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PARALLELS. Gustav Vigeland and His Contemporaries. the Vigeland Anniversary Exhibition

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PARALLELS. Gustav Vigeland and His Contemporaries. the Vigeland Anniversary Exhibition Gustav Vigeland, Mother and Child, 1909. Marble. Vigeland Museum, Oslo © Photo: Øyvind Andersen / Vigeland Museum 22-01-2019 17:27 CET Press release: PARALLELS. Gustav Vigeland and his Contemporaries. The Vigeland Anniversary Exhibition PARALLELS Gustav Vigeland and his Contemporaries Meunier / Rodin / Maillol / Bourdelle 12 April – 15 September 2019 in the Vigeland Museum, Oslo The exhibition celebrates the 150th anniversary of the sculptor Gustav Vigeland’s birth (1869-1943). Alongside Edvard Munch, Vigeland is Norway’s most famous artist. He made his debut in 1889, and during the 1890’s he established himself as one of Norway’s most promising sculptors. His breakthrough came in 1908 with the celestial monument to the Norwegian mathematician Niels Henrik Abel, and during the first decade of the 20th century he made several critically acclaimed portraits and monuments. From 1907 he became gradually more preoccupied with his great Fountain, which was later to become an integrated part of the Vigeland Park in Oslo, today one of Norway’s most visited tourist attractions. In the exhibition, Gustav Vigeland is presented with the following artists: Antoine-Louis Barye (1795-1875), Constantin Meunier (1831-1905), Auguste Rodin (1840-1917), Aristide Maillol (1861-1944) and Antoine Bourdelle (1861-1929). The aim of the exhibition is to place Vigeland’s artistic development in a broader art historical context. The exhibition will focus on Vigeland's own interest in the selected artists, the formal and thematic similarities and differences between their works, as well as Vigeland's development towards a more simplified form - contextualized by a juxtaposition with Maillol and Bourdelle. The selected artists occupy a central position in the development of modern sculpture, and these are artists Vigeland was particularly interested in. The selection is based on Vigeland's own photo collection, books and exhibition catalogues in Vigeland's library, as well as his notes and letters where he comments on these artists. Exhibited works: The exhibition consists of • 56 works by Gustav Vigeland • 17 works by Auguste Rodin (11 on loan from Musée Rodin) • 6 works by Constantin Meunier (four on loan from Glyptoteket and two from Musée d’Orsay) • 5 works by Antoine Bourdelle (on loan from Musée Bourdelle), • 5 works by Aristide Maillol (two on loan from Musée d’Orsay) • 3 works by Antoine-Louis Barye (on loan from Musée d’Orsay/Musée du Louvre) Exhibition curators: Guri Skuggen, [email protected], +47 905 81 218 (photo attached) Jarle Strømodden, [email protected], +47 997 49 229 (photo attached) More about the exhibition Towards the end of the 19th century a transition occurred in European sculpture, which can be compared with the development in painting a few decades earlier. The transition consisted on the whole of a break with the foregoing academic tradition, or “salon” sculpture, where the motifs were mainly linked to mythological and allegorical themes and the form was delicate and thoroughly developed. As in painting, the break at first consisted of a greater degree of realism, and eventually one could also detect elements of Impressionism in the field of sculpture. The surface became more “painterly”, with traces of the artist’s hand in the modelling and greater emphasis on the play of light and shadow. Another typical feature of the emergence of modern sculpture was the transition from religious and mythological themes to more common, or contemporary, motifs. Rodin was considered a forerunner of this development. Although he did not represent a radical break with the foregoing tradition, his experimentations with form and movement and his choice of motifs were seen as liberating. Meunier is also considered a pioneer. In his realistic representations of workers one finds both a simplification of form and an omission of unnecessary details, which was a sign of what lay ahead. At the beginning of the 20th century the movement split into various directions, but a (gradual or radical) simplification of form can be said to be a common denominator. In some artists, such as Bourdelle, this was a step in the development of a monumental idiom; in others, such as Maillol, a testing of questions related to form, which may be compared with the development in painting. The trajectory of Gustav Vigeland’s artistic career runs parallel with this development. Nevertheless he is often seen as one who