Gunnar S. Gundersen
Gunnar Sigmund Gundersen (1921 to 1983), usually known as Gunnar S. Gundersen or Gunnar S., was a Norwegian painter and printmaker born in Førde. He was a leading figure in postwar abstract art. Colour, rhythm and space became independent subjects in a visual language that moved away from recognisable figures.
Training and the path to abstraction
Gundersen attended the Norwegian National College of Art and Design and studied under Aage Storstein at the National Academy of Fine Arts in 1947 and 1948. His debut at the Autumn Exhibition in 1947 included a painting and etchings. His first solo exhibition followed at Kunstnerforbundet in 1950. His commitment to abstraction was therefore established early in the postwar period.
Hard edges, soft transitions and space
Gundersen is associated with hard edge painting, in which clear boundaries between areas of colour are important. Høyanger municipality's collection presentation also emphasises softer transitions. Even where the surface is strongly defined, the forms can suggest depth. The work extends beyond geometric decoration. Perception, how we see, was among the theoretical interests behind his experiments.
The National Museum's Vintersol of 1966 is acrylic on canvas, 165 × 110.5 cm. Rings and truncated ovals suggest movement; grey meets orange, blue and white. The museum relates his printmaking experience to the painting. Its smooth execution does not make it a print.
Materials and documented works
Kimen of 1974 is also acrylic on canvas; the National Museum records dimensions of 130.5 × 151 cm. Two works sharing an artist and medium do not necessarily share a format, subject or history of creation.
His printmaking was not confined to one technique. The museum's Komposisjon, dated to the 1950s, is a monotype on paper, 431 × 610 mm. It should be identified through its own catalogue record rather than called a screenprint simply because that technique is closely associated with the artist.
His engagement with architecture and the design of spaces is also evident in Dekorativt felt til den norske avdelingen ved Triennalen i Milano of 1954. This work is oil and tempera on plywood, 52 × 61 cm. It demonstrates the range of materials alongside his later acrylic paintings.
Buying, selling and identification
Record the medium, support, dimensions, inscriptions and documented ownership history of the particular work. An original print must be distinguished from a printed reproduction of a painting. Any numbering, printer and publisher require investigation rather than assumptions based on other works. A familiar composition or similar signature does not establish authorship by itself.
For paintings, document the surface condition, retouching, wear and paint loss. On paper, fading, discolouration, damp and mounting are also relevant. Old receipts, exhibition labels and photographs can contribute to verifiable provenance.
Read more about modernism, artist signatures, provenance and ownership history.
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