Biography

22 April, 2007

Theodor Kittelsen (1857-1914)

 Theodor Severin Kittelsen was a Norwegian artist born April 27, 1857 in the little coastal town of Kragerø in the South of Norway in a merchant family. Theodor was the second of eight children. From the early childhood drawing fascinated the boy, and dreamt to become a painter or a sculptor.

Theodor was 11 when his father Johannes died, and the family came down to a very modest life standing. So, Theodor had to earn the living since when he was a boy. He became an assistant to a watchmaker in Kragerø. Even at that time the people around him admired his drawings. Some of them persuaded Theodor into traveling to Christiania (the capital of Norway, now Oslo) and gave him money therefore. He worked as a decorator’s apprentice for a while but the work turned out to be too hard and it was very far from what he expected. Theodor returned home and decided to become a mariner. Strolling along the seaside he looked with delight and hope at steamers, but the beauty of nature, by which he had been admired since childhood, fascinated him more. So, one fine day Kittelsen clinched to become an artist.

Anyhow, he had to start again as an assistant of watchmaker (this time in Arendale). The master, a German called Stein, treated Theodor kindly and said that he would never become a watchmaker, but could become a painter. Stein even asked the boy for his drawings and once announced solemnly that they were appreciated by Diderich Maria Aall — a well-to-do man and a connoisseur of art. He received Kittelsen at home and had a long talk with him, repeating that the path of an artist was the hardest one. When he understood that the youth was rigid in his intention, Aall sent him to the School of Art in Christiania, and paid the tuition fee.

So at the age of 17 Kittelsen became a pupil at the Wilhelm von Hanno’s drawing school in Christiania, simultaneously attending classes of Julius Middeltun.
After Kittesen had studied two years in Hanno’s Shool, Aall sponsored him for continuing education in Munich. First two or three years were a blessed time. Theodor lived a jolly student’s life: he studied and worked, and spent free time in taverns with fellow-countrymen Erick Verenschell, Gerhard Munte and others. But after that tough time came. As Aall could not support his protégé any more, Kittelsen made a precarious living on his paintings and drawings, got along with the cheapest food and sank in debts.

Nevertheless, the first significant works were created in Munich, the «Strike» (Streik, 1879) among others. It was painted in critic-realistic manner, absolutely different to the artist’s mature creations. At the same time Kittelsen identified himself more as an illustrator than a monumental painter. He got interested in caricature and animalistics, which afterwards leaded to mature works.

In next two years Kittelsen returned home, served in the army for two years, then having got a scholarship, he went to Paris. The Europe capital of cultural was not hospitable to the artist and he came to Munich again in 1883. There he worked day and night, his drawings were a success, but hardship was a company thereto.

The difficulties brought about homesickness and longing for Norwegian nature with Theodor. He wrote: «Most of all I am fascinated by mystery, fabulousness and majesty of our nature. If I do not combine my work with careful observation of nature, then, I am afraid my senses will involuntary be stupefied. What I have to do is getting more and more clear to me, more and more ideas are getting started with me but I must get back home, otherwise I can do nothing».

In 1887 his friends in Norway helped Kittelsen to return, and this time forever. Theodor stays at his sisters and her husband’s place. They kept a glass shop. But the shop closed soon and artist’s brother-in-law was offered a lighthouse keeper job on Lofoten. Kittelsen moved there too. Two years which he spent in Skomwar Island turned to be very productive. Nature seized the artists. He created several series of drawings, each issued later as a separate book: «Life on narrow means» (Fra Livet i de smaa Forholde, 1890), «From the Lofoten» (Fra Lofoten, 1890-1891), and «The Sorcery» (Troldskab, 1892). These were first books fully prepared by Kittelsen himself. Along with drawings he published texts, showing a remarkable gift in writing too.

