Dyre Vaa
Dyre Vaa (1903 to 1980) was a Norwegian sculptor and painter from Kviteseid in Telemark. He worked with portraits, animals, narrative figure groups and public monuments. His training included the National Academy of Fine Arts under Wilhelm Rasmussen in 1922 and 1923, following guidance from Gunnar Utsond.
From concentrated form to narrative sculpture
Early on, Vaa sought a disciplined form. His Ivar Tveiten portrait of 1925 exists in bronze at the National Museum and in syenite at the Norwegian parliament. His figures became freer in the 1930s, with narrative subjects from tales and literature. The portrait illustrates how one title can encompass different material versions.
Oslo's Ankerbrua carries four groups: Peer Gynt på reinsdyret, Veslefrikk med fela, Kari Trestakk and Kvitebjørn Kong Valemon. They were developed during the 1930s. The municipality's walking guide dates the bridge's bronze decoration to 1937. The sculptures form part of an urban setting that has also given the bridge its nickname, the fairy-tale bridge.
Monuments and local connections
The Sjømannsmonumentet on Torgallmenningen in Bergen was unveiled in 1950. Vaa won the competition in 1938 with his proposal Lykkens prøve. Twelve sailor figures and eight reliefs recount centuries of Norwegian maritime history. The city's interpretation notes that Vaa used fellow residents of Rauland as models. Local encounters thus became part of a national memorial.
Vaa married Thora Bojer in 1927. She was his model, critic and an important source of support. The family moved from Oslo to Rauland in 1935. His connection with Telemark also shaped paintings of landscapes and people from his own surroundings. His practice additionally included drawing and lithography.
Models, materials and individual examples
Vaa donated his collection of models and figures in plaster and bronze to Vinje municipality. Dyre Vaa-samlingane opened in Rauland in 1981 and also displays paintings and drawings. The collection offers insights into aspects of his work beyond the completed monuments.
When assessing a work, describe a model, stone sculpture and bronze casting separately. A model's date is not necessarily the casting date of a particular example. Document dimensions, material, signature, foundry mark, any numbering and ownership history. A smaller work resembling a known monument must not automatically be called an original study or authorised reduction. Casting joints, repairs, patina and later surface treatments merit examination. The artist's biography or a similar-looking signature does not authenticate the object.
Read more about artist signatures, provenance and ownership history.
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