Exhibition of Work by Modern Norwegian Artists

Director: Henry D. Roberts
Honorary President of the Exhibition: His Excellency the Norwegian Minister in London Herr Benjamin Vogt
Chairman: A. J. Mavrogordato
His Worship the Mayor: Add. C. Thomas-Stanford, J.P., M.A., F.S.A.,
Alderman Geere,
Alderman Tester,
Alderman Wilson,
Councillor Poole,
Councillor Stevens, J.P.
C. H. H. Burleigh, B. A.
W. B. Chamberlin
F. Davey
Sir George Donaldson,
Colonel R. C. Goff, R. P. E.,
A. F. Graves,
Mrs. A. O. Jennings,
W. J. Stephens, L.R.C.P., Ed.
W. Clarkson Wallis. J. P.

Norwegian Committee
Chairman: Professor Christian Krohg, R. A. (Painter)
Sectretary: Ola Geelmuyden (Painter)
Professor Halfdan stöm, R.A. (Painter),
Miss Marie Tannaes (Painter)
Hans Odegaard (Painter)
Jean Heiberg (Painter)
Professor Gunar Utsond, R. A. (Sculptor)
Jo. Visdal (Sculptor)

Monday - Friday 10:00 - 20:00 Sunday 14:30- 17:00

Holding Institution: Victoria & Albert National Art Library

Notice by Henry D. Roberts, 15h March, 1913

With this Exhibition of modern Norwegian art, the fourth in the series of exhibitions dealing with the work of Continental Schools is reached. The exhibitions of modern French Art held in 1910, of modern Swedish Art held in 1911, and modern Danish Art held in 1912, were very successful, and the Committee believe that the Norwegian Exhibition will be of as great interest as those already held in these galleries.

The present is the first exhibition of modern Norwegian Art ever held in England, and the work of the majority of the artists in this catalogue is exhibited for the first time in this country. Every effort has been made to ensure that the exhibition shall be thoroughly representative and in ever way national in character. It is a matter of regret to the Committee that some of the more prominent artists, whom it would be invidious to refer to by name, are not represented in the exhibition. With only one or two exceptions, all the artists whose works are exhibited are now living.

The Committee desire to record their grateful thanks to Their Majesties the King and Queen of Norway, who have been graciously pleased to accord the patronage to the exhibition, and have thus stamped it as being one of value and importance.

To H. E. the Norwegian Minister in London(Herr Benjamin Vogt), who accepted the invitation of the Committee to become the Hon. President of the exhibition, all concerned are under a deep debt of gratitude. His Excellency has taken a very lively interest in all the details of the exhibition, and has rendered valuable and practical assistance.

Thanks are also due for the work performed by the Bildende Kunstneres Styre (the Committee of Painting Artists) in Christiania, whose names are given on Page 2. To them was entrusted the delicate and important task of selecting the artists who should be invited to exhibit. They have performed their duties with the sole aim of setting before the British public a thorough representation of modern Norwegian Art in all its phases. It may be interesting to state that, as far as I know, this Committee holds a somewhat unique position. It it elected every year by a vote of the working artists of the country. Every artists who has exhibited a certain number of times has a vote, whether he is a member of the society or not. The Committee is recognised by the Government, and has considerable powers. In this exhibition, however, it has limited its works to the general arrangements in Norway, and to selecting the artists to exhibit, but the Committee did not select the works themselves. These were chosen by a jury elected in the democratic manner in which things are conducted in Norway. Every person invited to exhibit was entitled to nominate a certain number of persons to serve on the jury. Those persons nominated who secured the most votes were elected. The result is that no possible favouritism can have been exercised, and every work sent from Norway has been selected entirely on its merits, by a jury elected by the exhibitors themselves.

A few pictures have been obtained from England, in the selection which neither the jury nor the Norwegian Committee have had any say, the responsibility for their inclusion in the exhibition bein undertaken by the Brighton Committee. These works are No. 7, lent by Lord Landsdowne, and Nos. 3, 37, 65, 76, 80, 85, 90, 115, 182, lent by the Rev. F. S. Sclater, of Newick Park, to whom the Committee wish to convey their sincere thanks.

