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This article explores the relationship between center and periphery within Norwegian art at the turn of the century. It focuses on the Holmenkollen tourist hotel in Christiania (present-day Oslo) and the artists and architects involved in its construction. It shows how the relationship between the center/periphery is one of dynamic encounter and one where the relations of power are much more flexible than the traditional notion of the center dictating the terms. Moreover, it highlights how Norwegian artists through their work and writing reflected on their role as belonging to a peripheral art nation and illustrates how they found ways to make this peripheral identity a well of artistic creativity and the base for an artistic pride. [ABSTRACT FROM AUTHOR]

The article offers information on Little Norway stave church, that was a living museum of a Norwegian village located in Blue Mounds, Wisconsin. It reports that the Little Norway consisted of a fully restored farm dating to the mid-19th century. It enjoyed a place of honor there as the gallery for displays of Norwegian and Norwegian American art and high culture.

This article presents the Norwegian applied theatre project called P:UNKT, which suggests a meeting point, a crossroads and encounters. The aim of the project was to stimulate integration and cultural diversity, with the outreach nature of P:UNKT resulting in new ways of interaction and collaboration across groups and institutions. I conducted research on the project from 2010 to 2012 and three years later, in 2016. I claim that the project enabled ethnic Norwegians and immigrants to create unique storytelling theatre together that transcended the conventional preconceptions of us and them, resulting in the emergence of a new 'we'. This type of social and applied theatre run by a professional, state-funded theatre is not common in Norway. The findings of my research are therefore of relevance to local communities, theatre companies and politicians. The P:UNKT project is an example of the active role that applied theatre can play in shaping Norwegian identity construction in the twenty-first century. [ABSTRACT FROM AUTHOR]

In Norway, a number of independent feature films have been produced in the last fifteen years that received no government support and are distributed digitally. I argue that new digital tools have made it possible to create a new Norwegian film culture, outside or on the margins of ordinary film culture. These new, mostly B-films challenge the concept of art cinema, 'quality' film production and Norwegian cultural values, and have become a vibrant complement to mainstream film culture. [ABSTRACT FROM AUTHOR]

In given circumstances, art can play a crucial role in motivating people to participate in altruistic acts of protest and in initiating the formation of social movements. The story of the most controversial work of art in Norwegian cultural history, the so-called Vietnam Picture from 1965, provides an illuminating illustration of how and why artists and their work can have and have had a significant impact on peace and solidarity movements. The article discusses the qualities of artistic production and its reception that can stimulate and sustain protest. Picasso’sGuernicaprovides an interesting parallel to the Vietnam Picture, and the two pictures are briefly compared. [ABSTRACT FROM PUBLISHER]

The article examines the history of Norway's participation in the Triennali di Milano series of exhibitions, which were held in Milan, Italy, throughout the 20th-century. Particular focus is given to examples of Norwegian and Scandinavian design that were shown at the exhibitions. Additional topics discussed include the reconstruction of Norway following World War II, Norwegian craft and applied art, and mid-1950s Scandinavian design.

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This is a conversation with the chair of Norwegian art foundation "3,14", Gøran A. Ohldieck, who curated the exhibition "Don't shoot the waiter before lunch" by the Bulgarian artist, Dogu Bankov, in the Mikalojus Konstantinas Ciurlionis National Museum of Art, Žilinskas Gallery, in Kaunas. Gøran A. Ohldieck has been living in Kaunas for more than ten years, often migrating between native Bergen in Norway, his beloved Plovdiv in Bulgaria, and accustomed Kaunas in Lithuania. [ABSTRACT FROM AUTHOR]

This paper seeks to explore ideas about the human-animal relationship prevailing in Scandinavian, pre-Christian society from the perspective of representations in Nordic animal art. After an introduction on art, meaning and context, it focuses on expressions of hybridity. Hybrid motifs are represented in the animal art in complex and dense expressions argued to reveal a basic transformative logic which challenges and transcends settled categories. The investment of creativity in these motifs, an investment which is argued also to be present in the periphrastic style of Old Norse poetry, is taken as an indication of their essentiality in respect of ideas of a transgressive relationship between animals and humans. [ABSTRACT FROM AUTHOR]

