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You are now standing at the entrance of perhaps the world's most spectacular sculpture park executed by a single person, Gustav Vigeland. He didn't only design and shape the statues, but also the magnificent park and all artwork formed in wrought iron. The wrought iron art in Vigeland Park are thus independent works of art, and many people don't always realize that this too is part of Vigeland's art. The gates you see have three circular fields where the top and bottom circles have the same motif with eight radii radiating from the center. In the middle, you'll find a circular motif with lizard reliefs that vary on all the gates. The lizards have been recurring in Vigeland's art since he worked on the Nidaros Cathedral in Trondheim. The ideas about lizards could have been inspired by the large dragon reliefs found in Norwegian stave churches, and in many ways represent the contrast to humans. With the lizards, there is a struggle to survive and they do not hesitate to take each other's lives. In 1928, Vigeland established a smithy outside his studio where his collaborator and art blacksmith Alfred Mikkelsen became the chief of the smithy. There were also five blacksmiths employed, in addition to twelve skilled craftsmen who worked as plasterers or stonecutters directly under Vigeland's competent leadership. Among the blacksmiths, Vigeland was nicknamed "The Master", and without a doubt, the monumental gates you see clearly show the excellent teamwork that must have prevailed during their production. Whether you are coming or going, I wish you a great journey ahead.
The man you see on the pedestal is none other than Gustav Vigeland himself, gazing upon his life's work, Vigeland Park. The entire area, with its over 200 sculptures, was designed and formed by the artist himself. He was born in Mandal in 1869, where his father was a master carpenter. Even as a boy, Gustav Vigeland demonstrated special skills in wood carving, and when he was just 15 years old his father took him to Kristiania (now Oslo) where he was apprenticed. However, he didn't want to become a wood carver, but a sculptor. After many lean years as a budding artist, he finally held his first solo exhibition in 1894, which resulted in several scholarships and made it possible for him to study in Europe. Upon his return to Norway, he worked as a sculptor for a few years at Nidaros Cathedral before he began to create several of what have become Norway's most famous busts and sculptures, including those of Camilla Collet and Henrik Wergeland that you can see in downtown Oslo. In 1921, the municipality of Oslo and Gustav Vigeland reached an agreement on Vigeland Park. In return for the municipality financing his work, studio, and living space, Vigeland agreed to donate all his works to the municipality without further compensation. Vigeland's home and studio have today been turned into a museum, and are also his final resting place. After his death in 1943, the urn containing his ashes was placed in the loft above his former dwelling in the museum, where it still resides.
You are now on the bridge with 58 statues of naked men, women, and children in all conceivable poses. The 100-meter-long granite bridge with lanterns and bronze sculptures was built over an older bridge, constructed in connection with Norway's Centennial Exhibition in 1914. Vigeland designed a new bridge and modeled the 58 bridge sculptures between 1925 and 1933. They constitute a rich variation of children, women, and men of different ages, some alone, others in groups. Calm standing figures flank the cube-shaped bronze lanterns, while running or otherwise dynamically moving groups unfold in freer spaces. Where the waterfall between the northern and southern Frogner dam runs, the bridge body is expanded on each side and marked with figures surrounded by powerful rings. The famous 'Angry Boy' (Sinnataggen) statue is also located here. Despite being among the smaller in size, the little boy is one of the park's biggest attractions. Although the bridge sculptures belong to the latest ones Vigeland made for the park, they were mounted first. In fact, the bridge was already opened to the public in the summer of 1940, while the rest of the park was a large construction site. By then, the four flanking, tall granite columns with people and lizards were also in place. The shell-armored demons have full control over their victims, the humans, thus providing a dramatic contrast to many of the bridge figures' carefree play and joy of life.
You have now moved on to Gustav Vigeland's place for children. Vigeland found a natural spot near the pond where children could play, laugh, and enjoy themselves in slightly less culturally conditioned surroundings. Nonetheless, he was interested in leaving impressions that children could identify with. The sculptures you see take you from the unborn child standing in the center, head down, surrounded by eight toddlers on pedestals. Each statue represents familiar motifs from children's lives and play. Vigeland also designed a children's ferry which was put into operation for the delight of the park's young users, and the boat received its monumental granite pier a few steps further down from the Children's Place. For many years after World War II, the children's ferry chugged around to the great joy of visiting families with children. Today, the ferry has been replaced with living creatures, and you will find beautiful swans and quacking ducks bobbing in the water.