With very few exceptions, the pictures, etc. from Norway have been sent in by the artists themselves; but the Committee desire to acknowledge the obligations under which they have been placed by the kindness of various Norwegian owners who have been good enough to lend exhibits.

the historical survey in the catalogue has been written by Mr. Inv. Engelbrethsen, and the Committee desire to thank Mr. Engelbrethsen for this excellent exposition of the subject.

The exhibition poster is the work of Mr. Per Krohg, a son of the Chairman of the Bildende Kunstneres Styre, who is also an exhibitor. the Committee wishs to place on record their indebtedness to Mr. Krohg.

I asked Mr. Krohg if he would describe the poster for me. In reply, he wrote to me from Paris as follows: - "Vous me demande la signification de l'affiche, voici - Ce n'est pas le soleil de minuit mais un soleil tout ordinaire jetant ses rayons sur la neige. Je l`ai fait vert par point de vue impressioniste (quand on regarde le soleil il parait bleu ou vert) et aussi parce que je trouve que c`est plus voyant et extraordinaire, choses importantes pour une affiche. J`espere que les couleurs pourront ètre très exactement reproduites d`une nuànce aussi violente que possible"

Finally thanks are due to Mr. S. Thorbjornsen, himself an exhibitor, who was delegated to represent the Norwegian Committee in the hanging and arrangement of the exhibition.

The Fine Arts Committee have decided to publish two editions of this catalogue; one without illustrations, and the other with a number of representations of some of the principal pictures in the exhibition.

As it is expected that a large number of Norwegian visitors will visit Brighton to see the exhibition, the historical survey and the catalogue have been printed in both Norwegian and English.

Arrangements have been made or the majority of the xhibits to proceed, as the "Brighton" Exhibition of Norwegian Art, to Burnley, Oldham, Wolverhampton, and Hull, the unsold pictures being returned to Norway about August, 1914. Some of the exhibits, however, have only been lent for exhibition in Brighton.

The majority of the exhibits are for sale, and a priced catalogue may be consulted in the room. A deposit of 10 per cent. must be made at the time of purchase.

Any pictures sold at the exhibition cannot be delivered, unless by special arrangement, until the collection has been exhibited at the other towns indicated as above.

Copyright of all pictures, etc., in the exhibition, including those printed in the catalogue, is strictly reserved. Applications for permission to reproduce any of them must be made to the Director.

The exhibition was opened in the afternoon of March 15th, 1913, by its Honorary President, and will remain open until June 15th. Hours of opening: Weekdays, 10 a.m. to 8 p.m. ; Sundays, 2.30 p.m. to 5 p.m. Admission free.

To celebrate the occasion, a Dinner was held in the Royal Pavilion, on the evening of the opening day, under the presidency of the Deputy Mayor (Alderman E. Geere), at which His Excellency the Norwegian Minister was the guest of honour.

the portraits of Their Majesties the King and Queen of Norway are reproduced from photographs by Karl Anderson, Christiania.

The majority of the illustrations in the catalogue are reproduced from photographs by Vaering, Christiania. Numbers 34, 52, 99, 105, 176, 179, 184, and 188 are from photographs by Messrs. Benn and Cronin, Brighton.

All communication with reference to the exhibition shoudl be made to the undersigned, at the Galleries.

Historical Survey, Ingv. Engelbrethsen, Christiania, Jan., 1913.

the history of Norwegian painting and sculpture does not go very far back in time. It begins about the same time as the renaissance of Norway as an independent kingdom [1814]. It is thus one of Europe's youngest painting schools, with the products of which one is faced here, the first beginnings having appeared at the commencement of the 19th century. It is true that Norway, before that time, had not been entirely without artistic culture, as there was already flourishing a decorative national art which, in many respects, was very highly developed, and which was born of old and good traditions. And even if this art of the people received many impulses from abroad, yet it cannot in any respect be characterised as European.

It was with Johan C. C. Dahl (1788-1857) that Norway made its first entry into European art, and although this entry came rather late, it was at any rate good. Dahl was a very highly-gifted artist, whose landscapes even to-day occupy a very high place, not only in Norwegian art, but everywhere where interest for art exists. Dahl received his forst education at the academyy of Copenhagen, but went afterwards to Dresden, where he was elected a Professor. Although he lived in the midst of the German romantic movement, he remained his whole life a determined naturalistic painter.

