ავტორი
დაბადებული: ბერგენი, ნორვეგია
Early Life, Family and Training
Henrik Lund was born in Bergen, Norway, on 8 September 1879. He entered a family defined by disciplined artistic and military structures. His father, Lt.-Col. Henrik Louis Bull Lund, held a high-ranking military position, while his mother, Birgitte Theodora Carlsen, was a pianist and composer. This domestic environment of formal training was shared with his sister, the composer Signe Lund. While his early years were spent largely at sea, a path toward the visual arts emerged after he moved to Kristiania. He was influenced by the student Per Deberitz, whose connection to Hans Gude redirected his trajectory away from a potential naval career and toward the life of a painter and graphic artist.
His formal instruction was direct and rigorous. In 1899, Lund became a pupil of Harriet Backer, a period that coincided with his professional debut. He did not rely solely on a single mentor; his technical development continued through 1903 when he studied with Johan Nordhagen. These years of study provided the foundation for a career that would eventually move beyond the borders of Norway. His training was not merely about technique but about establishing a presence in the competitive European art scene.
Life and Activity in Various Cities
Lund’s career was defined by a movement between the major cultural hubs of Northern Europe. He established a presence in Copenhagen between 1904 and 1909, a period that marked his professional breakthrough. This era of activity was not confined to Scandinavia; he expanded his reach to Berlin, exhibiting there in 1908. His presence in the German art scene was solidified through participation in "The Six," a notable exhibition held in both Berlin and Copenhagen in 1911.
Paris acted as a recurring anchor for his development. He spent time in the French capital in 1905, returning later for a second stay from 1920 to 1921. These international movements provided the necessary friction for a painter and graphic artist seeking to move beyond his Norwegian origins. His ability to navigate these different urban environments allowed him to maintain a consistent professional trajectory across several decades.
Key Works and Artistic Output
Lund’s output reflects a steady command of portraiture and observational scenes. His early works, such as Breakfast in the Garden (1906) and Sommer (about 1909), demonstrate a focus on light and domestic or natural settings. These pieces established his presence before his more formal engagements with high-profile subjects. By 1911, his ability to capture specific individuals was evident in Marie Bull.
The artist’s later years show a continued interest in the social and political figures of his era. He moved between intimate portraits and larger-scale compositions. His 1921 work, Portrait of the French President Alexandre Millerand, highlights his capacity for handling significant political subjects. This period also saw him documenting his immediate circle, including Kunstnerens hustru Gunbjør, f. Olsen (1920) and Birgit Heiberg, f. Blehr (1914).
Lund also engaged with the intellectual landscape of Norway through his depictions of prominent figures. His 1926 painting, Christian Sinding, Gunnar Heiberg og Knut Hamsun, places him directly within the cultural conversations of the time. His graphic work, including plates such as Mannsportrett and Kvinneportrett (1928), further demonstrates the technical range of his practice.
Marie Bull (1911)
Oktoberdag på Skåtøy (1920)
Christian Sinding, Gunnar Heiberg og Knut Hamsun (1926)
Portrait of the French President Alexandre Millerand (1921)
Where to See the Works Today
Lund's presence in Norwegian institutional collections remains significant. The National Gallery of Norway in Oslo holds thirteen of his pictures, ensuring his visual language is preserved within the country's primary art repository. His work is not confined to museum walls; it occupies spaces of civic and cultural importance, including the Norwegian Parliament and the National Theatre.
For those seeking his output in his place of birth, the Bergen Kunstmuseum maintains his works within its collection. These holdings provide a direct link to his origins in Bergen. His legacy is anchored in these specific locations, from the halls of government to the public stages of the National Theatre.
მუზეუმი
გამოფენილია: Oslo, Norway
Origins and History of the Institution
The National Museum of Art, Architecture and Design holds the Norwegian state's public collection of art, architecture, and design objects. Located in Oslo, Norway, the institution is state-owned and managed by the Norwegian Ministry of Culture. Its current form was established in 2003 through the merger of several distinct entities. These included the Museum of Architecture, the Museum of Industrial Art, the Museum of Decorative Arts and Design, the Museum of Contemporary Art, and the National Gallery of Norway.
The roots of this consolidated institution reach back to 1842, when the National Gallery was established as the Norwegian States Central Museum for Visual Arts. This earlier institution functioned as a primary repository for Norwegian artistic expression for over a century and a half. The 2003 merger brought these various specialized collections under a single administrative umbrella, creating the National Museum of Art, Architecture and Design as a unified entity for the preservation and presentation of the nation's visual culture.
The New Museum Building and Architecture
The current museum presence in Oslo is distributed across several locations, including the National Museum – Architecture and Villa Stenersen. This arrangement preceded the consolidation of the institution's various departments into a single site. The decision to establish a unified venue was driven by the need for expanded facilities to house the growing collections of art, architecture, and design.
The new building opened at Vestbanehallen in 2022. This site was selected at Vestbanen, situated in place of the old Oslo West Station train station at Aker Brygge. The architectural direction for the project, originally known as Forum Artis, was determined following an international competition won by Kleihues + Schuwerk. The resulting structure integrates the diverse requirements of the merged institutions into a cohesive physical environment at the center of Oslo.
The Diverse Art and Design Collections
The museum holds a collection totaling over 400,000 works. These objects are presented through permanent exhibitions and various temporary displays. The holdings encompass Norwegian and international art, architecture, and design. Among the significant pieces is the first copy of Edvard Munch's The Scream from 1893. The collection spans several movements, including Baroque, the Dutch Golden Age, Expressionism, Impressionism, and Neo-romantic Symbolism.
The architecture collection is particularly extensive, containing more than 300,000 items. These works date from the 1830s to the current day. This breadth allows for a study of how design and structural form have evolved over nearly two centuries. The museum maintains these objects to provide a comprehensive record of both local and global artistic development.
