Gerhard Peter Frantz Munthe (1849-1929) stands as a towering figure in Norwegian art history, a multifaceted artist whose influence extended far beyond the canvas. Primarily celebrated as a painter, illustrator, and a pioneering designer, Munthe was instrumental in shaping a distinctly Norwegian artistic identity at a time when the nation was forging its path towards full independence. His work, deeply rooted in the sagas, folk tales, and natural landscapes of Norway, became synonymous with National Romanticism, yet he also embraced and adapted international currents like Art Nouveau and Synthetism, creating a unique visual language that resonated both at home and abroad. This exploration delves into the life, work, and enduring legacy of an artist who masterfully blended tradition with modernity.
Early Life and Artistic Awakening
Born on July 19, 1849, in Elverum, Norway, Gerhard Munthe hailed from a family with a notable lineage; his father, Christopher Pavels Munthe, was a respected physician, and his mother was Christine Margrethe Pavels Aabel. The young Munthe initially embarked on a path quite different from the arts, beginning medical studies. However, the pull of artistic expression proved stronger, and, reportedly with his father's encouragement, he made the pivotal decision to pursue a career as an artist. This shift marked the beginning of a journey that would see him become one of Norway's most influential cultural figures.
His formal art education began in Christiania (now Oslo), where he studied under artists like Johan Fredrik Eckersberg, a prominent landscape painter, and later with Morten Müller. Like many aspiring Scandinavian artists of his generation, Munthe sought further training abroad. In 1874, he traveled to Düsseldorf, Germany, a major art center known for its academy and the Düsseldorf school of painting, which emphasized detailed naturalism and genre scenes. Here, he would have been exposed to the works and teachings of artists such as Ludwig Knaus and Benjamin Vautier, whose meticulous approach to realism was highly regarded. He spent several years in Germany, including a period in Munich from 1877, further honing his skills as a painter, initially working within a naturalist framework. His early paintings often depicted Norwegian landscapes and rural life, demonstrating a keen observational skill and a growing attachment to his homeland's scenery.
The Embrace of National Themes and Decorative Arts
While his early career was grounded in naturalism, the 1880s and particularly the 1890s marked a significant stylistic evolution for Munthe. He became increasingly captivated by Norwegian history, folklore, and medieval art. This period saw him move away from purely representational painting towards a more stylized, decorative, and symbolic mode of expression. This shift was part of a broader cultural movement in Norway, which sought to define and celebrate a unique national identity, partly in response to centuries of Danish and then Swedish rule.
A crucial turning point was his immersion in the world of Norwegian folk tales and sagas. He began to create powerful, imaginative illustrations and designs inspired by these ancient stories. His work in this vein was not merely illustrative but sought to capture the very spirit and atmosphere of the Nordic myths. This led him to explore various media beyond oil painting, most notably watercolor, tapestry design, and book illustration. He became a leading proponent of the Arts and Crafts philosophy in Norway, advocating for the integration of art into everyday life and the revival of traditional craft techniques.
One of his most significant early projects in this new direction was his contribution to the illustration of Snorri Sturluson's Heimskringla (The Sagas of the Norwegian Kings), a monumental publishing project undertaken in the late 1890s. Munthe, alongside other prominent Norwegian artists like Erik Werenskiold and Christian Krohg, created powerful and evocative images that helped to popularize these foundational texts for a new generation. Werenskiold, known for his sensitive portrayals of Norwegian peasants and his illustrations for folk tales, shared Munthe's commitment to a national art, though their styles differed.
The "Munthe Style" and Its Characteristics
By the 1890s, Gerhard Munthe had developed a highly distinctive artistic language, often referred to as the "Munthe Style." This style was characterized by its bold, simplified forms, strong outlines, and a vibrant, often non-naturalistic color palette. He drew inspiration from a diverse range of sources: the stylized patterns of Norwegian folk art (such as rosemaling and traditional weaving), the flat perspectives and decorative qualities of Japanese Ukiyo-e prints (a phenomenon known as Japonisme that swept through Europe), and the anti-naturalistic tenets of French Synthetism, championed by artists like Paul Gauguin and Émile Bernard.
His compositions often featured a flattened picture plane, emphasizing pattern and rhythm over illusionistic depth. Human figures were frequently stylized, almost hieratic, imbued with a sense of ancient power or folkloric charm. Animals, particularly horses and mythical creatures, were recurring motifs, rendered with a dynamic energy. This approach was particularly well-suited to the decorative arts. Munthe believed that art should permeate all aspects of life, and he applied his distinctive style to a wide array of objects and interiors.
His fairytale watercolors, such as The Giant's Lair (1892) and The Suitors (also known as The Wooers of the King's Daughter, 1892), are prime examples of this mature style. These works, with their vivid colors, dreamlike atmosphere, and strong narrative content, captivated the public and critics alike. They were not merely illustrations but powerful visual interpretations of the emotional and symbolic core of the stories.
