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Odd Nerdrum grew up as the son of lawyer and airline director Johan Nerdrum and shipowner's daughter Edith Marie (Lillemor) Nerdrum. He was born in Helsingborg , Sweden in 1944. His parents, then Resistance fighters, had been sent to Sweden from German-occupied Norway to direct guerrilla activities from outside the country.
Hope, George Frederic Watts, 1886.Cover of On Kitsch by Odd Nerdrum and others. [note 1]Kitsch painting is an international movement made up of classical painters, a result of a 24 September 1998 speech and philosophy given by the Norwegian figurative artist, Odd Nerdrum, [1] later clarified in his book On Kitsch [2] with Jan-Ove Tuv and others.
The subject of a man and a woman in lethal struggle recurs in several of Nerdrum's paintings from the 1990s, such as Buried Alive from 1996. [5] In his 1998 book Odd Nerdrum: Storyteller and Self-Revealer, the art historian and Nerdrum scholar Jan Åke Pettersson interprets Woman Kills Injured Man through a personal crisis Nerdrum had gone through.
Odd Nerdrum is a controversial figure in contemporary art, often resisting the norms of modernist abstraction in favor of a return to classical, figurative painting. [ citation needed ] His works are heavily influenced by Old Masters such as Rembrandt and Caravaggio , employing chiaroscuro and dramatic, often violent themes to evoke a sense of ...
A study from the Murdoch Research Children's Institute (MCRI) in Australia found 64% of respondents reported at least three episodes of anxiety or depression as teens. A health expert weighed in.
The original version is severely damaged because it was painted with an oil mix that turned out to be sensitive to heat. The damaged painting was shown as part of Nerdrum's 2011 tax case, when the Norwegian tax agency deemed that Nerdrum had evaded taxes during the years 1997–2002 by hiding earnings in an Austrian safe deposit box.
The Savior of Painting is a 1997 painting by the Norwegian artist Odd Nerdrum.It is also known as Self-Portrait as the Prophet of Painting.It depicts Nerdrum in a golden robe, standing barefoot under the evening sky, with a paintbrush in his right hand and a palette in his left.
Iron Law was among the works that inaugurated a new phase in Nerdrum's career, where the artist abandoned the contemporary, concrete settings of his 1970s works. The American critic Paul Cantor associated this with Friedrich Nietzsche's concept of master–slave morality: "His early paintings portray the modern world of slave morality; his later paintings portray an ancient world of master ...