Odd Nerdrum er en mann som har viet sitt livsverk å forsvare menneskeverdet, en mann som har gitt sin kunnskap til et stort antall studenter uten å ta betalt en eneste krone for det, og en mann som har inspirert millioner av mennesker med sin mesterlige malerier. Det er takket være ham at vi har noen av verdens beste kitsch-malere i Norge idag, og det er en katastrofe å miste en kunstner av et så stort format til utlandet!
Det er helt klart at Odd Nerdrum skal betale sin skatt som alle andre, men jeg er enig med hans tidligere elev, Helene Knoop, når hun sier; "Få andre land ville puttet et åndsmenneske som Odd Nerdrum i fengsel". (Det vil komme et innlegg om Helene Knoop og hennes fantastiske bilder på min blogg litt senere).
Personlig kan jeg ikke la vær å tenke på hva dette vil gjøre med en så stor kunstner, og på det såkalte etablissementet eller kunsteliten som Odd Nerdrum aldri har blitt akseptert av. Og som om fengselsstraffen ikke er ille nok, får han visst heller ikke lov til å male sine bilder i fengselet.
Det er forståelig at han har fått tilnavnet "den alvorlige kunstneren". Etter gjentatte angrep gjennom mange år kan det sannelig ikke være lett for ham, og utrykket "man blir ikke profet i sitt eget hjemland" passer dessverre så alt for godt her - både for Odd Nerdrum, men også for mange av de store norske kunstnerne før ham - man burde ganske enkelt skamme seg i dette landet!
Odd Nerdrums utflytting til Frankrike ble ikke godtatt av skattemyndighetene fordi han eide Røvik Gård her i Stavern. Nå er gården lagt ut til salg. Han og hans kone Turid Spildo Nerdrum har kjøpt eiendommen «Chateau Banlieue» i Maisons Lafitte, nordvest for Paris. De føler seg tvunget til å selge eiendommen i Stavern for å få godkjent flyttingen til Frankrike.
Rørvik Gård i Stavern er en praktfull eiendom på hele 35 mål og ligger innerst i en vik. Utsikten over sjøen er spektakulær. Hovedhuset er oppført i 1997, men ærer på mange måter eldre byggeskikk.
Hele bebyggelsen er oppført rundt et tun og består av et hovedhus fra 1997 på 449 kvadratmeter, innredet låve/atelier på 425 kvadratmeter og et frittliggende atelier på 98 kvadratmeter. På tunet er det i tillegg 2 uthus, stabbur og lysthus. Flere kjøpere har allerede vist sin interesse.
Boligen har en blanding av gustaviansk og norsk bonderomantisk stil. Liksom mange andre rom i boligen, er sommerstuen et stort rom.
Odd Nerdrum og hans kone Turid Spildo Nerdrum må selge Røvik gård vest for Stavern. Gården har primærrom på 810 kvm, 9 soverom og tomten er på 35 mål. Prisantydning er på 22 milloner kroner.
Hovedhuset på 449 kvm har mange flotte detaljer. Døren ut til verandaen mot sør, kommer opprinnelig fra Gimsøy kloster og daterer seg tilbake til rundt 1750.
Fra hallen er det adkomst opp til 2. etasje og ned til kjelleren.
Det er den flotte svenske kakkelovnen som er blikkfanget i den 37 kvm. store spisestuen.
Det er flere ildsteder på eiendommen. De fleste er åpne gruepeiser som denne i stuen. Fra stuen er det trapp ned til biblioteket.
De fleste rom i husets hovedetasje har en takhøyde på 2,8 meter.
Også i biblioteket i kjelleren er det en åpen peis.
Kjøkkenet er bygget på plassen og er i heltre. Her er integrert komfyr og platetopp og to oppvaskmaskiner. En fin detalj på kjøkkenet er en flott Ulabrand vedkomfyr.
To av de fem soverommene på låven er på over 20 kvm. hvorav et av disse har vestvendt balkong.
Det er adkomst til kjøkkenet fra tunet, samt utgang ut til østsiden av hagen.
Tårnet er en skjønn og særpreget skrivestue med spektakulær utsikt.
Utover ateliene på låven, har ejendommen også et frittliggende atelier på 98 kvm som er bygget i 2006. Her er det er stort arbeidsrom med innvendig balkong og fem meter under taket. Gulvet er av heltre og veggene har panel. Et stort atelier til en stor kunstner.