In spite of the fact that Dahl was the first great artist in Norway, he did not create any school or artistic circle which might be said to be derived directly from him; certainly there were three Norwegians who may be called his disciples: - Thomas Fearnley (1802-42) Knud Baade (1808-79), and J. C. Frich (1810-58). Of course, Fearnley was the most gifted, and the only one who seemed determined to continue the best traditions of this great teacher. But, unfortunately, he, our greatest landscape painter, died at a very early age.

The generation of painters that appeared in the forties of last century also went, via Copenhagen to Germany to receive their artistic eduction, but they did not go to Dresden, and did not as a whole seem at all to come into communication with their already celebrated countrymen. They went to Düsseldorf, which, for the time being, was the centre of German artistic life. Here, in this small city of the Lower Rhine, Adolph Tidemand (1814-76), Norway's first great figure painter, received his final education. Tidemand is perhaps that Norwegian painter who, more than anybody else, has been known and loved by the people. This is owning to his choice of subject- paintings of popular life- as to his artistic qualities. At the same time as Tidemand, lived and worked the eleven-years-younger painter, Hans Gude (1825-1903). gude, also, has won a European reputation with his landscapes and his pictures of the Norwegian skjaergaard. [An interesting example of the joint work of Tidemand and Gude is shown in No. 7 in the Exhibition, kindly lent by Lord Landsdowne from Landsdowne House. The figures are by Tidemund and the landscape by Gude.] Many Norwegians in the course of time became pupils of Gude whilst he was professor at the academies of Düsseldorf and Karlsruhe.

Amongst other painters who were either "Düsseldorfers", or stood very close to them, may be mentioned the highly-gifted August Cappelen (1827-52), J. F. eckersberg (1822-1870), whose importance for Norwegian painting was especially great, because he established in Christiania (in 1859) the first Norwegian school for painters. Also Morten Müller (1828-1910), Amaldus Neilsen (b. 1838), Ludvig Munthe (1841-96), Fredrik Collett (b. 1839), the latter having eventually gone entirely over to the naturalistic school, and, finally, the figure painter, Carl Sundt-Hansen (1841-1907).

Both the works of Dahl and his nearest successors, the so-called "Düsseldorfers", were produced in an exceedingly difficult time in Norway. Our finances were bad, and artistic feeling and understanding were, if possible, even worse. The pioneer work which they made for the culture of their country can therefore scarcely be underestimated. By the choice of their subjects and their manner of painting, which even the common people could easily perceive, they made it know that art existed for the whole nation and was not only a luxury for the rich. The art of the "Düsseldorfers" had through the years become the model art for the Norwegian people. It was through that art that their eyes were opened to the beauty of their country as well as for painting itself.

When this is taken into consideration, it will easily be understood what disappointment and even indignation were evoked both among the general public and the older generation of artists when, at the beginning of the eighties in the last century, there returned from Paris a band of young artists with new ideas and new views, which stood in direct opposition to the then prevailing ideas. It was as it a wave had come rushing and trying to take away everything that was known and dear. It was as if the art of our country, the roots of which had never gone very deep, was to be torn up and swept away. the wave came ; it was unavoidable, and it was very strong, but it was met with very stubborn opposition. The young generation were received with scorn and contempt.

But it is the right and the duty of youth to be exponents of all that is new in their own time, because they feel it is right and truth, and the band that came had the right, the courage and the talents, and that is the reason why, within a few years, they had victory of their side.

From that time there grew up a new national art as had hitherto never existed. This new generation of painters derived , as never before, their inspiration from Norwegian popular life and character. Vigorous, fresh, and at the same time full of sentiment, as in the nature of the country in its various moods, this art had grown and won an ever-increasing understanding amongst the people.