Tapestry Design: Weaving Myths into Fabric
Gerhard Munthe's contribution to the revival of Norwegian tapestry art is perhaps one of his most enduring legacies. He saw tapestry as a monumental art form, perfectly suited to conveying the epic themes of Norse mythology and folk ballads. He did not weave the tapestries himself but created the cartoons (designs) which were then executed by skilled weavers, most notably Augusta Christensen and her workshop, and later Kristine Johannessen.
His tapestry designs, such as The Daughters of the Northern Lights, The Wise Bird, and those based on the ballad of Liti Kjersti (Little Kersti), are masterpieces of decorative art. They feature his characteristic bold stylization, rich colors, and a strong sense of narrative. These works were not slavish imitations of historical tapestries but modern interpretations that drew on tradition while being unmistakably contemporary. Munthe's tapestries were exhibited internationally, including at the Exposition Universelle in Paris in 1900, where they garnered significant attention and contributed to the growing reputation of Scandinavian design.
His approach to tapestry was holistic. He considered the texture of the wool, the quality of the dyes, and the overall decorative effect. He sought to create works that were both visually stunning and deeply resonant with Norwegian cultural heritage. This commitment to craftsmanship and national identity aligned him with the broader Arts and Crafts movement, exemplified by figures like William Morris in Britain, who also championed the revival of traditional crafts and the creation of beautiful, handmade objects.
Key Exhibitions and International Recognition
A pivotal moment in Munthe's career came with the "Black and White Exhibition" (Sort-Hvitt-utstillingen) held in Christiania in 1893. Here, he exhibited a series of his fairytale watercolors, which were met with widespread acclaim. Critics and the public were struck by the originality and power of his vision. These works were seen as a definitive expression of a new, authentically Norwegian art. The exhibition helped to solidify his reputation as a leading figure in the national art scene.
His participation in the 1900 Paris Exposition Universelle further enhanced his international standing. The Norwegian pavilion featured interiors and decorative schemes designed by Munthe, showcasing his "Neo-Viking" or "Dragon Style" to a global audience. His tapestries and decorative designs were lauded for their originality and their successful fusion of ancient motifs with a modern sensibility. This exposure was crucial in establishing Norwegian decorative arts on the international stage. He also received knightly orders from both Denmark and Sweden, recognizing his significant contributions to art.
While his style was uniquely his own, it resonated with broader European trends such as Art Nouveau (known as Jugendstil in German-speaking countries), which also emphasized decorative qualities, organic forms, and the integration of art into everyday life. Artists like Gustav Klimt in Vienna or Alphonse Mucha in Paris were exploring similar paths in terms of decorative richness, though their visual languages differed. Munthe's work, however, remained firmly rooted in his Norwegian context, drawing its primary inspiration from local traditions rather than the more cosmopolitan sources of mainstream Art Nouveau.
A Prolific Designer: Beyond Painting and Tapestry
Gerhard Munthe's creative energies were not confined to painting and tapestry. He was a remarkably versatile designer, applying his artistic vision to a vast range of media. He designed furniture, often characterized by robust forms and carved ornamentation inspired by Viking and medieval motifs. He created designs for stained glass, ceramics, silverware, and bookbindings, each imbued with his distinctive style.
His work in book design was particularly significant. He approached the book as a total work of art (a Gesamtkunstwerk), considering every aspect from the cover and endpapers to the typography and illustrations. He even experimented with designing his own typefaces, seeking to create a script that would be uniquely Norwegian. Although these typographic experiments were not fully realized commercially, they demonstrate the depth of his commitment to creating a comprehensive national aesthetic.
Munthe also undertook significant interior design projects, creating entire room schemes that reflected his artistic philosophy. One notable, though later and complex, commission involved decorative work for Håkonshallen (Haakon's Hall) in Bergen, a medieval royal hall. His aim was to create environments that were not merely decorated but were immersive artistic experiences, rich in historical and cultural resonance. His approach can be compared to that of other artist-designers of the period, such as Charles Rennie Mackintosh in Scotland or Henry van de Velde in Belgium, who also sought to create unified aesthetic environments.
Artistic Philosophy and the Lysaker Circle
Gerhard Munthe was not just a practitioner but also a theorist and a vocal advocate for a national Norwegian art. He wrote articles and gave lectures articulating his views on art, culture, and national identity. He was critical of what he saw as the slavish imitation of foreign artistic trends and urged Norwegian artists to look to their own heritage for inspiration.
He was associated with the "Lysaker Circle" (Lysakerkretsen), an influential group of artists, writers, and intellectuals who gathered in the area of Lysaker, just outside Christiania. This group, which included figures like Erik Werenskiold, Frits Thaulow (a notable landscape painter who later embraced Impressionism), and the polar explorer Fridtjof Nansen, played a crucial role in shaping Norwegian cultural life in the late 19th and early 20th centuries. They shared a common goal of fostering a strong national culture and promoting Norwegian independence (which was achieved in 1905). Munthe's work provided a powerful visual expression of these ideals.
