Articles with KULTURNAV identifiers

Trond Brænne (31 July 1953 – 16 March 2013) was a Norwegian actor, author and radio personality, best known for his many theater and television roles. He was also a decorated writer of children's songs and literature.

Morten Krogvold (born 3 May 1950) is a Norwegian photographer and writer. Krogvold is especially known for his portraits of artists, politicians and other celebrities. He has published numerous books, held numerous exhibitions.

Lise Barbra Skappel Fjeldstad (born 17 June 1939) is a Norwegian actress, and daughter of the conductor and violinist Øivin Fjeldstad. A graduate of the Norwegian National Academy of Theatre in 1963, she started working at Det Norske Teatret (the Norwegian Theater) immediately afterward. In 1975 she was hired by the National Theatre, where she has acted in roles such as "Blanche Dubois" in Tennessee Williams's A Streetcar Named Desire, and "Agnes" in Henrik Ibsens Brand. She won the Amanda – the main Norwegian film award – for best actress for her role in Dødsdansen in 1991. She has two children with her partner, actor Per Sunderland. She is married to Gordon Braddy.In 1982 at the 18th Guldbagge Awards she shared the award Best Actress with Sunniva Lindekleiv and Rønnaug Alten for their roles in Little Ida.In 1993 she was made a Knight, First Class, of the Royal Norwegian Order of St. Olav. She was awarded the Ibsen Centennial Commemoration Award and the Herman Wildenvey Poetry Award in 2006.

Kjersti Holmen (8 February 1956 – 26 September 2021) was a Norwegian actress.
She was born on Nøtterøy, and later moved to Alnabru, where she grew up with her parents and two sisters. She graduated from the Norwegian National Academy of Theatre in 1980, and was employed at the National Theatre since 1981 – permanently since 1992. There she had roles such as "Eliza Doolittle" in George Bernard Shaw's Pygmalion, the title role in Henrik Ibsen's Hedda Gabler and "Blanche" in Tennessee Williams' A Streetcar Named Desire.Holmen was also a well-known television and film actress, and had her break-through on the big screen in the 1985 film Orions belte. She won the Amanda – the main Norwegian film award – twice: in 1993 for her role in Telegrafisten, and in 2000 for the two films S.O.S. and Sophie's World. In television she was known from the Norwegian/Swedish collaboration "Röd snö" – aired the same year as Orions belte came out – as well as several other roles.Holmen lived with actor Sverre Anker Ousdal, and had two sons from a previous relationship with actor Reidar Sørensen.Holmen died at Økernhjemmet on 26 September 2021, after a long illness.

Ernest Chaplet (1835 in Sèvres – 1909 in Choisy-le-Roi) was a French designer, sculptor and ceramist. He was a key figure in the French art pottery movement, and his works are held in international public collections such as the Musée d'Orsay, Paris.
Having worked in industry for over 30 years, he opened an atelier with the sculptor Albert-Louis Dammouse in 1882, producing stoneware often influenced by Japanese designs and Chinese prototypes. From 1875 he worked with Félix Bracquemond. Chaplet became head of the Parisian workshops of Charles Haviland of Haviland & Co. in 1882, working in stoneware and porcelain for them. He worked on ceramics with Paul Gauguin from 1886; together they created some 55 stoneware pots with applied figures or ornamental fragments, multiple handles, painted and partially glazed. He later worked with Jules Dalou and Auguste Rodin.
From 1887 Chaplet took up permanent residence at Choisy-le-Roi, often collaborating with the ceramics manufacture Alexandre Bigot. He won acclaim at the 1900 International Exhibition, but lost his sight in 1904, after which his son Emile Lenoble took over his studio. He committed suicide in 1909.

Lucian Bernhard (born Emil Kahn, March 15, 1883 – May 29, 1972) was a German graphic designer, type designer, professor, interior designer, and artist during the first half of the twentieth century.