I låven er det to atelier på til sammen 209 kvm med store vindusflater i gavlveggene. Atelierene har åpen himling. Via låvebroen kan du gå ut på gårdsplassen. Den opprinnelige låven ble strippet ned til utvendig reisverk og ble deretter bygget på nytt i 1996-1997.
Låvens inngangsparti ligger i en svalgang som strekker seg i hele låvens lengde mot tunet.
Bebyggelsen er oppført rundt et vakkert tun.
Låven er på tilsammen 425 kvm. og er innredet til bolig og atelier som Nerdrum-stiftelsens elever bruker i dag. Den har gang, stort kjøkken/allrom på 53 kvm. med nydelig utsikt til Røvika mot syd, fem soverom, to bad, gjestetoalett, vaskerom og kontor.
Stabburet er bygget i 1997.
Saueskjulet er bygget i 2006.
Rørvik gård har en idyllisk og usjenert beliggenhet i Røvika vest for Stavern sentrum. Eiendommen grenser mot syd ned til kyststien og det er flotte bademuligheter på strand og de glattskurte svabergene.
Odd Nerdrum, født 8.april 1944, har alltid gått sin egen kaotiske og sterkt kritiserte vei. Selv som liten, lenge før livet fikk farver og lerret ble hans speil, så Odd seg selv som eksentrisk. "Jeg hadde ingen å dele mine tanker med. Ikke engang taperne var jeg godkjent. Jeg var en tigger i de andres verden ", kan man lese i en av hans utstillingskataloger.
For ikke å begrave seg i oppveksten på et barnehjem etter at moren dro til USA for å studere, den reserverte faren, utdannelsen ved Rudolf Steinerskolen i Oslo, fascinasjonen av den norske forfatteren Jens Bjørneboe osv, går vi i stedet til tiden rundt hans kortvarige opphold på Statens Kunstakademi i Oslo og oppdagelsen av Rembrandt. For det var her gnisten oppsto mellom Odd Nerdrum, modernistene og det for ham foreløpig ukjente etablissement.
Det var da han oppdaget de gamle mesterenes teknikker, at han skjønte at det var dem han ønsket å studere og etterligne - ingenting annet. Modernismen så ham som en plage - noe han fortsatt gjør.Odd Nerdrum arbeider i en tradisjonell klassisk tradisjon, men skiller seg fra gamle barokkmalere og mestere som Rembrandt, Caravaggio og Titian på 1600-tallet, ettersom hans motiver har et annet innhold. Odd Nedrums bilder har som regel et sosialt innhold, omstride politiske hendelser og temaer som blir regnet for å være tabubelagte. Hans malerier har en universalitet som kan utgå fra det private og senere omtolkes.
Odd Nerdrum betegner seg selv som figurativ kitsch-maler, men kan også karakteriseres som moderne klassisist. Han er aldri blitt akseptert av kunsteliten fordi hans anti-ironiske holdning alltid har vært ansett som politisk ukorrekt. Det faktum at både han som person og hans malerier har vakt betydelig oppmerksomhet gjennom årene - og at han dessuten har tjent penger, har av en eller annen uforklarlig grunn, skapt harme hos det såkalte etablissement.
Odd Nerdrum er vår tids store mester innen malerkunsten! Men han har gjennom sin malerstil og sitt kunstsyn flere ganger skapt offentlig debatt om kunst i Norge. Han har hatt en mengde utstillinger og høstet stor kommersiell suksess. Internasjonalt blir han også regnet for å være den mest betydelige klassisk figurative maleren, og han har blandt mange andre steder, hatt utstilliger i The Metropolitan Museum of Art i New York, San Diego Museum i Calefornia, Walker Art Museum i Minneapolis, Milwaukee Museum of Art, Gothenburg Museum i Sverige, Nasjonalmuseet for kunst i Norge og her i Stavern.
The Master in his studio
Odd Nerdrum with one of his paintings
Odd Nerdrum
Nora - 1981
Nevlunghavn - 1982
Woman with Child - 1982
Embracement - 2002
Infant - 1982
Early Morning
Look At My Beauty
Odd Nerdrum's son
Self Portrait as a Baby
Revir
Chafes
Gyllen Kappe
Three Namegivers - 1990
The Cloud - 2005
Odd Nerdrum was accused of having sold paintings for 14 million in the period 1998-2002 without the income on the tax return. He was sentenced to imprisonment for two years at a Norwegian court. The verdict has been appealed. Charges against him is not that he did not pay its tax, that case is already in place with the Norwegian tax authorities, and this was recognized by the court. No, the charges are that he intentionally hid the money to avoid tax.