The highly mythical phenomenon, or even mythological construction, generally known as 'Scandinavian Design' reached its zenith in the mid to late 1950s. These so-called golden years have been the subject of massive interest, both popular and scholarly. The inner dynamics of their subsequent demise, on the other hand, have received far less attention. Within the established applied art communities in the Nordic countries, the international visibility and acknowledgement brought about by this concept were largely considered desirable and well worth fighting for-perhaps especially so by the Norwegian community, who arguably had the most to benefit from this construction. This article sets out to investigate how and why the Norwegian applied art establishment constructed and negotiated strategies for maintaining the holistic/universalistic approach to design so characteristic of Scandinavian Design and the applied art movement when in the late 1950s and 1960s the concept was severely criticized and challenged from within. I will argue that artistic intention and quality were chosen as the defining principles in the heated negotiations on internal unification and external demarcation of the design field, and discuss some of the more problematic consequences of this strategy. [ABSTRACT FROM AUTHOR]

Focuses on works about artist Edvard Munch. Background; Childhood ordeals; Physiological instabilities; Perceived homology between Munch's life and his art; Artistic criticisms of Munch's work.

The article highlights the life and career of Norwegian painter Edvard Munch. The section considers the art of Munch by interpreting the significance of drama for his imagery. According to the report, Munch was particularly interested in the art of drama and distinguished himself in the early years of his career by his sensitive and original rendering of people's faces and gestures. He kept himself from formal reproductions of people's countenance, and attempted instead to express their psyche and personality, sometimes exaggerating in order to stress important features.

Among the many Scandinavian collectors of art who were active during the first decade of this century, Rasmus Meyer occupies a unique position in the field of art collecting in Norway. The greater part of his collection of paintings, acquired between 1905 and 1915, to-day comprises an independent part of the City of Bergen Art Collections: Rasmus Meyer's Collection. Meyer came from a wealthy, tradition-bound Bergen family in which cultivation of the arts had played a natural role for generations. His father, Gerdt Henrich Meyer (18 17-97) had continued to develop the large family business and among other projects built up Vaksdal Mill. Under Rasmus Meyer's competent management it became Scandinavia's largest grain mill, providing the economic where with all for his collecting. To begin with, Rasmus Meyer collected applied art. In 1902 he began, in a small way, to buy paintings. From 1905 he began seriously to buy with a specifically formulated end in view. In his native Bergen he would build up a collection of paintings which would be »Western Norway's National Gallery». For ten years he worked with singleness of purpose towards this goal. From the Start his aim was patterned on the Hirschsprung Collection in Copenhagen; his collection was to show the development of Norwegian art (i.e. its history) in the 19th and 20th centuries. In addition, it was his wish that in due time the collection should pass into public ownership. Gradually his plans regarding the essential nature of the collection changed somewhat. He realized that his initial plan was so comprehensive as to be detrimental to the quality he desired to maintain. Influenced by German and Swedish collectors, he partially relinquished his original goal and concentrated on creating what he called a »galerie des Perles», sticking however to his intention of retaining the distinctive Bergen character of the historical part. During his first years of collecting, Rasmus Meyer was mainly interested in acquiring older art such as works by J. C. Dahl and the Düsseldorf painters. In this he was following an established Bergen art collecting tradition. When, gradually, he turned to the contemporary art of his own period, mainly buying works by the naturalists and painters from the 90's, Meyer was following the example of other Norwegian collectors. But, in 1907-08 he began seriously to buy paintings by the youngest generation of artists, thus breaking with Norwegian collecting tradition hitherto and placing himself in a relatively isolated position in this field. Before 1915, Meyer's collection contained far more works by, for example, J. Heiberg, L. Karsten, H. Sørensen, O. Wold-Torne, A. Kavli, S. Grande and L. Jorde than did Bergen's official collection. As late as 1915 Bergen's Art Gallery owned no works by such prominent artists of the 80's as H. Backer, H. Heyerdahl, Th. Kittelsen or Edvard Munch and only one each of E. Werenskiold, Chr. Krohg and E. Peterssen. In-his determined efforts to build up his collection, Rasmus Meyer allied himself with a great number of expert advisors, both Norwegian and foreign. It was the process of building up his collection which brought him into contact with the artists themselves and his start as a collector was not prompted by the wish to help them. He cannot be considered a generous patron of the arts but his many great acquisitions and commissions quickly became an important factor in the national art milieu. For the youngest generation of artists his many purchases generated great moral support in their struggle for recognition. The question of when and how the collection was to be turned over to the public authorities gradually became as important to Meyer as his purchases.… [ABSTRACT FROM AUTHOR]

