Exhibition Adelsteen Normann - The fjords and midnight sun’s painter

Exhibition 24. september - 3. november at Bodø City Museum, Prinsensgt. 116, 8003 Bodø. Adelsteen Normann was born May 1st 1848 at Vågøya, a few kilometers north of Bodø. His born name was Eilert and he was the son of the trader and skipper Johan Normann Andreassen Kiil. Tittel Start Slutt Sted Tittel Exhibition Adelsteen Normann - The fjords and midnight sun’s painter Start tirsdag 24. sept 2019 11:00 Slutt 3. nov 2019 15:00 Sted Bodø City Museum Les mer

mandag 21. okt 2019 09:14 søndag 3. nov 2019 15:00 Bodø City Museum
24.09.201911:00 Bjørg Nilsen


Dag 1 24. sept 2019 11:00 - 3. nov 2019 15:00RSted Bodø City Museum

Bodø City Museum is open tuesday - friday 11 - 15, saturday/sunday 12 -15.

Normann was chosen to inherit his father’s trade and transport cargo. He studied in Trondheim, Bergen and Copenhagen from 1960 to 1869 to educate himself for this
mission, but when he was 21 years old, he stopped his education in Copenhagen
and went to Düsseldorf to study art at the art academy.

Adelsteen Normann got married to Catharina Weitgan in 1870 in Düsseldorf and they got five children together in six years, three daughters and two sons. In 1909 he got his sixth child with the 35 year old model, Luise Rostalski. When Catharina died two years later,
he married Luise. When they got married the family split in to two parts.

Adelsteen Normann got asthma during World War 1 and was told by the doctor to go to
a colder and drier climate than Berlin. He then went to Norway and stayed different
places in the inland. In the autumn in 1918 he got the Spanish disease and pneumonia, and died the 26th of December 1918. His urn was set on a cemetery close to Postdam in Berlin in an area where several famous artists are buried.


During the National Romanticism he decided to travel to Düsseldorf to become a
landscape painter. The other students normally had an art background before they went to Germany, but not Normann. This might be why he went to Düsseldorf, and not Karlsruthe, Munchen or Paris. He was 19 years old and still had a lot to learn about the art of painting. Düsseldorf became a solid fundament. He chose the safe and traditional. Normann was obviously a sober man, not a wasteful bohemian.

At the academy the students painted in groups, they discussed different techniques,
easels and painting with each other which can give the painting the perfect tone.
Adelsteen Normann experiences Düsseldorf as a nice place and has a good tone with
the other Norwegians students.

Before he finished at the landscape subject in 1973, with Eugene Ducker as his teacher, he already had participated in several exhibitions in Europe with his landscape paintings. He continued to attend big exhibitions in the USA and Europe throughout his career.
This is how he got famous of his paintins from West and North Norway.

In 1897 he attended the Autumn exhibition in Christiania. The same year he was
appointed knight of first class of St. Olavs order by the king, because he had made
the fjords and the land famous in other countries which contributed to tourism.

Adelsteen Normann lived and worked in Düsseldorf until 1887.
Later he moved to Berlin, which wasn’t as conservative as Düsseldorf.

Düsseldorf is the city which has the biggest impact for Norwegian painting at the 1800s.

The Romantic art period was at its end, and the realism and impressionism was at its beginning when Adelsteen Normann started as a painer, but he still chose the romantic style in most of his paintings. This is why he is known as a late-romantic painter.

Landscape paintings was the central theme during the Romantic period, and in the German tradition it was a romantic mood combined with a realistic view of the nature that dominated. Normann represented this tradition with his huge, dramatic fjord motived, where tall and steep mountains dives in to a quiet fjord. The human made object are seen as only small figures under the tall mountains.

He got affected by the newer trends later in his career, like the impressionism. The new technique needed a wider painting brush which solved the forms in both landscape and rendition of the sky and ocean.
But it is the nature that dominates throughout his career as a painter.

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