Hans Gude’s and Adolph Tidemand’s painting Bridal journey in Hardanger (1848) in the National Museum in Oslo, has been, since 1980, thought to be the second version of this motif, a replica of a now-lost original. This article investigates this thesis on the basis of how the relationship between original and repetition was understood in the 19 th century, and discusses why the status of the painting seems to have risen with the understanding of it as a repetition. The paper contends, however, that the painting is the original after all.
In 1937, the Oslo-based architect Nicolai Beer drew up a proposal to merge and extend the National Gallery and the Historical Museum into one building. The unfinished project is one of the earliest examples of modernistic museum architecture in Norway. This was the first of many proposals from the National Gallery for expansion in Tullinløkka. This article discuss the functionality and stylistics of Beer’s proposal, as well as the differences of opinion amongst the main contractors, the lack of political will, and the outbreak of the Second World War, which ultimately led to the abandonment of the project.
This article is about Henrik Finne and the so called Finne circle. This circle of artists took part in the Norwegian art scene in the 1920s and 1930s alongside the more experimental and national-oriented groupings influenced by Axel Revold and Jean Heiberg. Finne and most of the painters in the Finne group were educated by André Lhote in Paris and they developed a characteristic neo-classical style in the inter-war era.
Dixi was an artistlaunched exhibition in 1995 comprising 34, mostly Norwegian, artists from the so called ‘young generation’. With the ambition of being the ‘art happening of the decade’, it has since been largely forgotten in surveys of the period, probably in part due to the fragmented and fleeting quality of the works themselves. By looking at art from the mid-1990s inside and outside the exhibition, this article seeks to revive the context of the individual works, reviewing them as strategies complicating a transition to the new globalized media culture. The organizers of Dixi saw the artists as having ‘a global head, and a local body’, indicating a split that was felt at different levels by the artistic subject in these years. This kind of alienation and subjective splitting seems subsequently to resolve itself when Norwegian art is designated as ‘open’ and ‘social’ during the latter half of the decade.
In 1994, R.B. Kitaj was invited by Tate Britain to mount a retrospective. The reviews confounded both the public and Kitaj himself by being vicious and personal. Kitaj’s wife, Sandra Fisher, succumbed not long after from a cerebral haemorrhage, for which Kitaj laid the blame on the critics. This article focuses on the dialogue between Kitaj and his critics after the fateful Tate exhibition, with the critics’ polemical articles answered by Kitaj in what he described as an avant-garde magazine named Sandra, in which he attempted to give a visual expression to vengeance.