During the anniversary year you can attend different lectures that illustrate different aspects of Vigeland's life and art. The lectures start precisely at 18:00. The lecture series is supported by Fritt Ord and is held in Norwegian at the Vigeland Museum.
The home as art
In the autumn of 1924, Vigeland and his young wife Ingerid moved into their new apartment on Frogner. The nearly 300 square meter apartment is on the third floor of Vigeland's former studio, today the Vigeland Museum. The artist designed the apartment in collaboration with Ingerid and the architect Lorentz H. Ree. The well-thought-out whole of the apartment makes it a unique example of the importance of home and interior in 20th century art and architecture history. Vigeland's book collection and correspondence give us a glimpse into the artist's references and ideas related to forming a house for art and artist.
By Art Historian Wenche Volle
A neoclassical building with monumental character
In the architectural history of Norway, the Vigeland Museum is an important signature building. The building was erected in the years between 1920 and 1930 - a time of close contact and collaboration between the Nordic architects. The written sources provide insights into various aspects of the construction project. They also illuminate the relationship between architect Lorentz Harboe Ree and Gustav Vigeland and the role of the sculptor in the major construction project.
By Professor of Art History Kari Hoel
Preservation for eternity
How can we take care of Vigeland's art? Vigeland was enormously productive and left behind a large number of works of art, both in the Vigeland Park and in the Vigeland Museum. The bronze sculptures in the park are affected by pollution and exhaust, and the granite sculptures would become mossy if biological growth were not hindered. How do the museum's two sculpture conservators work to preserve Vigeland's art for posterity? And what ethical issues do they face when considering taking action or putting things on hold?
By the Conservators at the Vigeland Museum, Siri Refsum and Ingebjørg Mogstad
Inspired by Michelangelo
Is there a connection between Vigeland's Man and Woman in Lap (1897) and Michelangelo's Pietà (1498-99)? One sculpture has worldly content, the other a religious one. The similarity is not obvious, but if you study Vigeland's notebooks you can clearly see that he was inspired by Michelangelo. He drew on his sculptures and wrote enthusiastically about his art. We also see how Vigeland worked out their motives and developed them over time. Was the Norwegian inspired by the Italian when he worked out his Man with Woman in Prison almost 400 years later in time?
By Art Historian, Hilde Hernes
Emotions carved in stone
I want to return to my humans, Vigeland said, and meant by it his sculptures. People frozen in eternal moments - made of clay over an iron skeleton, cast in plaster, carved in stone or cast in bronze. Yet Vigeland called them human beings. When we look at his sculptures, we know a range of human emotions. The human form we look at feels nothing. Why do Vigeland's people feel so alive? Is he the artist who made it - is it called artist talent? Or is it the audience's ability or need to recognize and project their humanity to the outside world?
By Art Historian Liga Olsen