|
|
Rosemaling
Rosemaling is the name of a form of decorative flower painting that originated in
the low-land areas of eastern Norway in about 1750, when Baroque, Rengeny and Rococo,
artistic styles of the upper class, were introduced into Norway’s rural culture.
Rosemaling designs use C and S strokes and feature scroll and flowing lines, floral
designs, and subtle colors. Script lettering, scenes and figures may also be included.
Artists who specialized in rosemaling came from the poorer classes in the cities,
rather than the land owners. They would travel from county to county painting churches
and/or the homes of the wealthy for a commission of either money or merely room
and board. Thus rosemaling was carried over the mountains and toward Norway's western
coast. Once farther away from the influence of the guilds, these artists tried new
ideas and motifs. Rosemaling became widespread as amateur artists in rural areas
often imitated this folk art. Soon strong regional styles developed and today the
three main styles are Telemark, Hallingdal and Rosaland, named after the region
of Norway in which each originated.
Norwegian Immigrants brought the art of rosemaling to the United States, and many
of the immigrants came from parts of Norway where rosemaling was well established.
They carried their belongings in beautifully rosemaled trunks, Some of the immigrants
were Rosemaling painters. This generation, however, contributed little to the development
of American rosemaling in the 20th century, because rosemaling began to go out of
style starting in 1860.
Rosemaling experienced its revival in America in the 20th century. Norwegian-Americans
became interested in the rosemaling decorated possessions of their ancestors. American
rosemaling began to develop and flourish. The revival of Rosemaling in the United
States is often credited to Per Lysne, who was born and trained in Rosemaling in
Norway. He came to America in the early 20th Century and was employed as a wagon
painter in Stoughten, Wisconsin. When business slowed during the Depression he began
to rosemal again. Others imitated his work.
Today Norwegian rosemaling is taught in many areas of the USA. Rosemaling associations
sponsor classes and competitions.
(C) Wikipedia
Woodcarving
When the Viking grave on Oseberg farm in Vestfold, Norway, was
excavated in 1904, an inestimable treasure was revealed, not only to historians,
but also to Norwegian craftsmen. Woodcarvers were presented to the oldest
existing colection of Norwegian wood carving, dated back to the 800s, the beginning
of the Viking period. Geometric designs and animal ornamentations offered
new knowledge and inspiration to wood carvers of modern times.
The art of a certain historical period is often heavily influenced
by the general cultural trend of the period and place where this art is created.
The vital, heathen Viking art acquired a more serene tone when Christianity exposed
the Viking woodcarvers to foreign influence. The Christian symbol, the grapevine,
was easily adaptable to the Norwegian woodcarving style, and the building of stave
churches that peaked around the year 1300 offered a great opportunity to follow
the Romanesque and Gothic trend of creating carvings of huge dimensions. The
exteriors of these churches were lavishly ornamented, especially the portals.
The ancient interlaced ribbon and animal motifs, the European inspired vine, lion,
eagle, and the oriental dragon decorated important doorways as late as the 18th
century. Wood carving was, however, largely cast aside in the churches
after the reformation in 1536.
The Renaissance started a new blooming of wookcarving in the 17th century.
The new methods of furniture construction inspired wood carvers to find new outlets
for their creativity. Solidly carved decorations were replaced by panels of
complex outline. Special motifs and a spindly type of naturalistic vine were
adapted, but didn't come to life until the Baroque and Rococo made their entry on
the Norwegian scene. The Baroque paneling and carving with its sometimes grotesque
lines and deep relief was in accord with the Norwegian nature; the gaiety of the
Rococo even more so. These styles inspired woodworkers to create the intricate,
lively, flourishing carvings that come to our mind when we think about Norwegian
wood carving in general.
Other areas also developed characteristic carving styles, and these were complemented
by chip carving and woodburning. Not only buildings and furniture were decorated,
but also tools and household equipment. Butter, cheese, and porridge boxes
completed with bowls and drinking vessels, mangletre (for ironing), and chests in
displaying artistic designs.
Tools used were the ax and broadax for constructing furniture (the plane and the
saw came after the Reformation), drawknife for smoothing, the bowed ax for hollowing
out wood, the lathe for making bowls. Finishing was done with a curved gouging
iron, while various types of knives, routers, and special curved rabbeting planes
were used for the carving of ornaments. There were also simple types of calipers
and compasses. These tools made possible the abundance of moldings that characterizes
Norwegian wood carving.
The art of wood carving is still alive in Norway, but the era of excellence in terms
of developing and consolidating new styles has drawn to a close. In America,
Norwegian immigrants and their descendants have carried on the wood carving traditions
of the old country. Some of these woodworkers excel in the application of
traditional styles and designs, and the skills match the nest of Norwegian craftmanship.
Inspired by the old woodcarving masters, people on both sides of the Atlantic still
feel pleasure and excitement in giving form to a piece of wood.
(C) Liv Lyons for Sons of Norway Heritage Programs
Hardanger Embroidery
Hardanger embroidery, or Hardangersom, is a form of whitework using counted thread
and drawn thread work. It is worked on evenweave fabric of either cotton or linen
with linen or pearl cotton threads.
Though traditionally worked in white thread on white fabric, color has been used
for many years now, both in the fabrics and threads. While the history of Hardanger
embroidery is not well documented, it was popular during the Renaissance period,
when the use of linen for clothing increased. It spread its way to Italy, where
lovely lace motifs of Punto Taglito and Punto Rialto were done. There it developed
into the Punto Aria patterns of Venetian lace. Some motifs of Hardanger show an
Assyrian and Egyptian influence which can be traced to the Vikings' many sea forays
far into the Mediterranean Sea. The eight-pointed star of Hardanger embroidery is
also found in the embroidery of India and is a universal symbol.
As these patterns and textiles moved further north, they were modified into Norwegian
Hardanger, Danish Hedebo, English Ayrshire work and Ruskin Lacework. Originally
Hardanger was called Norwegian Drawn Work.
The immigration of the Scandinavian peoples from 1840-1920 saw the introduction
of the embroidery to America during that time. The first published introduction
was made by the editor of the Lace Maker in an article in the Ladies' Home Journal,
May 1901, written by Sara Hadley. This and subsequent articles were later published
as The Complete Hardanger Book in 1904, and as Supplementary Lessons in Hardanger
in 1906, both published by D.S. Bennett.
T. Buettner and Company of Chicago, Il, an importer and wholesaler of Hardanger
cloth or canvas (scrim) and the Ideal Nun's Perl Luster Thread also published a
book in 1904 and a second book in 1915. Butterick, DMC, Belding and Priscilla all
had books out at this time. In fact, the Dover Book we know as Sigrid Bright's Hardanger
Embroidery is a reprint of the Clark ONT J. Coats Priscilla book of 1909. Part of
this book was reprinted by Tower Press in 1981 and is known as the Hardanger Book.
With the advent of the World Wars, so much of the embroidery dropped gradually from
sight. But since 1970 and the publication of Jean Kimmond's Embroidery for the Home
and a J.P. Coats publication, the art began to return.
(C) Carolynn Craig Gustafson
|