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This article deals with Queen Louise’s chalet, named Sæterhytten, and its landscaped setting in the 19th century public park at Bygdø Kongsgård, Oslo. The chalet exemplifies a Norwegian version of a European trend in royal parks; Swiss style garden pavilions as refuges from formal life. The article presents documentary findings and analogies which bring new perspectives on the planning and construction process of Sæterhytten and its gardens.
The Danish painter Joakim Skovgaard was highly esteemed internationally for his monumental decoration of the Dome of Viborg. In 1910 and 1911 Skovgaard used this experience in his role as Member of the Judging Committee for the competition for the decoration of the Festival Hall, arranged by The Royal Frederik’s University in Kristiania. The main issue of the article is Skovgaard’s important and visionary judgment of Munch’s Aulaproject, his constructive criticism and his positive recommendation of the project. Skovgaard’s subsequent participation as a jury member in competitions in Norway as well as his later relationship with the art of Munch is also discussed.
This article is based on a recent master’s thesis which discusses if and how the great wave of Japonisme – the appreciation of Japanese art and its influence on Western art – may have been of importance for the development of Edvard Munch’s art towards the end of the 19th century. The article places focus on how features of form, composition and figuration in Munch’s art from the 1890s can be seen in relation to Japanese woodblock prints. On a theoretical level the article considers the notion of influence in studies in art history.
Research on Norwegian architecture from the beginning of the last century has traditionally been directed at recognizing proto-modernist identifiers. How the dragon style was abandoned and a simplified national romanticism established itself, has been explained repeatedly. Norwegian architect’s studies at the Royal Institute of Technology and work in Stockholm have been emphasized in these accounts. The article reveals, based on recent archive studies, that the actual number of Norwegian students were quite limited and that none of them were ordinary students. Other findings are that the architects were obsessed with Swedish 15th century stone architecture and that their own architecture in wood continued to be influenced by the vernacular tradition from Gudbrandsdalen, Norway.