledge of Norwegian folk art. In this paper, I will consider the sources to which these three artists had access and discuss their reasons for using this material in their creative work. I will argue that it was their knowledge of folk art and their determination to engage it in a dialogue with contemporary trends in European art, such as Symbolism, the Arts and Crafts movement and Art Nouveau, which made them key players in spreading modern art to Norway.
    [Show full text]
  • National Monarchy and Norway, 1898-1905
    A97,~ NATIONAL MONARCHY AND NORWAY, 1898-1905: A STUDY OF THE ESTABLISHMENT OF THE MODERN NORWEGIAN MONARCHY DISSERTATION Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY By Terje Ivan Leiren, B. A., M. A. Denton, Texas May, 1978 1978 TERJE IVAN LEIREN ALL RIGHTS RESERVED Leiren, Terje I., National Monarchy and Norway, 1898- 1905: A Study of the Establishment of the Modern Norwegian Monarchy. Doctor of Philosophy (History), May, 1978, 275 pp.' preface,appendices, bibliography, 277 titles. In 1905 the modern Norwegian monarchy was established after the dissolution of the union between Norway and Sweden, a union which had existed since 1814. For the greatest part of the ninety-one years, conflict and controversy dominated relations between the two countries, occasionally threatening the peace in Scandinavia. In 1898, building on Norwegian popular and historical traditions, Sigurd Ibsen formulated a proposal which was in- tended to overcome the hostility of Sweden and to gain the support of monarchical Europe while leading to a satisfactory dissolution of the union. In addition, the proposal outlined a method of procedure which was aimed at setting future pol- icy for separation. Following an introductory discussion on the background of the union, the study examines Ibsen's ideas as they were presented in 1898 and the reaction to them, positive and negative. It is significant that Ibsen's views became ingrained in Norwegian thinking to such an extent that by 1905, when the union was finally dissolved, it was his scenario which gave the government of Christian Michelsen its basis for 1 2 developing a program of independence.
    [Show full text]