Odd Nerdrum is a man who has dedicated his life's work to defend human dignity, a man who has given his knowledge to a large number of students without charging a penny for it, and a man who has inspired millions with his masterful paintings! It is thanks to him that we have some of the worlds best kitsch painters in Norway today, and it is a disaster to lose an artist of such a large format to another country!
It is quite obvious that Odd Nerdrum should pay its tax like everyone else, but I agree with his former pupil, Helene Knoop, when she says, "Few other countries would put an intellectual man like Odd Nerdrum in prison." (There will be a post about Helene Knoop and her amazing pictures on my blog later).
Personally, I can not help thinking about what this will do with such a great artist, and the so-called establishment or art elite as Odd Nerdrum has never been accepted by. And as if the prison sentence is not bad enough in itself, he is not allowed to paint his pictures in prison.
It is understandable that he has been nicknamed "the solemn artist." After repeated attacks over many years, it can certainly not be easy for him! The expression "you can not be a prophet in your own country", fit unfortunately all too well here - both for Odd Nerdrum, but for many of the major Norwegian artists before him - one should simply be ashamed in this country!
Odd Nerdrum describes him self as a figurative kitsch-painter, but can also be characterized as modern classicist. He has never been accepted by the art elite because of his anti-deprecating attitude has always been considered politically incorrect. The fact that both he personally and his paintings have attracted considerable attention over the years - and he also earned money, Have for some inexplicable reason, created resentment in the so-called establishment.
Odd Nerdrum is today's great master of painting! But he has through his painting style and his artistic vision several times created public debate about his art in Norway. He has had a variety of exhibitions and received widespread commercial success. Internationally, he is also considered to be the most significant classical figurative painter. He has among other places, exhibited in The Metropolitan Museum of Art in New York, San Diego Museum in California, Walker Art Museum in Minneapolis, Milwaukee Museum of Art, Museum of Gothenburg in Sweden, the National Art Museum in Norway ... and here in Stavern where I live.
Odd Nerdrum moving to France was not accepted by the tax authorities because he is the owner of Røvik farm here in Stavern. Now the farm on sale. He and his wife Turid Spildo Nerdrum has bought the villa 'Chateau Banlieue' Maisons Lafitte, northwest of Paris. They feel compelled to sell the property in Stavern to obtain approval for the move to France.
Rørvik farm in Stavern is a magnificent property in the entire 35,000 square meters and is located in a cove. The view over the sea is spectacular. The main house is built in 1997, but honor in many ways older building traditions.
Entire buildings have been erected around a courtyard, and consist of a main building from 1997 which is 449 square meters, a decorated barn / studio at 425 square meters and a detached studio on 98 square meters. In the yard there are also two sheds, storehouses and gazebo. Several buyers have already shown their interest.
The Singers
Dawn
Odd Nerdrum was born in 1944 during the last year of World War II. His parents, Resistance fighters, had been sent to Sweden from German occupied Norway to direct guerrilla activities from outside the country. At the end of the war, a year later, Odd and his parents moved back to Norway. Nerdrum mother, Lillemor soon after went to New York to study at the Fashion Institute of Technology. The feeling of being unwanted and abandoned Nerdrum felt at this time would stay with him until he was in his late forties, at which time he would begin to understand the underlying reasons for the sensations he felt. In 1950, Nerdrum parents divorced, leaving Lillemor to raise two small children, Odd, and a younger brother, on her own. Nerdrum's father, Johan Nerdrum later remarried. Although he was supportive, he kept an emotional distance between himself and his son. At his death, Odd was asked not to attend the funeral, and found out three years later that Johan was not his biological father. Odd was in fact, the result of a liaison between David Sandved and Lillemor. Lillemor and Sandved had had a relationship prior to Lillemor's marriage , and this was resumed during the war in a period when Johan was absent. Richard Vine, art critic, describes this episode in Nerdrum's life as one which created "a conflicted preoccupation with origins and personal identity," that "came natural to Nerdrum" and was represented in his pictures.
