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22-514: Torshov church ( Torshov kirke ) was consecrated in 1958. The church is located in Torshov kirkepark, between Åsengata and Nordkappgata. The building was built of stone and wood with copper plates, and has 400 seats. The church was designed by the architects Ulf Nyquist and Per Sunde, while the interior decorations were designed by Frithjof Tidemand-Johannessen . The area is named after an old farm, Torshov gård ( Old Norse Þórshof ). The first element

44-549: A favorable review from Bonytt , an established Norwegian magazine of arts and interior design. In the 1950s, Tidemand-Johannessen designed a table-service for Stavangerflint , produced in a limited commemorative edition for Norges Kooperative Landsforening . In the first years after the war, Tidemand-Johannessen wrote a short-story collection and two novels, published by Gyldendal Norsk Forlag : Vi syntes ikke det hastet (1945); Prolog over en avdød kjærlighet. Noveller (1946) and Utenfor slentrer folk forbi (1948). He wrote

66-459: A large extent during his relatively few years as a practicing printmaker. While his early work has been described as lyrical, his later work is far more stylized and formal. The woodcut To kvinner from 1954 is an example of his later work. It is part of Storebrand 's art collection. The series Norway in 12 Original Color Woodcuts was, in the Norwegian version, published in a large edition by

88-526: A mark as a protest against NATO . Following more exhibitions, he did the illustration for Inger Hagerup 's Strange in 1950. After his death in 1976, his first solo exhibition was hosted by his third wife, Martha Poulsen, in 1981, when 107 objets d'art were displayed at the National Museum. In his career span, from 1939 to 1945, he created theatrical motifs and decorations for Young Trøndelag Theater and in 1951, for National Theater. Apart from dramatizing

110-647: A year, and made study trips to Austria and Hungary . During World War II , Tidemand-Johannessen participated in the defense of Norway in 1940 , and then in the Norwegian resistance to the German occupation. He was arrested in February 1941 by the Nazi authorities. For a year and a half, between February 1941 and July 1942, he was being moved between the prisons in Åkebergveien and Møllergaten 19 . Then, from 9 July 1943 onwards he

132-517: Is a stub . You can help Misplaced Pages by expanding it . Frithjof Tidemand-Johannessen Carl Frithjof Tidemand-Johannessen (11 September 1916 – 9 October 1958) was a Norwegian designer, illustrator, writer, author, and craftsman . He is best known today for his woodcut prints and for the decorative works on the Torshov Church in Oslo . Tidemand-Johannessen received his artistic education at

154-463: Is particularly known for his coloured woodcuts. Among his book illustrations are books by Inger Hagerup , and he made stage design for various theatres. Born on 27 January 1911 in Copenhagen , Paul was an innovator in a typical form of Norwegian art that later got its name as the school of Norwegian color woodcuts. In 1924, he migrated to Provence , later to Rouen , where in 1930, he appeared for

176-521: Is represented in the Statens Museum for Kunst , København; Nationalmuseum , Stockholm; Ateneum , Helsinki; Rijksmuseum , Amsterdam; Victoria and Albert Museum , London; Kelvingrove Art Gallery and Museum , Glasgow; Metropolitan Museum , New York. Tidemand-Johannessen collaborated with the architect Ulf Nyquist and designed the decorative elements for Torshov Church ( Torshov kirke ) in Oslo. The church

198-540: Is the genitive of Þórr 'Thor', and the last element is hof 'shrine, temple'. Torshov is a relatively common farm name in Norway. Farms with the name are also found in Enebakk , Gjerdrum , Jevnaker , Lørenskog , Løten , Sigdal , Torsnes , Trøgstad and Vang . 59°56′1.43″N 10°45′51.19″E  /  59.9337306°N 10.7642194°E  / 59.9337306; 10.7642194 This Oslo location article

220-616: The National Gallery of Norway in Oslo from 23 August – 26 October 1997, and Europeisk fargegrafikk fra Ateneums samlinger ( European Color Prints from the Ateneum's Collection ), Ateneum , Helsinki, from 1 October 2005 – 26 March 2006. Tidemand-Johannessen is represented in the collections of the National Gallery of Norway, with eight prints, as well as in several other Norwegian galleries, both public and private. Outside of Norway, he

242-695: The Norwegian National Academy of Craft and Art Industry 1935–37 under Per Krohg , and made his debut at Høstutstillingen in Oslo in 1936. Tidemand-Johannessen then began studies at the Berlin University of the Arts , but was expelled by the Nazi management of the academy after three weeks for allegedly being a " Degenerate artist ". After that, he participated in an illegal, underground academy in Berlin for about

