Authors Teresa Lanceta, Nuria Enguita, Michael Tarantino
Artist Anna-Eva Bergman (1909–1987) viewed rhythm as a structural element of painting, a rhythm stemming from the employment of certain materials, forms, lines and colours. From 1950 onwards, abstraction became the form of expression and landscape the formal frame of reference in her work. The exhibition From North to South, Rhythms foregrounds her relationship with Spain, which she visited frequently, and the link she established between Norwegian and Spanish — north and south — landscapes, leading to similarities in formal terms, but with very different tones between both.
This publication examines Bergman’s formal training, her pictorial technique and the use of metal sheets in keeping with byzantine pictorial tradition, and particularly her ties with Spain and the impression the Almería landscapes made on her painting, particularly her horizons, stones and cliffs, thus revealing an intimate experience with nature.
This project has been made possible through an institutional collaboration between the Museo Reina Sofía, the Fondation Hartung-Bergman, in charge of overseeing the artist’s legacy, and Bombas Gens Centre d’Art/Fundació Per Amor a l’Art.