Carl Fredrik Hill
Carl Fredrik Hill exhibition features approximately 60 drawings and a smaller selection of paintings. 'Painter of Sensuality' features works by Ludvig Karsten, from his early symbolist works to his late depictions of Skagen in Denmark.
Carl Fredrik Hill
Yet I continue to rule heavily over the dagger’s abyss
11. April – 15. June 2014
Hill was born in Lund in Sweden. He lived a dramatic life and did not receive any significant approval in his lifetime. Today he is considered one of Sweden’s most recognised artists.
With his inscrutable explorations of the labyrinths of the psyche, Hill’s artwork opens up to fundamental human questions and insights. He developed an interest in art early on, and despite appeals from his family, travelled to Paris in 1873 where he became acquainted with contemporary painting and developed as an artist.
A broad presentation of Hill’s works has not been shown in Norway in several decades. It is therefore a great pleasure to welcome the public to a large exhibition at the Stenersen Museum in the spring of 2014. The exhibition presents works from the last thirty years of Hill’s life, i.e. from the so-called period of illness. Approximately 60 drawings and a smaller selection of paintings provide insight into Hill’s enchanted artistic universe.
Ludvig Karsten: Painter of Sensuality
11. April – 29. June 2014
Curated by Lars Toft-Eriksen
Ludvig Karsten (1876-1926) is often considered Norwegian art’s foremost colourist. With the tradition from Christian Krohg in his baggage, he was among the first of the neo-impressionist artists who, around 1910, turned their gaze toward Edvard Munch and contemporary French painting. Aside from Munch, works by Karsten form a central part of the Rolf Stenersen collection. Based on the Stenersen collection, a broad presentation of Karsten’s oeuvre is presented in this exhibition – from his early symbolist works to his late depictions of Skagen in Denmark.
During the 1890s Karsten received critique from Christian Krohg and during the same period made a number of study tours around Europe. Among other places he stopped by Munich and was influenced for a short period by the so-called Munich School. The painting Adam and Eve from 1899 is considered to be among Karsten’s first significant works, and it is marked by the school’s dry and subdued palette. But it was the company he kept with Edvard Munch in Åsgårdstrand during the period 1901-05 that would come to influence his works. In Karsten’s paintings from this period one finds a close kinship to Munch when it comes to motif, composition and formal means. The Morturary Room from 1907 is good example of this inspiration, with its gaping empty floor as a symbolic pictorial element.
Munch always remained an important model for Karsten, yet as Rolf Stenersen pointed out in one of his written comments regarding the artist, he was different from Munch in the sense that he did not possess the same existential force. For Stenersen, Karsten was rather a painter of sensuality. As Stenersen wrote in 1928, his artworks were: “Revelations of beauty, − signs of the spellbinding beauty that the earth holds for those with an open eye”.
Image: Carl Fredrik Hill, Untitled (Maledictio gentibus terrae! Amen!), 1883 - 1911. Black crayon on paper, Height: 17.7 mm (0.7 in). Width: 21.5 mm (0.85 in)
Opening: April 10th 2014
Munkedamsveien 15 - 0608 Oslo
Tuesday, Wednesday, Friday, 12-17
Saturday and Sunday 11–17
The museum will be closed on the following holidays: 1 January, 17-18 April, 21 April, 1 May, 17 May and 9 June, as well as in the periods 30 June – 28 August and 15 December – 22 January 2015
Admission fee: Adults NOK 60
Seniors 67+, students: NOK 30/pp
Groups min. 10 pers: NOK 30/pp
Children up to 16 years old: Free