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264-585: The National theater, his decoration works along with his co-artist, Knut Rumohr, include: the Olympic Building, Hotel Viking , and the coastal steamer, MS Nordstjernen In 1955 in Greece , Gauguin worked with enamel, iron sculptures and scrap iron. His works were inspired by Pablo Picasso , Max Ernst , Vincent van Gogh and Georges Braque . Grandson of the renowned French Impressionist , Paul Gauguin , he had

286-505: The article "Brakkebyen bygges" for the second volume of Griniboken ( The Grini Book – a collection of articles by former camp-prisoners), published by Gyldendal in 1947. Paul Ren%C3%A9 Gauguin Paul René Gauguin (27 February 1911 – 14 February 1976) was a French painter, graphical artist, sculptor, book illustrator and scenographer. He was born in Copenhagen , and was a son of Pola Gauguin , and grandson of Paul Gauguin . He

308-608: The entrance exam for the Norwegian Lycée Pierre Corneille . Paul first learned his wood-cuts from 1930 to 1935, while on fishing trips to Mallorca and Ibiza . He made his debut in wood-cut art at the Autumn Exhibition 1936. In 1938, he worked as a journalist for Dagbladet while in Spain and completed his "Barcelona" while still working there. In the post World War II period in 1949, his work, The Mask , made

330-452: The line separating art from the crafts. Tidemand-Johannessen himself printed large, unnumbered editions of woodcuts on a manual book printing press, made possible by innovative techniques involving heat and pressure applied to the specially prepared wood panels. As a result, he could produce graphic art of high technical quality at prices most people could afford. Tidemand-Johannessen was married to Blanche Aanesen and had two children, of whom

352-402: The publishing house Yngvil Forlag in the fall of 1953 and was presented as mass-produced book illustrations, with printed signatures. The series deals with subjects drawn from the country's National Romanticist movement of the nineteenth century, by way of images from different and contrasting regions of Norway, in a rejuvenated design idiom and with specific themes associated with each month of

374-444: The son Kjeld Tidemand-Johannessen also became an artist. Tidemand-Johannessen produced most of his graphic art during the years 1946–1958. Much of this work is in the medium of woodcut prints. He is considered to be part of the Norwegian color-woodcut school, along with others like Paul René Gauguin . Tidemand-Johannessen was known for his experimental approach to both process and expression, and his own visual vocabulary evolved to

396-637: The war Tidemand-Johannessen taught for a while at the National Academy of Craft and Art Industry, and played a central role in the idealist-communist circles at the academy up until the Furubotn Purge within the Communist Party of Norway in 1949. In his time Tidemand-Johannessen became well known, and to some degree controversial, because of his radical ideas about art. In an interview in the Oslo newspaper Verdens Gang in 1953, he argued for erasing

418-744: The year. The series was also published in an English version, distributed by Johan Grundt Tanum Bokhandel. Before the war, Tidemand-Johannessen participated in Høstutstillingen in Oslo in 1936, 1937 and 1939. From 1946 he had several solo exhibitions, and was represented in many group shows – in Norway, Europe and Brazil. After his death in 1958 there was a memorial exhibition of his work in Galleri Per in Oslo, where he had shown at several occasions since 1947. In more recent years, Tidemand-Johannessen has been represented in two group retrospectives: Den norske tresnittskolen ( The Norwegian Woodcut School ) at

440-659: Was executed by the master smith Fred Becker after Tidemand-Johannessen's designs. Tidemand-Johannessen built, prepared and carved the original wood panels for printing bookbinding designs for a number of books for several publishing houses in Oslo. He explored other techniques as well, like embedding molten metal in wood objects. In the fall of 1956 Tidemand-Johannessen exhibited a group of work in intarsia at Norway Design in Oslo. These were produced in collaboration with Asta Musedalslien at Norsk Intarsia AS in Tyristrand , after designs by Tidemand-Johannessen. This exhibition received

462-494: Was imprisoned at Grini concentration camp . Tidemand-Johannessen was editor-in-chief of the magazine Avant-garden , which was published by the Young Communist League of Norway until the liberation from German occupation in 1945. He continued in this position when the magazine became legal after the war. In the late 1940s he also served as a culture journalist/writer for Friheten , the party's daily newspaper. After

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484-401: Was inaugurated on Whitsunday in 1958, and is considered to be the first modern church building of its kind in Norway. These decorative elements mainly consist of stained glass windows, glass mosaics, and decorative ironwork. At his death, Tidemand-Johannessen had completed three of the twelve stained glass windows. The remainder were completed by Jardar Lunde (1909-1990). The decorative ironwork

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