His emphasis on folk art and tradition did not mean a rejection of modernity. Instead, he sought to synthesize the old and the new, to create an art that was both rooted in the past and relevant to the present. This forward-looking approach distinguished him from mere revivalists and positioned him as a true innovator. His contemporary, Edvard Munch, was, of course, forging a radically different path with his intensely personal and psychologically charged Symbolism, yet both artists, in their own ways, contributed to the dynamism and international recognition of Norwegian art at the turn of the century. Similarly, Theodor Kittelsen, another contemporary, was also deeply engaged with Norwegian folklore, but his illustrative style was generally more naturalistic and whimsical than Munthe's bold, decorative approach.
Representative Works: A Closer Look
Several works stand out as particularly representative of Munthe's oeuvre and artistic concerns.
Peasants and Cattle on a Farmyard (1878): An earlier work, this painting reflects his training in the naturalist tradition. It demonstrates his skill in depicting rural scenes with attention to detail and atmosphere, a common theme among Scandinavian painters of the era, including artists like Harriet Backer, who was known for her sensitive interior scenes and depictions of rural life.
The Giant's Lair (Jættekulen) (1892): This watercolor is a quintessential example of Munthe's mature fairytale style. It depicts a fearsome giant in a stylized, mountainous landscape, rendered in bold, contrasting colors. The composition is flat and decorative, emphasizing pattern and symbolic form over realistic representation. The work evokes the primal power and mystery of ancient Norse myths.
The Suitors (Frierne) (1892): Another iconic watercolor from the same period, this work illustrates a scene from a folk tale. The figures of the princess and her suitors are highly stylized, almost like characters from a medieval manuscript or a traditional woodcarving. The use of vibrant, unmodulated color and strong outlines creates a powerful visual impact.
Tapestries like Daughters of the Northern Lights (Nordlysdøtrene) or The Wise Bird (Den kloke fuglen): These large-scale textile works showcase Munthe's mastery of decorative composition and his ability to translate epic themes into the medium of tapestry. The rich colors, bold patterns, and stylized figures are characteristic of his best work in this field. They represent a successful fusion of ancient weaving traditions with a modern artistic sensibility.
Illustrations for Snorri Sturluson's Heimskringla: His contributions to this project, alongside Werenskiold, are powerful interpretations of the sagas. They are less decorative than his fairytale watercolors but possess a stark, dramatic quality well-suited to the epic nature of the texts.
These works, and many others, demonstrate Munthe's unique ability to draw upon Norway's rich cultural heritage to create art that was both deeply national and strikingly modern. His influence can be seen in the work of later Norwegian artists and designers, and his efforts contributed significantly to the international appreciation of Scandinavian design.
Later Years and Enduring Legacy
Gerhard Munthe remained an active and influential figure in Norwegian art throughout his life. He continued to work on decorative projects, paintings, and illustrations, always guided by his commitment to a national artistic expression. He passed away on January 15, 1929, in Bærum, leaving behind a rich and diverse body of work.
His legacy is multifaceted. He was a pioneer in the revival of Norwegian decorative arts, particularly tapestry, and his "Munthe Style" became a hallmark of National Romanticism. He played a crucial role in shaping a modern Norwegian visual identity, demonstrating how ancient traditions could be reinterpreted to create something new and vital. His emphasis on the integration of art into everyday life and his advocacy for high standards of craftsmanship had a lasting impact on Norwegian design.
Exhibitions of his work, such as the comprehensive "Enchanted Design" show at Norway's National Museum in 2018, continue to affirm his importance and introduce his art to new generations. His influence extended beyond Norway, contributing to the broader Scandinavian Design movement, which gained international prominence in the 20th century for its blend of functionality, simplicity, and connection to natural forms and materials. While artists like William Morris and Walter Crane in England, or Aubrey Beardsley with his distinct Art Nouveau linearity, pursued their own paths, Munthe's dedication to a national, craft-based aesthetic found parallels and resonance within the wider European turn-of-the-century artistic landscape.
Conclusion
Gerhard Munthe was more than just a painter or a designer; he was a cultural visionary who profoundly shaped the artistic landscape of Norway. His deep engagement with his nation's history, folklore, and natural beauty, combined with his innovative approach to form and color, resulted in a body of work that is both timeless and distinctly Norwegian. From his early naturalist paintings to his iconic fairytale watercolors, monumental tapestries, and comprehensive decorative schemes, Munthe consistently sought to create an art that was meaningful, beautiful, and deeply rooted in its cultural context. As a key figure of National Romanticism and a pioneer of modern Norwegian design, his influence continues to be felt, securing his place as one of the most important artists in Scandinavian art history.
