Manuscript

Om sin kunstoppfatning
Astrup, Nikolai

Transcription:

Tor Martin Leknes

Page

  • 1,
  • 2
Transcription
Translation

Manuscript

Om sin kunstoppfatning
Astrup, Nikolai
Ms.fol. 3542, Nasjonalbiblioteket

2 Pages

Transcription: Tor Martin Leknes

Transcription

Da jeg kom til Xania var det en ting jeg straks

lagde mærke til ved næsten al nyere kunst – en

ting som syntes mig at stride mod naturen

eller min opfatning af natúren – det var den

omstændighed at malerene brugte en masse

blegblaa toner i sine farver for at faa afstand og

luft i billedet – samtidig fik jeg höre næsten

alle sige om mine egne ting at de manglede

luftoner og baggrúnden var for mörk og at jeg skúlde

brúge lette blaalige og afblegede toner i baggrúnden

for at faa luftperspectiv i billedet. Jeg bemöiede

mig först med at se disse luftoner og klarte det

ogsaa men fandt syntes samtidig at de var saa stygge

og letkjöbte at jeg lovede mig selv at jeg nú skulde pröve

om det ikke lod sig gjöre at lave kunst úden

lufttoner; thi paa vestlandet fandtes jo omtrent ikke disse.

Saa malte jeg mit mine forste billeder úden disse luftoner

man likte mine billeder men mange havde det at

indvende at det búrde været mere luftoner over bag-

grúnden. Jeg indvendte at almindelige mennesker

kúnde ikke se luftoner paa vestlandet – de saa tvers

gjennem luften og lige ind i tingen – de saa, græs, og

buske og fjeldhamrer i fjeldene næsten lige friskt som og

sterkt som de samme ting i forgrúnden, ingen af-

blegelse eller indpúttede smaaflekker af forskjellige 

farve for at skaffe en slags luft vibration i öiet, det

var kún de oplærte kunstneröine som saa slig toner

eller indbildte sig at se det – súnde öine saa tvers

gjennem luften uden at föle noge farve-lag imellem sig

og natúren, enten denne var nær eller fjern + kúnde

de nyde lokalfarvens charme friskhed. Jeg vilde at

kunstnerne ogsaa skúlde se súndt og naivt paa natúren

som almindelige mennesker og börn – kunstneren skulde

ikke være en optikker der saa paa naturen med farve-

bedærvede kunstneröine, der havde stirret saa længe paa farver

at han ikke kúnde se en enkel farve úden at den oplöste

sig og brast i stykker til en regnbúeskala – jeg vilde modarbeide

alle disse systemer i kunsten, baade complimentærfarve-

systemer og regnbúsystemer og kún beholde de oprindelige förste farve-

fornemmelser – de være saa skidne og tunge som

de være vilde eller saa rene og skingrende som de var

virkede i stemningen. Skúlde kunsten komme videre

maatte man ikke oplöse, klöve og betúkle farven end

mere end impressionisternes efterkommere alt havde

gjort, man maatte heller söge endnú mer tilbage til det

oprindelige raa indtryk af farven den úblandede farve –

man maatte heller söge lige tilbage til barnets

og naturbarnets farvesyn (naivismen). Særlig en vestlænding

havde god anledning at se farven slig úberört fordi

havets nærhed gjör luften saa ren at alle farver

syner sig saa úbrúdte som de er nær ved. Et maleri

skúlde ogsaa indeholde mere end bare decorativ farve – det skúlde

give menneskelige stemninger – slige stemninger som

folk der ikke havde maleröine ogsaa kúnde se og

er bleven min skole – det er ikke mit endelige re-

súltat, men den vanskelige vei jeg maa gaa for at

slide af mig alt hvad jeg maatte have optaget i mig

af andres kúnst – baade gjennem skole og ved at se

billeder. Jeg vilde med andre ord vaske af mig

alt som jeg havde faaet i mig af fremmed i vestland-

ske raa farver. Jeg vilde med andre ord vaske mig min kunst

i raa vestlandske farver for at faa af mig alt hvad

jeg maatte have faaet i mig af andres kúnst – for at

komme bort fra all paavirkning og finde frem til mit eget

Translation

When I came to Xania there was one thing I immediately

noticed about almost all recent art – some-

thing that I felt was contrary to nature

or my perception of nature – it was the

fact that the painters used a lot of

pale blue tones in their colours in order to achieve distance and

atmosphere in the picture – at the same time I heard almost 

everyone say about my own pictures that they lacked 

atmosphere and the background was too dark and that I should

use light bluish and diluted tones in the background

in order to create perspective in the picture. I took pains 

at first to see these atmospheric effects and even

succeeded in doing so but at the same time found thinking they were so ugly

and facile that I promised myself that I would now try to see

if it was possible to make art without these

atmospheric tones; for they are hardly to be found in Western Norway.

So I painted my first pictures without these atmospheric effects[.]

My pictures were well received yet many felt

that there should be more atmospheric effects in the

background. I objected saying that ordinary people

could not see the atmospheric tones in Western Norway, they saw straight

through the air and right into the thing – they saw grass, and

bushes and bluffs in the mountains nearly as freshly as and

sharply as the things in the foreground, without di-

luted or artificial small spots of different

colours in order to create a kind of atmospheric vibration in the eye, it

was only trained artists’ eyes that saw such things tones

or imagined they saw them – healthy eyes saw straight

through the air without sensing any layer of colour between them

and nature, whether it was close up or at a distance + they

could enjoy the charm vibrancy of the local colours. I wanted the

artists as well to look at nature in a healthy and naïve way

like ordinary people and children – the artist should

not be an oculist who looked at nature with artist eyes 

spoiled by colour theories, eyes that had stared for so long at colours

that he could no longer look at a single colour without it being 

dissolved and broken into the pieces of a rainbow spectrum – I wished to

oppose all of these systems in art, both complimentary colour

systems and rainbow systems and retain only the original first colour

perceptions – be they as dirty and heavy as 

they may or as pure and shrill as they were

appeared in the atmosphere. If art is to make progress

one should not dissolve, split or tamper with the colour more

than the followers of the Impressionists already have 

done, one should rather seek even further back to the

original raw impression of colour the unmixed colour –

one should rather seek as far back as to the child’s 

or the nature child’s perception of colour (naïve art). Someone from Western

Norway in particular had ample opportunity to observe the untouched colour because

the close proximity of the sea makes the air so pure that all colours

appear as intact as though they are near. A painting

should also contain more than just decorative colour – it should

depict human moods – such moods that

people who do not have the trained eyes of a painter can also see and feel when they walk in nature. 

This in sum has been my school – it is not a final result that I have

arrived at, but the difficult path that I must take in order to

scrape away everything that I may have absorbed

from the art of others – both through schooling and by looking

at pictures. I wished in other words to cleanse myself of

everything that I had ingested of foreign in the raw colours of

Western Norway. I wished in other words to wash myself my art

in the raw colours of Western Norway in order to cleanse myself of everything that

I may have ingested from the art of others – in order

to escape from all influences and to arrive at my own [style.]