Nerdrum began his formal education in 1951 in Oslo, in a private Rudolf Steiner school rather than in the standard, public school system. This education would set Odd apart from his contemporaries. The system was based on anthroposophy that saw mankind as once living in harmony with the universe but now existing in a lesser state of rationality. Through spiritual or esoteric practice, Steiner believed mankind could find his its way back to a connection with higher realities and to renewed harmony with the universe. Learning for students was often kinesthetic, for example, through dramatic enactments of history and fantasy, and through musical exercises that were reminiscent of the patterns found on ancient Greek vases, depicting figures moving in parallel patterns. These parallel patterns could be found in later Nerdrum work, as can a sensibility for iconographic images and costume.
Jens Bjørneboe, a grade school mentor said Nerdrum even at that age exhibited tendencies of innate talent, industry, but also impatience with those with less abilities than himself.
Nerdrum began study at the Art Academy of Oslo, but became dissatisfied with the direction of modern art, and began to teach himself how to paint in a Neo Baroque style, with the guidance of Rembrandt's technique and work as a primary influence. In doing so he placed himself in direct opposition to most aspects of the school, including his primary painting instructor, his fellow students, and a curriculum designed to have Norway seen as a country with an up-to-date artistic culture. He, in his own words was chased from the academy after a two year period like a "scroungy mutt". He later studied with Joseph Beuys, at the Kunstakademie Dseldorf.
Nerdrum's work from the first twenty years of his artistic life consisted of large canvasses, generally polemic in nature, that refuted some accepted social or economic view point. The work from this period was highly representational and detailed in nature with often careful attention to contemporary references, such as in clothing, or in the model of a bicycle as in the painting The Arrest. Vine notes that, Nerdrum's influence was not as might be expected given the themes of the work, the ideological Ashcan school movement, whose painters under the leadership of the American artist and teacher, Robert Henri, sought to describe as true art, the often difficult, everyday reality that the common man faces as part of an urban existence in America.. Nerdrum's influences predate the Ashcan school, although similar in subject matter. In 1968, Nerdrum had viewed for the first time the works of Caravaggio whose psychologically intense work, use of cross lighting, strongly suggested shadow that implied three dimensionality, and use of the faces of real, everyday people impacted him intensely, and provided one of the major influences for his work of this time period. He would revisit Italy and Caravaggio's work for on-going inspiration for many years.
As well, Nerdrum was a reader of visionary literature that included his early encounters with Rudolf Steiner, the prophetic William Blake , the dark Dostoyevsky, and the mystical Swedenborg. This would influence him towards a more vertical sensibility rather than the linear Marxist view based on revolution that influenced most artists with socially reformist sensibilities.
As a young student Nerdrum had encountered the works of the master painters in the National Museum. In particular, Rembrandt's, The Conspiracy of Claudius Civilis (1661) acted as a powerful antidote to his sensibilities. His disillusionment with modern art, such as Rauschenberg's Monogram, a stuffed goat with a tire around its middle section standing on a flat, littered surface, that Nerdrum had encountered in Moderna Museet, filled the young artist with disgust. These influences both positive and negative would impact all of Nerdrum's work. The end of Nerdrum's more contemporary scene-like work, and the movement towards more Rembrandt-like painting elements revolved around the enormous (11x16? foot) Refugees At Sea(1979-1980). Nerdrum, according to Vine, later considered the work to be naive in the sense that Rousseau defines the word, in which mankind is seen as innocent and innately good. In the painting Nerdrum endows the refugees, 27 Vietnamese boat people, with heroic stature, but in a highly sentimentalized manner that Nerdrum later described as "cloying".
In 1981 Nerdrum created a seminal work that would serve to indicate a change in direction from the sentimentalized view of Refugees at Sea to a starker, unadorned view of reality. Twilight a rear view of a young woman alone in a wooded landscape defecating, offers nothing sentimental or ideal in its...
Anine
Loving Couple
The Night Kiss
Turid Spildo Nerdrum
«Me må ofret heimen. Me må ofret det me har bygd opp saman. Me må ofret garden som ligg så vidundarleg til ved havet. Kvar gong me kjem dit, etter utanlandsopphald, set me på verandaen og kjenner sjølukta og ser utover. Vinden jagar bort skyene og me pustar inn heimkjensle...» «(... ) Dette skal me ofra. Me skal selja våre barns barndomsdraum. Der me ein gong i framtida ville ta i mot barnebarn.» skriver Turid Spildo Nerdrum på sin blogg.
Helene Knoop
0 comments:
Post a Comment
Click to see the code!
To insert emoticon you must added at least one space before the code.