SHORT rom Ashes to Jugend ARTICLESF Norwegian Jugendstil ART NOUVE AU in Ålesund. Stina Aadland Jensen Norway Introduction regional versions, depending on the different This article will give a short introduction to nation's history, culture and language1 . This Norwegian Art Nouveau (referred to as Ju- was also the case in Norway. gendstil) and how this is especially visible in Still a relatively young nation at the end of the the town of Ålesund. I will focus mostly on 19th century and still a part of the political architecture and give some examples on some union with Sweden (1814-1905), there were of the most outstanding examples of the style. heated discussions about art and culture that I will use the German term Jugendstil, which became a question of self-assertion. With the covers the Norwegian version of Art Nou- struggle for independence came a renewed veau. Even though one can find elements that interest in local traditions and the quest to find coincide more with the international Art a national style, independent from any Danish Nouveau, in Norway it is most commonly or Swedish influence. Even though these referred to as Jugendstil. discussions were not new, unlike the previous National Romantic period with its emphasis Nationality, identityidentity and and on depicting the Norwegian landscape and the independence farmer, the focus was turned to the Middle Art Nouveau manifests itself in different ways Ages and folk-art. Mythical creatures found in depending on the country in which it folktales, like trolls, were incorporated into art, originates. The idea about breaking with past for instance through the painter and drawer styles and form, and embracing modernity and Theodor Kittelsen (1857-1914). industry, gave it its universal dimension. But Other artists tried to find ways to express this also resulted in a quest for national and a new, national style, often based on Norse wszetecznicom amen manship. mythology and Norwegian history dating back Gerhard Munthe Mørkredd to times before the union with both Denmark (Afraid of the dark). 1892. (1380-1814) and Sweden (1814-1905). The Tapestry 158 Book. leading M. Skeibrok, Sanfærdige Skrøner (Truthful tall tales).1891 Uncommon Ill. by Theodor Kittelsen Culture A style that flourished side by side with Jugendstil in Norway was the Dragon Style, inspired by Viking ship ornamentation and stave churches. For some artists and architects this style sometimes blended with Jugendstil, making it a symbiosis of styles. leading naturalist painter and designer JJugendstilugendstil in inNorwegian Norwegian Gerhard Munthe (1848-1929) found inspi- architecture ration from folktales and medieval times to In Norway, like in the rest of Europe, the make his decorative art, trying to renew the architecture of the last decades prior to 1900 national folk art and raise the level of crafts- was mostly dominated by historicism, but in manship. the mid-19th century many architects felt it was A style that flourished side by side with Ju- time for a renewal and to break away with the gendstil in Norway was the Dragon Style, in- past3 . The Jugendstil period in architecture in spired by Viking ship ornamentation and stave Norway lasted for about 10 years (1900-1910). churches. For some artists and architects this The claim for honesty and a coherent look, like style sometimes blended with Jugendstil, ma- in the Arts and Crafts movement in England, king it a symbiosis of styles. This is most noti- was important for the Norwegian architects ceable in wood architecture dating back to the and a young nation needed a new identity. Ar- last decade of the 19th century, but later it also chitecture would serve this purpose, and re- became popular in silverware and furniture de- present the nation through aesthetics, prac- sign. Dragon Style was to become the official ticality and symbols4 . Even though few archi- representative of Norwegian building tradi- tects used the term Jugendstil to define their tion and cultural heritage at the end of the 19th work, one can clearly see elements that coin- century, and was presented at exhibitions cide with what is considered Jugendstil, and around the world. The Dragon Style is some- many architects looked to Germany and Aust- times referred to as a movement and a national ria for inspiration. The theatre in Bergen (Nor- offshoot of the Gothic revival in Europe2 . way's second largest city), Den Nationale Bergen's theater Scene Den Nationale Scene, Architect: Einar Oscar Schou, 1909. Photo by Stina Aadland Jensen 159 Uncommon Culture SHORT ARTICLES ART NOUVEAU Scene (1909) by Einar Oscar Schou is a good of the best architects in the country, and most example on monumental architecture inspired of these architects were educated abroad, by Viennese Jugendstil. taking the international impulses with them to To understand the impact Jugendstil had on