The little angry boy who clenches his fists and stomps the ground is the most popular sculpture in the park, known as "Sinnataggen" (The Angry Boy). Due to its popularity, it is also referred to as "Vigeland's Mona Lisa". The sculpture is indeed so popular that its hands and feet shine because everyone who photographs him, touches them. The sculpture was first named "screaming boy," and it wasn't until the 1940s that it got the nickname "Sinnataggen". Vigeland rarely titled his works, which left room for freer interpretations. Over time, "Sinnataggen" became a popular postcard motif among tourists and a sort of mascot for the city of Oslo. Vigeland is said to have drawn the first sketch of "Sinnataggen" as early as 1901. Ten years later, he modeled a smaller version of the same motif, of which at least four casts were made. His son inherited this sculpture and made at least ten additional disputed "junior casts" of the same figure. The sculpture has been vandalized several times. It has also been stolen but has always been recovered, to the delight of both you and me.
You are now standing by the beautiful Fountain, the oldest part of the Vigeland installation. Vigeland started modelling the fountain sketches as early as 1900. At first, he planned to place urns and human statues on the edge of the basin, but later altered these plans to the tree sculptures with people that you see today. Besides the practical task of transporting water, the central group also has a symbolic character. Just like the tree, water has been a symbol of fertility from ancient times, and it is possible that the flowing water in the fountain should be perceived as an expression of nature's renewing ability. It is certain that Vigeland saw the bearing men as a symbol of life's burden. Around the basin, there are a total of 23 tree sculptures and 60 reliefs on the edge of the basin. The symbolism of the fountain trees is entirely clear. The tree has been a symbol of life since time immemorial, and there are many references to it, from the Assyrian reliefs to Christian depictions of Adam and Eve under the tree of knowledge. The Ash Yggdrasil from Norse mythology could also be the starting point for the tree sculptures. The first main motif in the tree groups is therefore the introduction of the vast, life-giving nature that embraces humanity. The second main motif is that the groups together should give a picture of humanity; all age groups are represented in equal distribution, children, young people, adults and the elderly. The third main motif is the idea that existence is an eternal cycle without beginning and end. The individual ages and dies, the generation renews itself. The 60 reliefs around the edge of the basin depict, just like the tree groups, humanity's eternal cycle. As you walk around the basin, you will see the beginning of life from a child's curiosity to the daring initiative of youth. When you have come around, you will see old age where life fades out before death catches the reliefs in the eternal realm.
You are now standing in one of the world's most spectacular labyrinths. Vigeland's labyrinth is an over 1,800 square meters large mosaic in black and white granite that covers the square around the fountain. Like other labyrinths, it consists of a path that winds back and forth in intricate twists, creating a dense, geometric pattern. Due to the twists, the path is close to 4,000 meters long. Vigeland's labyrinth is therefore perhaps the largest ever laid in mosaic. He got the idea for the Labyrinth from the "roads" on the surface of a piece of coral reef. The labyrinth is likely intended to be a visual adornment around the beautiful fountain, but Vigeland definitely had a deeper philosophy with the labyrinth. The long, complicated path is a depiction of humans' journey through life on a road they cannot choose themselves, or otherwise change the direction of. Other labyrinths usually have an entrance that leads to a center where the path stops. To get out again, you have to turn around and go back the same way. Vigeland's labyrinth, however, has two entrances, one on each side of the fountain. If you enter one way, the path doesn't stop until you come out on the other side. Just try it!
You are now standing on the Monolith Plateau. Around you, you have the Monolith, 36 statues in granite, and the monumental circular staircase with its beautiful wrought iron gates. Unlike the bronze sculptures on the Bridge, this entire plateau consists of granite sculptures, demonstrating Vigeland's mastery in shaping various materials. The installation of the 36 figure groups started in 1947, four years after Vigeland had passed away. In 1947, the mounting of the 36 figure groups in granite on the monumental circular staircase leading up to the Monolith began. Although the style is different, the theme isn't so dissimilar from the fountain trees. Here, the cycle of generations and the emotional relations of humans to each other are expressed. The eight wrought iron gates you see are also different from those you see at the main entrance, and were forged after they were completed. Here are four single gates and four double gates, all with beautiful and exciting motifs of humans. To hear more about the monolith, you must move a little closer to the pillar.
Right now, you are at the highest point of Vigeland Park, and here stands the Monolith, a column over 17 meters high, consisting of 121 figures, carved out of a single block of granite. Hence, it was named the Monolith, meaning an artwork carved out of one stone. While the melancholic underlying theme of the fountain is the eternal cycle, the column allows for a completely different interpretation, human longings and aspirations for the celestial and divine. Many believe the column can be understood as a vision of resurrection. People are drawn upwards towards the sky, and traces of melancholy and restrained despair, but also ecstasy and hope can be detected. Moreover, the sculpture shows both solidarity and empathy among people. Gently, they support each other and hold each other firmly in this peculiar feeling of bliss and uplift from earthly life. Vigeland began to sketch the first ideas around the Monolith in 1919, and 8 years later, work began on carving the 121 figures in the stone block, which lasted for a total of 16 years. Vigeland himself stated that "the column is my religion," and with that, he probably expressed a recognition that the sculpture was a culmination of his artistic career where he got to gather all his visions. Vigeland never got to unveil the Monolith as he died the year before it was installed in 1944.
