The earliest-known Norwegian sculptural works are stone carvings dating from the period 5000-1500 BCE, found in the mountains of Nordland and Nord-Trøndelag. Featuring animals such as reindeer, moose, deer and bear, these symbols of the hunt continued to be carved throughout the pre-Christian era and even beyond – in the eastern parts of Norway several richly-ornamented rocks featuring Christian motives have also been found. The richly-decorated wooden portal at Urnes stave church, dating from the second half of the 11th century, is considered to be the last monument containing carvings representing animals, but in any case animal symbolism was by this time influenced mainly by religious motives. During the Bronze Age too, geometrically-shaped ornaments were created, and by around 400 BC these had evolved into a basic style featuring eagles, wolves and snakes which was to remain unaltered until the middle ages. Findings from the Viking Era show ornamental treatment of high artistic value.

Norway’s first sculptural portrait is considered to be Eysten Rex, a marble head of Norwegian King Øystein Magnusson (1088-1123) found in the Munkeliv monastery at Bergen. Extensively represented at the Nidaros Dome in Trondheim (Nidaros was the original name of the city of Trondheim), the stone sculpture of the 13th century was influenced by both English technique and French Gothic style. The principal sculptural symbols of this century were the crucifix, Mary and the Holy Child and Olav Tryggvasson, also known as Olav den Hellige (‘Olav the Sacred’). The late Gothic era which followed was dominated by imported work from Germany, Brabant and the Netherlands.

Prior to the Reformation, sculptural work was mainly figurative, and during the 17th century a strong tradition of episcopal art developed in the form of altar pieces, altar panels and altar chairs, all of which laid the foundations for the rich ecclesiastical sculptural traditions of the Baroque era. Examples of this may be found in Vår Frelsers Kirke (Our Saviour’s Church) in Oslo, whence this new technique quickly spread to the regions, especially Hedmark and Gudbrandsdalen. Artists mostly carved in either wood or stone and sculptures were rarely produced. As in many other disciplines of the arts, leading Norwegian sculptors such as Magnus Berg (1666-1739) generally had to move to Denmark to find work, a situation that did not change until Norway was in Union with Sweden.

Hans Michelsen (1789-1859), a Norwegian student of Danish sculptor Bertel Thorvaldsen living in Rome, came under the patronage of the Swedish King Karl Johan and lived for many years in Stockholm. He later returned to Norway and initiated the restoration work at the Nidaros Dome. Thereafter Michelsen and his contemporary Julius Middelthun (1820- 1886) followed classical sculptural principles, but were also strongly influenced by Realism. Another important sculptor, Brynjulf Bergslien (1830-1898), developed a Realistic style rooted in National Romanticism. His work is represented by his sculpture of Karl Johan on horseback in the square outside the royal palace in Oslo. Stephan Sinding (1846-1922) also gained international recognition for his more classical sculptural work.

The 1880s and 1890s were a period in which Norwegian sculpture was heavily influenced by symbolism, and the sculpture created by Gustav Vigeland (1869-1943) during this decade represents within a European context some of the finest art work of its time. Vigeland worked for some time with the restoration at the Nidaros Dome, but after the turn of the century he developed a more simplistic style. The Vigeland Park in Oslo, together with Vigeland’s own museum, features his entire sculpture collection and various artistic phases. Anders Svor (1864- 1922) and Lars Utne (1862-1922) were important contemporaries of Vigeland.

From the 1920s new sculptural ideals of Expressionism were developed which would be a trade mark for Norwegian sculpture throughout the century. They were represented in art works by Dyre Vaa (1903-1980), Gunnar Janson (1901-1983), Emil Lie (1897-1967), Nic Schiøll (1901-1984), Stinius Fredriksen (1902-1977), Per Hurum (1910- 1989), Per Paalle Storm (1910-1994), Anne Grimsdalen (1899-1961) and Joseph Grimeland (b1916).

From the 1950s Aase Texmon Rygh (b1925), Carl Nesjar (b1920) and Odd Tandberg (b1924) worked on a more mathematical and geometrical basis. More abstract sculpture was introduced by Arnold Haukeland (1920-1983) and surrealism and constructuralism by Ramon Isern (b1914). Nils Aas (b1933) represented figurative sculpture and is well known for his sculptures’ individual expressions (see the Nils Aas Arts Workshop). Also noteworthy during this period were the works of Knut Steen (b1924), Boge Berg (b1944), Arne Vinje Gunnerud (b1930) and Ola Enstad (b1942).

During the 1970s Norwegian sculpture was once more strongly influenced by international trends and styles. Bård Breivik (b1948) and Kristian Blystad (b1946) represented a new generation of Norwegian sculptors and were both strongly opposed to the old traditions of the 1920s. Breivik’s work combines exquisite craft with simple design, focusing on the quality of the material. Blystad exposes more figurative work, yet focusing on the same qualities. Together they have given Norwegian sculpture a renaissance and a new identity. Other important figures of this decade included Nico Wideberg (b1960), Gunnar Torvsund (b1948), Helge Røed (b1938), Per Ung (b1933), Sissel Tolaas (b1946), Wenche Guldbransen (b1947) and Istvan Lisztes (b1942).

In recent years Norwegian sculptors have extended their work to involve more than just a sculpture and to use materials other than just stone, bronze or marble. Jon Gundersen (b1942) creates sculptures by using ‘the disposables of modern society’, creating ironic and poignant transformations through the recycling of waste. Kjell Erik Killi Olsen (b1952) uses metal and is particularly known for his massive metal sculpture in Vesterålen (1994). Kjartan Slettemark (b1932) lives and works in Sweden but his powerful, provocative pieces remain an important influence. He works with all kinds of material, focusing particularly on the installation of dolls and figures made out of waste; his current work lies at the intersection between sculpture and installation art. A number of contemporary sculptors have experimented with other media such as light, sound, space and movement. Noteworthy names include Per Inge Bjørlo (b1952), Bente Stokke (b1952), Marianne Heske (b1946), Børre Larsen (b1952), Per Barclay (b1955)and Eva Kun (b1954) (See www.culturebase.net). The younger generation working three dimensionally will also be promoting their productions as installation art.

One of the most recent sculptural projects to make an international impact is the two projects running as part of Artscape Nordland's activities (please see Art in Nordland. In the 33 municipalities 33 artists were invited to present 33 permanent artworks in the landscape.

See Association of Norwegian Sculptors, http://www.skulptur.no, for further information on sculpture in Norway.