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Kjell Nupen obituary Kjell Nupen obituary
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The Norwegian artist Kjell Nupen, who has died aged 58 from cancer, was a leading figure in Scandinavian culture. With his expressive technique and lyrical approach to nature, not to mention an element of angst, he developed a definite Nordic identity. He was inspired by Edvard Munch, as well as Norwegian folk art and the Danish painter Asger Jorn, and yet his career had its contradictions. In his youth during the 1970s he was influenced by politically engaged artists in Germany, but his later work was more soothing. Ultimately, a man who was linked to both Gerhard Richter and Queen Sonja of Norway is hard to pigeonhole.The Norwegian artist Kjell Nupen, who has died aged 58 from cancer, was a leading figure in Scandinavian culture. With his expressive technique and lyrical approach to nature, not to mention an element of angst, he developed a definite Nordic identity. He was inspired by Edvard Munch, as well as Norwegian folk art and the Danish painter Asger Jorn, and yet his career had its contradictions. In his youth during the 1970s he was influenced by politically engaged artists in Germany, but his later work was more soothing. Ultimately, a man who was linked to both Gerhard Richter and Queen Sonja of Norway is hard to pigeonhole.
Nupen was born in Kristiansand, in southern Norway. Although he made forays to other cities, he spent much of his life in this region, adorning the town with sculptures and reflecting its maritime light and setting in his paintings. In 1972 he left Kristiansand for Oslo, where he entered the National Academy of Fine Art and exhibited his works for the first time in the capital's annual autumn show.Nupen was born in Kristiansand, in southern Norway. Although he made forays to other cities, he spent much of his life in this region, adorning the town with sculptures and reflecting its maritime light and setting in his paintings. In 1972 he left Kristiansand for Oslo, where he entered the National Academy of Fine Art and exhibited his works for the first time in the capital's annual autumn show.
This breakthrough was followed in 1975 by a move to Düsseldorf, one of Germany's most important centres for the avant garde, where he attended the State Art Academy, absorbing the political radicalism of the period as well as a range of artistic influences. Although the performances and installations of Joseph Beuys made a powerful call to arms, Nupen remained faithful to traditional media, with inflections from his teachers Richter and Karl Otto Götz, and only briefly flirted with video art.This breakthrough was followed in 1975 by a move to Düsseldorf, one of Germany's most important centres for the avant garde, where he attended the State Art Academy, absorbing the political radicalism of the period as well as a range of artistic influences. Although the performances and installations of Joseph Beuys made a powerful call to arms, Nupen remained faithful to traditional media, with inflections from his teachers Richter and Karl Otto Götz, and only briefly flirted with video art.
Nupen's paintings from this period, some of which can be seen in the Museum of Art, Architecture and Design in Oslo, are characterised by a vague, or not-so-vague, air of menace. Figures and faces appear as if veiled by white streaks in Tinted Idyll (Instant, c1979), while in Memorial (1978) two military jets fly in a lowering sky behind a column of mysterious calibrations. Even when the protagonists' aims or anxieties remain unclear, the sense of disquiet is palpable.Nupen's paintings from this period, some of which can be seen in the Museum of Art, Architecture and Design in Oslo, are characterised by a vague, or not-so-vague, air of menace. Figures and faces appear as if veiled by white streaks in Tinted Idyll (Instant, c1979), while in Memorial (1978) two military jets fly in a lowering sky behind a column of mysterious calibrations. Even when the protagonists' aims or anxieties remain unclear, the sense of disquiet is palpable.
An expressive handling of paint, colour and tone was essential to Nupen's style throughout his career, but the implicit political content of his art drained away during the 1980s. His later work continued to reflect a variety of influences, from the contemporary German artists Anselm Kiefer and Georg Baselitz to earlier figures such as Matisse, but his most important sources came from the natural world.An expressive handling of paint, colour and tone was essential to Nupen's style throughout his career, but the implicit political content of his art drained away during the 1980s. His later work continued to reflect a variety of influences, from the contemporary German artists Anselm Kiefer and Georg Baselitz to earlier figures such as Matisse, but his most important sources came from the natural world.
Nupen's most striking achievement was to endow the land and seascapes of his native Kristiansand with an intense luminosity. He was even credited with the invention of a colour that came to be known as "Nupen blue" – a hue derived not from a specific pigment but from superimposing many layers of paint. He also used organic materials such as sap, resin, wax, tar and ash, giving his pictures a characteristic density and richness of texture.Nupen's most striking achievement was to endow the land and seascapes of his native Kristiansand with an intense luminosity. He was even credited with the invention of a colour that came to be known as "Nupen blue" – a hue derived not from a specific pigment but from superimposing many layers of paint. He also used organic materials such as sap, resin, wax, tar and ash, giving his pictures a characteristic density and richness of texture.