You are standing by the sculpture "The Wheel of Life", which represents the end of the park. The wheel is a symbol of eternity and here it is formed as a rotating wreath of women, men and children holding on to each other forever. In this way, this sculpture summarizes the entire park's dramatic theme: A sculptor's reflections on humanity's journey from cradle to grave, through joy and sorrow, through dreams, imagination, hope, and longing for eternity. The Wheel of Life was modelled in clay between September 1933 and February 1934. Then it was cast in plaster. The method used in the plaster casting is called the lost form because the mould was broken apart at the end. The work on the Wheel of Life was technically very challenging, but Vigeland was pleased with the result and is said to have stated, "I have never been as skilled as I am now." After wandering around the park, you may wonder why all the sculptures, reliefs, and port figures are naked? Vigeland created the park for people, all people regardless of affiliation and class, regardless of time or space, irrespective of economics, gender, or ethnicity. Everyone should be able to identify with the art. Enjoy your journey ahead and thank you for your company.
In 1924, Gustav Vigeland and his wife Ingerid moved into their new home at Frogner. The apartment on the third floor of the studio is almost 300 square meters large and has two living rooms, a dining room, a bedroom, a library, and a kitchen. In addition, there is an urn room, where Vigeland's urn is placed. The rooms are harmonious and carefully thought out, preserved with the original interior from the 1920s. For many, the corner room is the highlight with its colorful interior and rich decoration of Vigeland's design. Before moving in, Vigeland showed little interest in interior design. At Frogner, however, he took an interest in giving the apartment a personal touch. Over a few years, he made about fifty pastels for the apartment's many walls, and for the living rooms, he designed carpets, cushions, tablecloths, candlesticks, and lamps. The wrought-iron works were designed by Vigeland but forged at an art smithy in Oslo. Most of the smaller textiles, like cushions and tablecloths, were woven or embroidered by Ingerid Vigeland. The apartment is designed as a gesamtkunstwerk, where the whole plays a significant role. The concept of home as an artwork was a thought that influenced the design of Vigeland's apartment. All elements contribute to and are connected with each other. He designed several pieces of furniture and interior items himself, some of which were handcrafted and delivered from Copenhagen. His wife Ingerid was skilled at embroidery, but of course with geometric design executed by her husband.
You are now standing in front of the entrance to the Vigeland Museum, which is Oslo's sculpture museum with dual tasks and ambitions. On one hand, the museum is dedicated to Gustav Vigeland. The core task is to manage Vigeland's legacy for the public and for posterity. Essentially, the museum's halls, as well as the apartment on the museum's 3rd floor, present Vigeland's art from his entire artistic career. In addition, the Vigeland Museum aims to be the most interesting exhibition site for art in the three-dimensional field. Primarily, the museum prioritizes artistic works and creations that can be linked to the three-dimensional field, i.e., sculpture and installation, as well as video-based art. The museum emphasizes presenting a breadth within this, both in terms of different periods, nationalities, artistic styles, and techniques. In the Fountain Hall stand the original plaster models for Vigeland's bronze fountain in the park: The middle group with six men carrying a large bowl, surrounded by twenty tree groups. The individually designed tree groups with figures tell the story of human life from cradle to grave. In the Monolith Hall stand several of the original plaster models for the 36 granite sculptures and the Monolith, which otherwise was modeled in three parts.
You are now standing in front of one of the last statues Gustav Vigeland made and the very last to be erected in the park, nearly 60 years after his death, in fact. The sculpture is called "Surprised" because the model, Ruth Maier, was surprised when she was standing naked for Vigeland as a model. While she was standing there in the nude, another person entered the studio. Ruth frantically tried to hide herself with her hands, and hence the sculpture got its slightly bent forward posture. Gustav Vigeland first used the motif with such a woman in 1904. The model was the artist's partner and assistant at the time, Inga Syvertsen. The model for the same motif well over 30 years later was the aforementioned Ruth Maier. She was a young Jewish refugee from Vienna who was studying art and writing literary texts. Half a year after she modeled, she was tragically and brutally sent to Auschwitz and killed. In Norway, over 760 Jews were deported and killed in this dark chapter of Norway's history. Feel free to take a moment to remember Ruth and the other Jews.