Frans Widerberg
Frans Widerberg: colour, the body and boundless space
Frans Widerberg (1934 to 2017) was a Norwegian painter, draughtsman and printmaker, born in Oslo. Riders, horses and elongated human figures recur throughout his work. His pictures can convey freedom and unease, with figures moving through landscapes where gravity and conventional perspective have been suspended.
From black and white to intense colour
Widerberg attended the book arts course at the Norwegian National School of Arts and Crafts and received printmaking instruction from Povl Christensen in Bergen before studying at the National Academy of Fine Arts. Woodcuts and wood engravings offered an early means of exploring light through sharp contrasts. Printmaking thus developed independently, beyond transferring completed paintings into print.
His breakthrough as a painter came in 1968. Bodies and landscapes subsequently became freer, brushstrokes more direct and colours stronger. Red, yellow and blue acquired a particular importance. Contrasts between colours could create depth and energy without following naturalistic light. Associated with new figuration, Romanticism and Expressionism, Widerberg developed a distinctly personal world of imagery.
The horse and the human figure
In Rytteren of 1978, a naked rider on horseback floats against intense yellow. Nasjonalmuseet's interpretation notes the absence of saddle and reins and the tension between the rider's will and the horse's strength. The image can raise questions of control and human agency. This reading does not identify other works depicting riders.
The artist's estate describes a world where dreams and experiences shape weightless figures. Kunstnernes Hus's archive documents his continuing exploration of human subjects through its 1990 exhibition of paintings from the 1980s. The poster featured Kometportrett, painted between 1986 and 1989.
Printmaking techniques and particular works
Kunst på Arbeidsplassen records Herodes påfugler from the Salome series as a woodcut of 1964, Sveveren of 1967 as a lithograph, and Rytter og svevende figur of 1971 as a screenprint. These examples show why resemblance of subject cannot determine technique. Widerberg's prints require individual examination.
Lithography became important in his subsequent practice, and the National Gallery presented a major print exhibition in 1974. He represented Norway at the Venice Biennale in 1978 and also undertook public commissions. His practice encompassed independent works on paper, paintings and works in other materials.
Identification and documentation
For a print, compare the title, technique, sheet and image dimensions, inscriptions, numbering and any printer's details with the relevant print catalogue. An edition size must be documented for the particular image and edition. A photographic print of a painting does not become an original print because a signature is reproduced within the image.
Also document fading, discolouration, tears, trimming, framing and previous owners. Overpainting and restoration matter for paintings. Name variants such as Frans and Frantz, or a similar signature, cannot establish dating or authenticity on their own.
Read more about woodcuts, lithography, artist signatures, provenance and ownership history.
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