BOOK DESIGN / EXHIBITION DESIGN / COMMUNICATION MATERIALS AND MARKETING / INSTALLATION PHOTOGRAPHY
ART NOUVEAU IN FULL BLOOM
An extensive catalogue was produced for this exhibition. The project also includes exhibition design with wall texts and colour scheme, marketing material and photo documentation of the exhibition. We are happy to announce that due to high demand the book is now printed in a second edition.
CATEGORIES: EXHIBITION PROFILE / IDENTITY, BOOK DESIGN, EXHIBITION DESIGN, COMMUNICATION MATERIALS, PHOTOGRAPHY
CLIENT: STAVANGER ART MUSEUM
Design, creative direction and installation photography: Nina Ansten
Curators: Inger M. L. Gudmundson & Janne Leithe
Editor: Hanne Bate Ueland
Advisor: Anniken Thue
Texts: Inger M.L. Gudmundson, Widar Halén, Janne Leithe and Hanne Beate Ueland
Translations: Arlyne Moi
Proofreading: Marit Woltman
Photography: Various photographers, please see colophon
Print & Binding: RK Grafisk
For the first time in 40 years, a large exhibition featuring the works of Frida Hansen (1855–1931) is shown in Norway. This internationally-acclaimed artist from Stavanger pioneered in the development of Norwegian textile art, at the turn of the twentieth century. Today she is considered one of Norway's foremost artist representatives of Art Nouveau and Symbolism. The exhibition gathers Hansen's most important works from museums and collections throughout Europe. In addition the book features a a broader view of her work and sketches. Accompanied by well written articles, this book gives a valuable insight into Frida Hansen's unique practice.
The book is printed offset on high quality paper. The first part of the book consists of longer texts, illustrative images and sketches—and is printed on matt, uncoated paper, for a pleasant reading experience. The other part of the book consists mainly of large reproductions of Hansen's works, and is printed on a smoother coated paper quality—to enhance the details in her tapestries and motifs.
The colour palette of the book is inspired by Frida Hansen's own plant-dyed colours. The colour of the cover was chosen based on a 100 year old yarn, preserved by Frida's family. The cover is hardback, with book cloth. The title is embossed on the front and spine. The endpapers are printed with a reproduction of one of Frida's sketches.
The main typeface, 'ITC Golden Cockerel', is based on designs created by Eric Gill in 1929, for the Golden Cockerel Press, in England. A private press that operated as an artistic craft-based venture. These meticulously crafted letters was inspired by and modeled on Gill's skills of stone carving. The typeface resembles William Morris/Kelmscott Press' Golden type (1890). Frida Hansen was, amongst many areas, particularly inspired by the English Arts & Crafts movement of the 20th century, William Morris, and magazines like 'The Studio'. These areas are also the inspiration base for the book design and exhibition profile. Yet at the same time the designs represent the museum and a presentation of Frida Hansen in the light of our time.
In addition to the Frida Hansen book, the museum shop stocks a limited-edition 'Frida Hansen bag'. The flower illustration is inspired by one of Frida’s tapestries. The title illustration is inspired by hand-drawn type design, found in old copies of the magazine 'The Studio'. (An illustrated fine arts and decorative art magazine published in London from 1893–1964, of which Frida was a regular subscriber).
Artist, weaver, entrepreneur and feminist
Before she was given the opportunity to devote herself to her artistic career, Frida Hansen was known in her hometown Stavanger for her wonderful garden. People came from far and near to see her magnificent rose beds and beautifully arranged exotic plants. When an economic crash hit Stavanger in 1882, and her husband's business went bank-robbed, Frida took the opportunity to open an embroidery shop to support her family. She began exploring old Norwegian weaving traditions. Her breakthrough as an artist came when she exhibited at the 1900 World's Fair in Paris, garnering glowing reviews and some important sales. Major museums of applied art from several European countries purchased Hansen's tapestries and transparent hangings. Frida Hansen was an artist, weaver, entrepreneur and feminist. An extraordinary lady of her time.
'With this exhibition and the accompanying catalogue, our aim is to shed light on an important artist in the Norwegian and international context, and to add to the body of knowledge about the woven art of Frida Hansen.'
—Hanne Beate Ueland, Director of Stavanger Art Museum