The manor of Austrått was given its present form in the mid-seventeenth century. The builder was the most prominent nobleman in Norway, Chancellor Ove Bjelke (1611–1674). This manor house is the last monument from the era of Danish-Norwegian history when the nobility dominated the political and economic life of the kingdom. The closer to the end of their political power the nobles came, the more expressive they staged their elevated position through art and architecture. Austrått manor is the last and most detailed monument of noble self-understanding preserved in Denmark-Norway.
This article considers contemporary Norwegian comics that depict the nineteenth-century dramatist Henrik Ibsen and his works in the context of Ibsen’s own active programme of visual self-representation through photography, and in relation to earlier caricatures. Focusing on comics by Steffen Kverneland, Ola A. Hegdal, the team of Øystein Runde and Geir Moen, and the team of Geir Moen and David Zane Mairowitz, the author argues that these works shift the focus from the intellectual and aesthetic contents of Ibsen’s texts to Ibsen’s fame and status as a visual icon.
Akersborg Terrace is not mentioned in the standard work on Norwegian functionalism. Neither is the architect behind the town houses, Karl Stenersen (1899–1983), discussed. This article gives an account of Stenersen’s professional orientation, and how Akersborg unites functionalism with a pragmatic sense of topographic and local adaptation in relation to Ullevål Hageby. Stenersen’s study trip to Germany in the autumn of 1934, and the impact from Ernst May and ‘Neue Frankfurt’, will be discussed especially.
At the end of the 1880s, Ms. Ebba Dons’ home was a meeting place for many of the young intellectuals in Kristiania: authors, young academics and artists. This was also where Jens Thiis, later a well-known art historian, and the poet Sigbjørn Obstfelder, met. Thiis had not yet decided whether he should become an author, a painter, or start at the University. Obstfelder came to Kristiania to become a teacher and he was a gifted modernist poet. Obstfelder’s poems fascinated Thiis, and reminded him of his own ideas of becoming a poet. Thiis and Obstfelder developed a close friendship in their youth.
Marcus Jacob Monrad (1816–1897) was a professor of philosophy at the University of Kristiania (Oslo) and a leading figure in the intellectual milieu in Norway in the second half of the nineteenth century. In 1889, he published a voluminous book on aesthetics, following the Hegelian tradition. Since Hegelian philosophy in general was very much out of fashion at that time, Monrad’s Æsthetik did not gain much attention. Now, Vidarforlaget has published a new edition of the book; it seems that the times have changed and Monrad’s Hegelian approach to aesthetics finally has a chance to find its audience. I provide an overview of the manifold topics of the book and I discuss critically some of its main concepts, including those of ‘Ideal’ and ‘Bildung’.