This archival study presents the report on modern prisons, written by the architect Heinrich Ernst Schirmer (1814–1887) after his travels in England in 1843ྭ44. It also presents Schirmer’s correspondence with the building committee for the new Christiania Penitentiary, a building Schirmer designed in the period 1844–51. These little known texts throw new light on the prison, both as an architectural and a cultural problem, opening for new readings of punishment in modern society.
Munch often grouped his images into picture series. «The Green Room» («Det grønne værelset»), 1907 consists of seven paintings. The author discusses how Munch’s fascination with picture series is closely linked to modern notions of time, temporality, narrativity, and developments in new visual entertainment, such as film and cinema. The focus of the article is on the narrative features in «The Green Room», and the series’ unstable qualities are addressed. These engage the spectator, and the images do not create one story, but several stories.
In the years around 1900, a new type of exhibition display was introduced in certain European Museums of Decorative Arts. In traditional displays, the objects had been organized according to materials and techniques, but in the new displays, the objects were presented in their historical context. The new exhibition displays were mainly introduced in British and German museums. However, this article shows that the Norwegian art historians Jens Thiis and Hans Dedekam were key players in the debate about exhibition reform.
The Museum of Decorative Arts and Design in Oslo, founded in 1876, moved in 1904 into a large new museum building next to the National Academy of Craft and Art Industry. Three exhibition rooms on the ground floor stood out from the other rooms in the museum. They contained Norwegian arts and crafts and were richly decorated by the painter Gerhard Munthe. The author discusses the relationship that Munthe and the «Lysaker group» had with the management of the museum and why Munthe was commissioned to decorate the three rooms, despite Director Henrik Grosch’s ambivalent feelings about Munthe’s art.