stood apart, almost outside the realm of art history, and he has been difficult to place within a distinct group or movement. When one follows his artistic development, one can nevertheless see that his experimentations with form, as well as his interests and ideas, have a lot in common with European artists who are often considered pioneers in the emergence of modern sculpture. The exhibition PARALLELS. Gustav Vigeland and his Contemporaries will place Vigeland in an international context, with a focus on the years 1890–1915. During this period he kept abreast of the developments in Europe by travelling and visiting current exhibitions. He ordered books and photographs of works by artists he was interested in, and subscribed to a number of international art journals. At the beginning of the 20th century Vigeland also exhibited on several occasions together with Rodin, Meunier and Bourdelle. Catalogue: Publisher: SKIRA Editore Authors: Guri Skuggen – art historian and curator at the Vigeland Museum, Oslo. Topic: Gustav Vigeland and his interest in European art, as well as Vigeland’s position in the first decade of the 20th century, both nationally and internationally. Suri Levine – professor of art historian and presently dean of the school of humanities, arts and cultural studies at Hampshire College, Amherst, MA, USA. Topic: Constantin Meunier and his Monument to Labor. Christine Lancestremère – art historian and Head of the Conservation Department at the Musée Rodin in Paris. Topic: Auguste Rodin and his public monuments. Jarle Strømodden – art historian and since 2005 director at the Vigeland Museum, Oslo. Topic: Aristide Maillol’s sculptures. Amélie Simier – art historian and since 2011 director of the Musée Bourdelle in Paris. Topic: Antoine Bourdelle and his development towards a monumental style. • Kulturetaten i Oslo kommune har fagansvaret for kunst og kultur i kommunen. Kulturetaten skal tilrettelegge for et bredt og mangfoldig kulturtilbud i Oslo. Etaten forvalter økonomitilskudd til kunst- og kulturtiltak, mediestøtte, ferieleire, frivillige barne- og ungdomsorganisasjoner og musikkliv. Utfører veiledningsoppgaver for arrangement i kommunen og er kommunens arkivdepot organisert fra byarkivet. Stipendordninger til kulturfeltet forvaltes også av etaten. Etaten forvalter og administrere også Oslo kommunes kunstsamling og kunstordning, og administrerer utleie av atelier og lokaler fra etatens eiendomsmasse. Etaten har Oslo kulturskole, Oslo byarkiv, Oslo ladegård, Popsenteret, Øvingshotellet, Rommen scene, Vigelandmuseet og kunsten i Vigelandsparken, Oslo biennalen og Oslo kulturnatt også i etatens portefølje. • Deichman: Deichman er etat for folkebibliotekene i Oslo kommune. Deichman består av 22 biblioteker over hele Oslo. Vi er Norges største og eldste folkebibliotek, grunnlagt i 1785. Et Deichman- bibliotek er et fristed for deg, uansett hvem du er. Her kan du lese, jobbe, slappe av, møte venner, eller bare være alene. Du kan låne fra vår samling på over en million bøker, filmer, cd-er og annet materiell. Det er gratis å bruke trådløst nett, PC-er og verktøy. Du betaler kun for papir og materialer når du skriver ut eller kopierer. Våre bibliotek er møteplasser hvor du kan oppleve eller arrangere alt fra konserter og tegneseriefestivaler til språkkurs og politiske debatter. Deichman vil bidra til et samfunn hvor alle føler tilhørighet, eierskap og engasjement — for fellesskapet og eget liv. Uansett hvorfor du kommer hit, drar du herfra med noe. • Det nye Munchmuseet åpner 22. oktober 2021 i Oslos havneområde Bjørvika. Den nye bygningen, tegnet av Estudio Herreros, vil romme de mer enn 28.000 kunstverkene samt eiendelene som Edvard Munch testamenterte til Oslo by før han døde. Dette er verdens største samling av Edvard Munchs verk, og vil være reisemål nr. 1 for å oppleve hans kunst. Munchmuseet forvalter også samlinger gitt til Oslo by av Rolf Stenersen, Amaldus Nielsen og Ludvig Ravensberg. I tillegg til faste samlingsutstillinger, vil det nye museet fortsette å aktualisere Munchs vedvarende innflytelse, gjennom både samtidskunstutstillinger og utstillinger med andre modernistiske storheter i dialog med Munch. Med sin enestående utsikt over Oslofjorden vil museet, som strekker seg over 13 etasjer, tilby et bredt program av kulturelle arrangementer og opplevelser for store og små besøkende. Kontaktpersoner Kjersti Tubaas Pressekontakt Kommunikasjonssjef, Kulturetaten Ekstern og intern kommunikasjon i etaten [email protected] 924 42 884 02 180 Jørn Johansen Pressekontakt Kommunikasjonssjef, Deichman Ekstern og internkommuniksjon, merkevare [email protected] +47 900 97 250 +47 23 43 29 00.
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