The drawing of a sea troll was one of the first created under the impression of Nurlann’s landscapes (north-eastern part of Norway). Meeting a troll is a widespread plot for Norwegian stories. Kittelsen took the one of Johan Perse and Elias Niels. In the end of the story Elias found a huge stone on a skerre and threw it into the sea. And now:
«Scarcely touched the tide, stone began to grow. It grew and grew, and soon a horrible monster aroused from the wallow. Creature opened its enormous, coffin-sized jaw, and growled:
«Now then, try to spit into my face once more, Elias, but let me tell you…»»

Other drawings from «The Sorcery» were also devoted to different characters of Norwegian folklore and legends.

The year of 1889 was a turning point in artist’s life: he met Inga Christina Dahl, a girl form Drøbak. She was ten years younger then Theodor, nevertheless they immediately fell in love with each other and got married a few months later. The prompt marriage turned out to be a happy one, they had nine children, but it was very hard to support such a big family, especially for an artist. In spite of permanent shortage of money, Inga was supporting the family and her husband, whom she helped not only by housekeeping but in organizing the exhibitions.

The Kittelsens moved several times. They lived in different corners of Norway, but the longest and the happiest period was in Lauvlia, Sigdal. Here the family got a house and furnished and decorated it as a real home of artistic people. The Kittelsen was not only a gifted painter but a skilful wood caver – one look at cupboards and chairs carved with fantastic trolls and ancient kings is enough to appreciate it.

In 1890s Kittelsen published quite a number of books. The most remarkable of them is «The Black Death» (Svartedauen). In this book the artist showed the most tragic historical time, when the Norwegian nation was on the edge of extinction.

In creation of the main character — the Black Death (plague) himself, racking, brooming and devastating towns and villages — Kittelsen was inspired not only by folklore, but by reality as well. During the first months of their marriage, Theodor and Inga lived in Skatey not far from the artist’s place of birth. There they met a crone who was equally ugly and ill-natured, and people called her «Plague». In «The Book of Oblivion» (Glemmebogen) Kittelsen wrote:

«She was little and crooked, with yellow-greenish face in black spots. Her eyes were squint, dark and unresting, deep in the skull. Now and again she glanced all around with the odd, ominous light in her eyes, and the one could not catch her look. Her head was shaking up and down, the mouth was jerking sharply and bitterly while she talked. She was worse then the Plague itself, I thought, and I took her name for the Black Death».

But the idea was set only some time later. In his letter from Vitsten Kittelsen where the artist lived he wrote: «Between ourselves, the «Black Death» troubles me much. My God, what the hard theme for drawing it is!»

«Black Death» consists of fifteen poems with illustrations, nearly all written by Kittelsen. The most remarkable and shocking drawings are «Plague comes» and «The autumn evening» where our perception is greatly affected by amazing stylistic simplicity.
«Plague on the Stairs» is the culmination of the cycle. Weird and dizzy perspective of the drawing terrifically intensifies the feeling of horror. This work takes a remarkable place in the whole Kittelsen’s heritage, both: theme and manner.

The other cycle to mention is «Do animals have soul?» (Har Dyrene Sjæl?, 1893-94). Here Kittelsen continues his satiric line. Toads, frogs, birds, insects are pictured in common human situations: parties, fiestas, marriage brokerage, child’s plays as grotesque illustrations of features and types of human characters.

The cycle «Tiriril Tove» (Tirilil Tove) makes a viewer sink in the world of nature mysteries. Vigilant artist’s eye catches frightening and fascinating figures of wooden and mountain inhabitants in common stubs, trees and roots. The edge between reality and fantasy is practically invisible.

The book «People and trolls, memories and dreams» (Folk og Trold, minder og drømme. Selvbiografi, 1911) is in fact the Kittelsen’s autobiography from the childhood to mature years. The book, apart from a number of drawings, including the juvenile ones, comprises quite an engrossing narration.

In 1908 Kittelsen was awarded the Norway Royal Order Saint Olaf Medal Service Award — the highest state award of Norway. In spite of this success and acknowledgement, Kittelsen was living in straitened circumstances up to the very end of his life. His last years were joyless. In 1910 local bank refused to support him, and Kittelsens had to sell their house in Lauvlia. In the end the artist and his family lived in outskirts of the Oslo, and later in Jeloja town (Moss). Despite the exhausting illness and the feeling that he failed to provide for his family, Kittelsen worked to his last day.