The inherent attractiveness of Nupen's painting was matched by his public sculpture, which managed to combine monumentality with a playful, interactive quality. Perhaps the most popular pieces were the fountains and colossal vases made for a park on Kristiansand's waterfront in 1991, and other bold visual statements included a pierced and splintered granite cube for Jorn's hometown of Silkeborg in Denmark.The inherent attractiveness of Nupen's painting was matched by his public sculpture, which managed to combine monumentality with a playful, interactive quality. Perhaps the most popular pieces were the fountains and colossal vases made for a park on Kristiansand's waterfront in 1991, and other bold visual statements included a pierced and splintered granite cube for Jorn's hometown of Silkeborg in Denmark.
Nupen worked successfully in the intimate scale of graphic art, sometimes using collage as well as experimenting with printmaking media. The lithograph Winternight (2013), not only replicates the blue that Nupen produced so laboriously in his paintings but also creates a characteristic horizontal composition, in this case made from shimmering layers of sea and sky. The same basic divisions can be seen in the etching Flying Over Water, issued in the same year but based on an earlier painting, though here the dark tones and underlying grid structure evoke a more ambivalent, even oppressive mood.Nupen worked successfully in the intimate scale of graphic art, sometimes using collage as well as experimenting with printmaking media. The lithograph Winternight (2013), not only replicates the blue that Nupen produced so laboriously in his paintings but also creates a characteristic horizontal composition, in this case made from shimmering layers of sea and sky. The same basic divisions can be seen in the etching Flying Over Water, issued in the same year but based on an earlier painting, though here the dark tones and underlying grid structure evoke a more ambivalent, even oppressive mood.
It is perhaps unsurprising that an artist who was so interested in colour should work with such enthusiasm in stained glass. Towards the end of his career he received some spectacular commissions, including the decoration of the church of Søm in Kristiansand (2004). Here a window runs from behind the altar to the entrance wall, splitting the ceiling in two in a blaze of bright abstract forms.It is perhaps unsurprising that an artist who was so interested in colour should work with such enthusiasm in stained glass. Towards the end of his career he received some spectacular commissions, including the decoration of the church of Søm in Kristiansand (2004). Here a window runs from behind the altar to the entrance wall, splitting the ceiling in two in a blaze of bright abstract forms.
From Darkness to Light, Nupen's name for his creation at Søm, would also be a suitable description for the tall, slender windows that he made in 2010 for the church at Geilo, a mountain resort town between Bergen and Oslo. Blue at the base and yellow at the top, they bathe the polished altar and baptistery, also designed by Nupen, with colour. As the artist put it: "Here one truly paints with light." Together with Nupen's bronze crucifix installed nearby, these works were given the title The Unending Journey, a concept often represented in Nupen's art by the motif of the boat.From Darkness to Light, Nupen's name for his creation at Søm, would also be a suitable description for the tall, slender windows that he made in 2010 for the church at Geilo, a mountain resort town between Bergen and Oslo. Blue at the base and yellow at the top, they bathe the polished altar and baptistery, also designed by Nupen, with colour. As the artist put it: "Here one truly paints with light." Together with Nupen's bronze crucifix installed nearby, these works were given the title The Unending Journey, a concept often represented in Nupen's art by the motif of the boat.
Most impressive of all was the Ansgar Chapel in Kristiansand (2008), for which Nupen proposed architectural proportions similar to those ascribed in the First Book of Kings to the Temple of Solomon. While the building itself alludes to the Old Testament, the windows, which run through the ceiling and even the corners of the church, powerfully symbolise the light of the world.Most impressive of all was the Ansgar Chapel in Kristiansand (2008), for which Nupen proposed architectural proportions similar to those ascribed in the First Book of Kings to the Temple of Solomon. While the building itself alludes to the Old Testament, the windows, which run through the ceiling and even the corners of the church, powerfully symbolise the light of the world.
Nupen's journey from restless radical to establishment figure was marked not just by ecclesiastical work but also by his association with the Norwegian crown. Together with Queen Sonja and fellow artists Ørnulf Opdahl and Ole Larsen, he contributed to a series of 24 prints intended to fund the queen's artist scholarship foundation, and his death was marked by condolences from the royal family.Nupen's journey from restless radical to establishment figure was marked not just by ecclesiastical work but also by his association with the Norwegian crown. Together with Queen Sonja and fellow artists Ørnulf Opdahl and Ole Larsen, he contributed to a series of 24 prints intended to fund the queen's artist scholarship foundation, and his death was marked by condolences from the royal family.
He is survived by his wife Aino, and his daughters Vilde and Fanny.He is survived by his wife Aino, and his daughters Vilde and Fanny.
• Kjell Nupen, artist, born 5 September 1955; died 12 March 2014• Kjell Nupen, artist, born 5 September 1955; died 12 March 2014
• Kjell Nupen website