In the foremost rank of the painters who now made their impression on Norwegian art art to be mentioned Fritz Thaulow (b. 1847), Christian Krohg (b.1852), Eilif Peterssen (b. 1852), Erik Werenskiold (b. 1855), and Gerhard Munthe (b. 1849). With the exception of Thaulow, who died in 1906, all the above-mentioned painters are in their full vigour. To this generation also belong Otto Sinding(1842-1909), Miss harriet Backer (b. 1845), Th. Kittelsen (b.1847), Jacob Glöersen (1852-1912), Christian Skredsvig (b.1854), and Hans Heyerdahl (b.1857). When the above mentioned painters, at the beginning of the eighties, made their homes in Norway, they gathered round them a large nuber of followers who, working in the open air, came again to honour and dignity. among the generation which succeeded and made a final victory for the naturalistic school, the following occupy a prominent position: - Eyolf Soot (b.1858), gustav Wentzel b.1859), Mrs. Oda Krohg (b.1860), Halfdan Ström (b. 1863), and Edward Munch (b. 1863), who began as a naturalistic painter, but who long ago, has broken with that school. Further must be mentioned Jörgen Sörensen (1861-94), Th. Hulmboe (b.1866), August Eiebakke (b. 1867), Otto Valstad, Gudmund Stenersen, Johs. Müller, Lars Jorde, August Jacobsen, and Miss Marie Tannaes.

Amongst the painters who came to the front in the 'nineties, some broke away from the art of the 'seventies and 'eighties. Among those who may be mentioned are Oluf Wold Torne (b. 1867), Thorvald Erichsen (b.1868), and Kristen Holbö. For them the topic plays a minor part; they are more deeply interested in the atmosphere and light effects. Among this band Harold Sohlberg (b.1869) occupies a somewhat isolated position. In connection with him ought also to be mentioned the young Halfdan Egidius (1877-99).

The newer French art has exercised a great influence on some of the young painters. Several of them have come under the influence of Edward Munch: for instance, T. Torsteinson (b. 1876), Ludv. Karsten (b. 1876) and Henrik Lund (b. 1879).

Among the younger painters can be mentioned A.C. Svarstad (b. 1869), sören Onsager (b. 1878), Bernhard Folkestad (b. 1879) and Nicolai Astrup (b.1880). As determined followers of Matissem may be mentioned Einar Sandberg, Henrik Sörensen (b. 1882) and Jean Heiberg (b.1884), "Cubism" has found a representative in Per Krohg (b. 1889).

Our sculpture is about of the same age as our painting. It also has strong connections with the old national art. The woodcarving work shows that its exponents were more than capable craftsmen. As in our older Norwegian painting, it was almost exclusively for decorative purposes that they worked.

Amongst our sculptors there are many whose names are known outside the borders of the country. It has, especially for the elder ones, been a work almost unknown to the generation that lived with them.

The first, and for a long time the only, representative of Norwegian sculpture in the 19th century, was Hans Michelsen (1789-1859). He tried to follow, as best he could, in the footsteps of the famous sculptor, Thorvaldsen, whose pupl he was. Chr. Borsch (1817-96) tried to play on more romantic strings, and he was in many respects much more fortunate than his predecessor. A prominent position was occupied by Julius Middelthun (1820-86). He was a highly gifted and well educated artist, whose noble works will for all time maintain he reputation. In the numerous works of B. Bergsliens (1830-98) there is a breadth of humour which has given him a name all over the country and brought him many commissions. It s quite otherwise with the very distinguished but little productive S. Lexow-Hansen (b. 1845).

The first Norwegian sculptor who aspired to solve greater problems, creating for himself a prominent position among European artists, and whose reputation goes far, is Stephen Sinding (b. 1846). M. Skeibrok (1851-96) has left a long series of capable works, full of fine feeling, by which he won for himself many friends in his own country.

Among other sculptors must be mentioned Jo. Visdal (b. 1861), L. Utne (b. 1862), Gunnar Utsond (b. 18649, Ingebrikt Vik (b. 1867), Gustav Vigeland (b. 1869), Munthe Svendsen (b. 1869) and Vilhelm Rasmussen (b. 1879).

Notice, by Director Henry D. Roberts, pp. 3- 5
Historical Survey [English], by Ingv. Engelbrethsen, pp. 6-9
Historical Survey [Norwegian], by Ingv. Engelbrethsen, pp. 10-13
List of Books, &c., In the Brighton Public Library Dealing with Norwegian Art, pp. 14-15
Works Dealing with Individual Artists, p. 16
[23 un-numbered pages of reproductions]
Catalogue, pp. 17-30

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