Full resolution (JPEG) - On this page / på denna sida - Industrial Arts and Sculpture, by L. Dietrichson
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The series commences with Halvor Fanden’s (about 1650) two
representations of Norwegian peasants, and several drinking-mugs
adorned with mythological and allegorical reliefs, all rather roughly
executed, and possibly to some extent copied from Netherland
prints. Magnus Elisen Berg (1666—1739), a carver in ivory,
stands far above his contemporaries in this species of art, with
his excellent reliefs, representing scenes from sacred history,
mythology and allegory (Rosenborg Palace, the historical art museum
in Vienna, and the royal collections in England). He stands at the
summit of the art of his time, and together with his age, has a
leaning towards Rococo. His goblets with ivory reliefs are among
the most beautiful ivory work of all ages. Jakob Klukstad (d. 1773)
seems to have been more influenced by the old national
wood-carving art. He carved the pulpit and altar-piece in Lesje Church
with rich and beautiful «krølleskurd». In Valdres, Eystein
Guttormsen Kjørren (circ. 1800) carved the remarkable altar-piece in
Hegge Church, representing the Crucifixion, in numerous detached
figures. The series of wood-carvers is continued down to our own
time with men such as Ole Moene from Opdal, Lars Kinservik
from Hardanger, Linsø from the Dovre district, and Hylland from
Telemarken, who have all confined themselves to the carving of
ornament in the traditional style, in which they have attained a
high degree of perfection.
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| Modern Wood-carving. |
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