Norway5 . The town where this is most visible Norwegian architecture, and especially in Åle- is Ålesund, on the west coast of Norway. sund, we have to look at some socio-economi- cal and historical facts.. It is important to stress Ålesund that Art Nouveau did not have the same The internationally well-known Norwegian ar- impact in art and architecture in Norway as it chitect Christian Nordberg-Schultz once sta- did in other European countries. Norway's in- ted that: Among Norwegian cities, Ålesund has a dustrialization and the growth in economy had unique position. Hardly anywhere has such an given rise to a new economic structure, which extensive and complete environment been preserved; meant that not only high officials and land- thus we are provided with a rather unique example of owners could afford to build big mansions, but what a city environment once meant6. also the growing bourgeoisie. They hired some A devastating fire in 1904 left almost the entire offffffffffffffffffffffffffff towntown Svaneapoteket (Swan Pharmacy), Architect: Hagbart Schytte-Berg, 1907 Photo by Stina Aadland Jensen 160 Uncommon Culture town of Ålesund in ashes, making 10000 peo- it was we need to look at some important ple homeless. But this tragedy soon turned into factors. Henrik Nissen, the man in charge of a stroke of luck for architects and craftsmen in the rebuilding and one of Norway's most Norway at the beginning of the 20th century. In acclaimed architects at that time stated that: 1899 Norway's two largest cities (Christiania One had to avoid using historicism and classicism. A and Bergen) experienced a collapse in the buil- new, Norwegian style, based on the Dragon Style from ding industry, leaving many people unemplo- the Middle Ages would best suit this purpose8. His yed. The fire of Ålesund resulted in one of the importance to the development of Ålesund biggest makeovers a Norwegian town has ever cannot be underestimated. experienced and over 50 architects and hun- Another important factor already mentioned dreds of builders and craftsmen were emplo- were the impulses the architects had from their yed to rebuild the town. In only three years, studies abroad. Many of them had been to from 1904-190, a new town was erected from Germany and Scotland, thus giving them ins- the ashes. The fire also resulted in an obli- piration and knowledge about Jugendstil and gation to build in stone or brick within the city the Arts and Crafts movement. The simplicity limits in Norway, and was a continuation of a and rationality of the Arts and Craft move- law from 1896, and this had a direct impact on ment were especially well looked upon. Most the architecture in Ålesund7 . This historical of the architecture in Ålesund can therefore be and stylistic shift made Ålesund the most sig- seen as a symbiosis between simple neo- baro- nificant Jugendstil town in Norway. Even que form and Jugendstil ornamentation and though there is Jugendstil architecture in most asymmetry. Medieval masks and Norse orna- of the big cities in Norway, Ålesund stands out mentation are features seen throughout the due to the confined area in which the buildings town, as well as the medieval tower construc- are found and because of the vastness in buil- tions. From the beginning of the 20th century dings with a more or less coherent look. there was much debate about ornamentation But to understand why Ålesund was rebuilt as and the need to focus on the purpose of the new, building The pharmacy in 1917. Photographer unknown The pharmacy in 2013. Photo by Stina Aadland Jensen 161 Uncommon Culture SHORT ARTICLES ART NOUVE AU building among Norwegian architects9 . These 1907 by the architect Hagbart Schytte-Berg, issues were also addressed by Henrik Nissen in who brought new ideas to Norwegian archi- his writings about the town planning in Åle- tecture from Europe, as well as individually sund10 . renewing them. The strong emphasis on the functional aspects The building is actually made up of two sec- linking the architecture to its surrounding spa- tions, divided by a firewall in the middle. But ce is highly visible in Ålesund. Both the moun- both sections were still owned by the employer tains and the sea form an important backdrop J.A.J Øwre. and some of the architectural elements reflect The Swan Pharmacy is one of ten listed the scenery, mostly visible in the ornamenta- buildings in Ålesund and most of the interior tion. If we look at some of the architectural has not been changed since 1907, as shown on drawings for warehouses, this can be seen. the two photographs of the pharmacy from Some of the most significant buildings in Åle- 1907 and 2013. sund have similar features, and this is the rea- The Swan Pharmacy expresses both national son why so many have argued that Jugendstil is and international impulses through materials highly visible throughout the town.