Antoine Hercule Romuald Florence (February 29, 1804 – March 27, 1879) was a Monegasque-Brazilian painter and inventor, known as the isolate inventor of photography in Brazil, three years before Daguerre (but six years after Nicéphore Niépce), using the matrix negative/positive, still in use. According to Kossoy, who examined Florence's notes, he referred to his process, in French, as photographie in 1834, at least four years before John Herschel coined the English word photography.

Johann Christian Reinhart (24 January 1761 – 9 June 1847) was a German painter and engraver. He was one of the founders, along with Joseph Anton Koch, of German romantic classical landscape painting.

Georges de Feure (real name Georges Joseph van Sluijters, 6 September 1868 – 26 November 1943) was a French painter, theatrical designer, and industrial art designer in the symbolism and Art Nouveau styles.
De Feure was born in Paris. His father was an affluent Dutch architect, and his mother was Belgian. De Feure had two sons, Jean Corneille and Pierre Louis, in the early 1890s with his mistress Pauline Domec and a daughter with his first wife Marguerite Guibert (married 7 July 1897).
In 1886, de Feure was one of the eleven students admitted at the Rijksacademie voor Beeldende Kunsten in Amsterdam, which he did however leave very quickly for Paris since he felt that formal academic training had nothing to offer him. Being of very independent nature, de Feure never again took up formal artistic studies, and forged his own independent path. He was however influenced by Jules Chéret in his posters for the café concert but most likely was never his pupil and became the key designer of Siegfried Bing for L'Art Nouveau.
He showed work in the Exposition Universelle de Paris exhibition in 1900. He designed furniture, worked for newspapers, created theater designs for Le Chat Noir cabaret and posters. In August 1901, de Feure was nominated Chevalier de la Légion d'honneur for his contribution to the decorative arts. He died in poverty at the age of 75 years in Paris.

Robert Combas (born 25 May 1957, Lyon) is a French painter and sculptor. He lives and works in Paris.
He is widely recognized as a progenitor of the figuration libre movement that began in Paris around 1980 as a reaction to the art establishment in general and minimalism and conceptual art in particular.
Figuration libre is often regarded as having roots in Fauvism and Expressionism and is linked to contemporary movements such as Bad Painting and Neo-expressionism. It draws on pop cultural influences such as graffiti, cartoons and rock music in an attempt to produce a more varied, direct and honest reflection of contemporary society, often satirizing or critiquing its excesses.
Combas’ own work has always been strongly rooted in depictions of the human figure. The figures are often in wild, violent or orgiastic settings. Usually on large, often unstretched canvases, Combas crowds his flat pictorial space with a teeming proliferation of bodies, street poetry and designs reminiscent of the compulsive patterning in much folk and outsider art. He creates hectic narratives of war, crime, sex, celebration and transgression—in short, every phase that makes up the constant flux of modern life. In recent years a strong autobiographical strain has been evident in his work, which was present only on a subliminal level, if at all, in the earlier work.
Combas often seems to be offering the work as critique—of both the art establishment and society at large. The recent painting “I am greedy man” features a densely layered jostle of bodies, with the foreground dominated by transparent line figures, the background occupied by monochromatic figures and the middle ground reserved for two more fully realized figures, one in a business suit and the other muscular and shirtless. They dance in a swirl of text which seems to have no discernible beginning or end but which may be read as: “I am greedy man/ Please shout me babe/ Soul serenade is a lot of pussy/ Pussy gone on the Eiffel Tower/ My Eiffel Tower is long and large.” The lampoon of a society where all are anonymous except in the individual recognition of need and gratification is typical of Combas’ work throughout his career.
While Combas’ works often seem to carry an element of shock or confrontation, he insists the images are meant to engage the viewer, and their execution in vibrant color and bold, unfettered line communicate a spirit of proletarian camaraderie that offsets the tendency to overwhelm, in the larger works especially.
In a biographical note on Robert Combas’ official website the artist asserts his aim is to

“provoke, that is, to trigger a reaction in the spectator only to ‘invite’ him, beckoning him in and whispering in his ear ‘come over and talk to me, I want to tell you about the stupidity, violence, beauty, love, hatred, seriousness and fun, the logic and senselessness that pervade our day-to-day lives’ ”.