Rolf Rude
Rolf Rude (1899-1971) was a Norwegian painter, draughtsman and printmaker from Kristiania, now Oslo, where he also died. An interest in painting's craft accompanied landscapes, interiors and imaginative figure scenes.
From dark paintings to lighter colours
Rude studied at the National College of Art and Design in 1919-1921 and debuted with a solo exhibition in 1923. Around 1930 he developed lighter colours and softer transitions. Literature, classical myths and theatre characters informed his prints. After the war he also used etching, engraving and lithography.
He exhibited with Henrik Finne and others at Kunstnernes Hus in 1934. The exhibition emphasised colour, technique and construction as a deliberate foundation for painting.
Light, matt colours and imaginative, sometimes ironic storytelling characterise Rude. He also served artists' organisations, chairing Norske Grafikere in 1953-1964 and Bildende Kunstneres Styre in 1964-1967.
Three works showing his range
The National Museum's records document different media:
- Fransk vindu (1933): oil on canvas, 70 x 58 cm. The museum acquired it in 1934.
- Badende gutter (1950), also titled Gutter på fjellet: gouache and pencil on paper, 502 x 560 mm, classified as a drawing.
- Gamle tinnmugger (1961): line etching on paper. The museum's impression is recorded as 2/16. This identifies a particular print, not a painting reproduction.
Simply calling a Rude work a “picture” gives too little information. Paper may carry direct drawing and painting or an impression from a worked plate. Establish the actual technique before using terms such as drawing, etching or reproduction.
Signatures and edition details
Skanfil catalogued the etching Harlekin (1959) signed “R. Rude”, numbered 34/100 and inscribed “Tiré par l'artiste”. These describe that impression, not a shared edition for other subjects or the only permissible signature form.
Condition and provenance
Document a print's image, margins, numbering and other inscriptions. Old framing traces and adhesive may lie outside the visible image. Describe stains, tears and discolouration. Record surface losses and flaking on gouaches; canvas paintings should also be photographed from behind. Receipts and identifiable exhibition labels can substantiate ownership and earlier displays.
Read more about artist signatures, provenance and ownership history.
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