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359:. Nature was the key which Morris showed conscientiously with abstraction and simplification. When Hansen wanted to abstract a flower, she drew it straight from above or from the side, just as Morris had done before her. Hansen was particularly concerned that the textiles should not be woven paintings, but should have their own expression. What she and Morris had in common was respect and humility towards nature. Hansen was very fond of flowers, a common theme found in her tapestries.
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375:. The design was first drawn on carton and later transferred to the loom. Often a workshop consisted of people with different tasks: one person who dyed yarn and arranged the card, and the weaver who transferred to the loom. However, Hansen was technically adept and did everything herself. She usually created full-size cards, dyed the yarn and took care of the transfer.
182:, Norway. Her parents were Mathilde F. Helliesen (1824–1915) and Peter Sickerius Petersen (1811–1875). She grew up in a very wealthy home. Her father was a merchant and head of J. A. Köhler & Co. Before she married, she was determined to be a painter and took drawing and painting lessons from Bernhard Hanssen,
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Her tapestries were often faulted for not expressing
Norwegian art and culture. In the 1890s and early 1900s, Norwegian nationality was important with art (among other things) identifying the typical Norwegian essence. Hansen responded to the criticism by making art that was more international, much
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In 1888 the city was hit by an economic downturn. Plough & Sundt, the family business that her husband ran, went bankrupt. He fled abroad for a few years, and Frida was left with sole responsibility for the family. Two of her three children died. In order to obtain an income, she started an
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style. She has been described as a bridge between
Norwegian and European tapestry, and several of her weaving designs are considered among the best made in recent European textile art. Her works are owned by a number of museums, including the National Museum – Museum of Applied Art in Oslo,
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Hansen's work forms a bridge between
Norwegian and European tapestry. Nature was an important source of inspiration, and flowers were special to her. She was strongly influenced by the theory of English textile designer
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to study life drawing. The impetus she brought from abroad was crucial to her development. In Europe, the prevailing art movement was in the process of change from the national and tradition-bound to symbolism and
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embroidery business in her own home. In the embroidery shop old tapestries were repaired and from doing that repair work she became interested in the ancient techniques that were used to create the images.
236:, and she quickly began to create her own images. After a short time she started selling tapestries, and she also had exhibitions in several Norwegian cities. In May 1892 Hansen moved to Oslo and founded
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After the turn of the century, Art
Nouveau gradually went out of fashion, and by 1920 Hansen's art was no longer as much in demand. In 1915 Hansen received the
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314:. Experimental techniques led to a special transparent weave, which Hansen patented. This technique was used to create porters or room dividers.
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Knut Berg ed. (1981). Norwegian Art
History, volume 5 - National growth. Gyldendal Norwegian Publishers, Oslo.
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Thue, Annika (1986): Frida Hansen. A European in
Norwegian textile art around 1900. Universitetsforlaget.
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in gold for her work as a textile artist. From 1926 until her death in 1931, Hansen worked on the
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Thue, Annika (1973): Frida Hansen (1855-1931) European to the
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In 1889 she was a participant in the first course in weaving in the country, hosted by
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like the decorative art of Morris. One of Hansen's works hangs in the
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598:"Saga of Sigurd the Crusader and His Brothers Eystein and Olaf"
487:"Norges Husflidslag - Norwegian Folk Art and Craft Association"
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in Paris, Hansen was awarded the gold medal for her tapestry
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at Lærdal in Sogn. When the introductory course was given
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554:"Fabricadabra: Frida Hansen, 1855–1931"
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415:. Stavanger Art Museum. Archived from
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312:Museum fĂĽr Kunst und Gewerbe Hamburg
701:19th-century women textile artists
463:. Frida Hansen Hus. Archived from
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239:Atelier for national Tæppevæving
132:, Stavanger Art Museum and the
576:"William Morris life and work"
294:From 1897 to 1906, Hansen ran
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439:"Frida (Petersen) Hansen"
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578:. William Morris Society
441:. Frida Hansen Lodge #37
533:. Store norske leksikon
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104:Textile art, tapestries
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261:Art Nouveau
226:Randi Blehr
211:Köhlerhuset
191: [
125:Art Nouveau
113:Art Nouveau
93:Nationality
650:Categories
627:8205122687
616:Literature
379:References
307:Melkeveien
287:Melkeveien
266:Jugendstil
170:Early life
77:1931-03-12
51:1855-03-08
180:Stavanger
138:Stockholm
96:Norwegian
63:Stavanger
397:Archived
323:St. Olav
215:HillevĂĄg
176:HillevĂĄg
109:Movement
87:, Norway
65:, Norway
59:HillevĂĄg
252:Cologne
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256:Paris
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634:ISBN
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606:2017
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337:Work
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