Georgia State University ScholarWorks @ Georgia State University Art and Design Theses Ernest G. Welch School of Art and Design Spring 5-14-2021 The Kitsch Masterpiece: Odd Nerdrum and the Problem of the New Old Masters Jordan Walker Follow this and additional works at: https://scholarworks.gsu.edu/art_design_theses Recommended Citation Walker, Jordan, "The Kitsch Masterpiece: Odd Nerdrum and the Problem of the New Old Masters." Thesis, Georgia State University, 2021. https://scholarworks.gsu.edu/art_design_theses/278 This Thesis is brought to you for free and open access by the Ernest G. Welch School of Art and Design at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Art and Design Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. THE KITSCH MASTERPIECE: ODD NERDRUM AND THE PROBLEM OF THE NEW OLD MASTERS by JORDAN WALKER Under the Direction of Susan Richmond, PhD ABSTRACT Norwegian figurative painter Odd Nerdrum has garnered fame and notoriety for his founding of the Kitsch Movement, a group of contemporary painters who have rejected the modern usage of the term “art” in order to return to the style of the Old Masters. When asked what the goal of a painter within the Kitsch Movement is, Nerdrum claims that it is to create masterpieces. This paper examines the seemingly paradoxical connection of the words “kitsch” and “masterpiece” through the lens of contemporary art and visual culture in order to address the state of figural painting and tradition. The argument presented here is that Nerdrum, in rejecting the term art, is in fact acting in a very artistic way that aims to reinvigorate both art and painting. However, Nerdrum’s stated goal of creating a masterpiece today is not without problems, which must be addressed in connection with the Kitsch Movement’s production. INDEX WORDS: Aesthetics, Contemporary Painting, Figurative Painting, Canonization, Modernism, Postmodernism, Postart, Mimesis, Naturalism, Skill, Originality, Replication, Representational Painting, Sincerity, Truth, Timelessness, Mythology, Archetypes, Arthur Danto, Donald Kuspit, Clement Greenberg, Jean Baudrillard THE KITSCH MASTERPIECE: ODD NERDRUM AND THE PROBLEM OF THE NEW OLD MASTERS by JORDAN WALKER A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Art History in the College of the Arts Georgia State University 2021 Copyright by Jordan Foy Walker 2021 THE KITSCH MASTERPIECE: ODD NERDRUM AND THE PROBLEM OF THE NEW OLD MASTERS by JORDAN WALKER Committee Chair: Susan Richmond Committee: Glenn Gunhouse Grace Harpster Electronic Version Approved: Office of Academic Assistance College of the Arts Georgia State University May 2021 iv DEDICATION For my mother and father, naturally. v ACKNOWLEDGEMENTS It is with great gratitude that I acknowledge the art history faculty at Georgia State University for their guidance and support during the undertaking of this project, as well as all of the artists and art historians with whom I have had the opportunity to work throughout my time at GSU. Without you, this paper would not have been possible. Also, thanks to Professor Neill Slaughter of Long Island University for the many conversations over the years about the nature of skill and painting, and especially for the enlightening journey to Europe in 2019 that allowed me to see some of history’s great masterpieces in person. Finally, thanks to Professors Laurel Robinson, Keaton Wynn, Chuck Wells, and Justin Hodges of Georgia Southwestern State University, for years of support and encouragement. vi 1 TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................ V LIST OF FIGURES ..................................................................................................... VIII 1 INTRODUCTION ...................................................................................................... 1 1.1 Odd Nerdrum and the Kitsch Movement ......................................................... 2 1.2 The Problem of the Kitsch Masterpiece ............................................................ 3 2 ODD NERDRUM IN MONOGRAPH ...................................................................... 5 2.1 Nerdrum Himself................................................................................................. 5 2.2 Nerdrum the Painter ........................................................................................... 8 3 AN OVERVIEW OF TERMINOLOGY ................................................................ 13 3.1 Art and Kitsch ................................................................................................... 14 3.2 The Masterpiece ................................................................................................ 19 3.3 Addressing Kitsch and the Masterpiece .......................................................... 23 4 THE KITSCH PHILOSOPHY ............................................................................... 24 4.1 High Kitsch ........................................................................................................ 24 4.2 The Literature of the Kitsch Philosophy ......................................................... 26 5 THE KITSCH MASTERPIECE ............................................................................. 29 5.1 The Three Key Issues of the Kitsch Masterpiece ........................................... 29 5.2 Originality .......................................................................................................... 31 5.3 Mimetic Skill ...................................................................................................... 35 vii 5.4 Replication ......................................................................................................... 38 6 CONCLUSION ......................................................................................................... 42 BIBLIOGRAPHY ........................................................................................................... 45 viii LIST OF FIGURES Figure 1: Odd Nerdrum, Five Figures Around a Water Hole, 1992 ............................................... 2 Figure 2: Odd Nerdrum, Frontal Self-Portrait, 1998 ...................................................................... 5 Figure 3 Robert Rauschenberg, Monogram, 1955-1959 ................................................................ 7 Figure 4: Rembrandt van Rijn, The Batavian's Oath to Claudius Civilis, 1661-1662 .................... 8 Figure 5: An example of Nerdrum's earlier, more socially-driven work: The Murder of Andreas Baader, 1977-78 .............................................................................................................................. 9 Figure 6: Odd Nerdrum, The Night Guard, 1985-1986 ................................................................ 10 Figure 7: Odd Nerdrum, Return of the Sun, 1986 ........................................................................ 11 Figure 8: Odd Nerdrum, Unarmed Man, 1996 ............................................................................. 12 Figure 9: Odd Nerdrum, The Seed Protectors, 1987 .................................................................... 12 Figure 10: The second Kitsch text, Kitsch: More than Art, features one of Nerdrum's self- portraits on the cover, posing as the "Savior of Painting." ........................................................... 28 Figure 11: Odd Nerdrum, Woman With Milk, 1987-1988: An example of archetypal imagery and iconic composition in Nerdrum's work .................................................................................. 34 Figure 12: Odd Nerdrum, Dawn, 1990 ......................................................................................... 34 Figure 13: Odd Nerdrum, Twilight, 1981 ..................................................................................... 38 1 1 INTRODUCTION Perhaps fittingly, I first encountered the work of self-proclaimed kitsch painter Odd Nerdrum in a coffee table book rather than in a gallery or museum. The timing, too, was appropriate. It was the winter of 2012, and I was a graduate painting student full of my own preconceived notions of some institutional hierarchy of images in relation to art and culture. The very mention of the word “kitsch” would conjure pictures of things that surely existed at the bottom of this hierarchy: the dreaded “low culture” of Hallmark greeting cards, gaudy posters of yesterday’s popstars, and all forms of commercial illustration. If ever the notion of kitsch painting was suggested, I could only think dismissively of the likes of Thomas Kinkade or the painted billboards of the 1950’s—either one a far cry from the “real” paintings of Rembrandt and Caravaggio that I was so enamored with. This is why my inaugural encounter with Nerdrum would mark a troubling brush with the unknown; if this was truly kitsch, then it was unlike any kitsch that I had ever seen. Nerdrum’s was a majestic and desolate world rendered in the same moody chiaroscuro of the Old Masters and populated with enigmatic figures that recalled medieval and Nordic myths (Fig. 1). These were works that were undeniably contemporary, yet also ancient and timeless. The result was a confrontation with the aesthetic, a headlong collision with something strangely sublime that left me—as much as anyone can claim such a thing from a coffee