Edvard Munch, who was already well known as a painter, made his first intaglio prints and lithographs in Berlin in 1894-95, and his first woodcuts during his stay in Paris in 1896. In these early years few people collected his prints, but some of his friends and associates acquired many impressions as gifts or at reasonable prices. In 1902, Munch had settled in Germany once more, and for his reputation as a graphic artist, this year is of vital importance. In Lübeck Dr Max Linde, a wealthy doctor and collector of modern art, became interested in Munch's art, and among other things acquired an almost complete collection of his graphic work. At Dr Linde's, the German lawyer Gustav Schiefler for the first time discovered prints by Munch, and in the course of a few years he published a catalogue of all Munch's prints done before 1907. In 1904, Munch signed a contract with the German art dealer Bruno Cassirer, giving him exclusive rights to sell Munch's prints. To Munch, this contract was a financial disaster which he was eager to terminate when it expired in 1907. To manage this, however, he had to pay Cassirer 1 000 Marks, which he obtained from his new supporter, Ernest Thiel in Stockholm, by offering to sell him a collection of prints. Thiel finally acquired 97 prints, which are today in Thielska Galleriet in Stockholm. Rasmus Meyer in Bergen, who had bought his first Munch painting in 1906, probably started to buy prints during the winter of 1909-10. In this case, too, the initiative to establish a major collection of prints came from the artist and not from the collector. Meyer probably bought about 200 prints, half of which are today in the Rasmus Meyer Collection in Bergen. After breaking the contract with Cassirer, Munch had to undertake the selling of prints himself and it was of great importance to him that a number of his best prints were available in collections of a high standard, like those of Linde, Thiel and Meyer. After the first world war, Munch's financial situation improved considerably, and he was no longer interested in selling so much. One of the very few collectors who acquired graphic works directly from Munch in his later years, was the Norwegian stockbroker, author and art-collector, Roif Stenersen. He put together an impressive collection of modern Norwegian art, which he donated to the Aker municipality, later to be incorporated in the city of Oslo. His collection included 400 prints by Edvard Munch, some of them handcoloured at the request of Stenersen. For Munch it was always essential that his works could be seen by many people, and he himself bequeathed all his works of art, including more than 17000 prints, to the city of Oslo, thus becoming one of the greatest donators of art in Scandinavia. [ABSTRACT FROM AUTHOR]

The article offers information on Norwegian artist Kitty Kielland. Topics include examines that article addresses important aspects of Kielland artistic practice, life choices, radical writings, and political activism from the perspective of feminist art history; and reports that several female artists who achieved professional status came from artist families or had strong connections to male artists.

Focuses on the Norwegian artist Johan Christian Dahl. His artistic style; Subjects which were his favorite, such as the sea and fjords; Description of his painting 'View From Vaekero Near Christiania'; His travels abroad; Way that he depicted Norway in his paintings.