Authored By Gail Hedstrom
Nearly one million people emigrated from Norway to the United States between 1820 and 1920. The reasons for migration included economic hardship, difficulty raising crops, dissatisfaction with the government, and concern regarding religious freedom. During this time, the United States of America was inviting people to homestead the unsettled Midwest. Inexpensive land and a fresh start presented an opportunity that many could not resist (Blegen 1931). Those making the journey used trunks and chests, to carry personal belongings. Often the trunks and chests were adorned with rosemaling (Stoughton Historical Society 2019).
Rosemaling is a Norwegian folk art that evolved from the baroque style of painting, popular in the 1600s, and the rococo style, popular in the 1700s (Miller and Aarseth 1974, 13-15). Rosemaling has roots in the wood carving patterns used for ornamentation in Norway in the 800s, the age of the Vikings (Miller & Aarseth 1974, 4). In the Middle Ages, decorative painting was used for ornamentation in churches and the homes of nobility (Samlaget 1988, 17). Different regions of Norway are known for specific types of rosemaling including Telemark, Hallingdahl, Valdres, Rogaland, Os, Gudbrandsdal, and Vest Agder (Rosemaling Styles, 2013).
Rosemaling was popular in Norway from the 1700s until the 1850s. The folk art was used to decorate walls, furniture, clocks, bed frames, and other household items (Ellingsgard 1988, 17-22). Rosemal painting was often a secondary source of income for people who were engaged in farming or another handicraft. “The rose painter worked not only in his own community but roamed at large around the countryside surrounding, receiving his pay in cash and kind. At the time he might have to make do with board and lodging, but this would almost invariably be during periods of severe economic depression” (Ellingsgard 1988, 20-21).
The above photograph depicts a wooden cheese box lid painted in the Telemark rosemaling style. Around the perimeter of the lid are the words, “Turi Ingrebret Datter Rustan 1861.” It is believed that the item came from Norway, due to a lack of provenance, that is not definitive. Patty Benson, the director of the Grant County Historical Society, identified the object and in an email exchange on March 4, 2019, explained the meaning of the words based on Norwegian naming customs. Turi is a first name, Ingebret datter indicates that Turi was Ingebret’s daughter. Rustan refers to the farm where she lived. The significance of the year is unknown.
Per Lysne, a Norwegian immigrant, who settled in Wisconsin in 1907, is often credited with making Rosemaling popular in the United States. He learned the technique from his father, an accomplished rosemaler in Norway (Lovoll 1998, 229). Per Lysne was employed as a painter at a wagon factory in Wisconsin, but he was laid off from his job during the depression of the 1930s. Resourcefully, he began Rosemaling to earn money (Stoughton Historical Society 2019). Like those in Norway, a century before, when facing financial difficulties, Per Lysne turned to folk art to earn a living.
References
Blegen, Theodore. 1969. Norwegian Migration to America: 1825-1860. Vol. 1. 2 vols. New
York: Arno Press.
Ellingsgard, Nils. 1988. Norwegian Rose Painting. Oslo: Det Norske Samlaget.
Norsk Rosemalers Association. 2003. “Rosemaling Styles.” Accessed March 6, 2019. http://www.rosemaling.org/styles.htm/.
Lovoll, Odd S. 1998. The Promise Fulfilled: A Portrait of Norwegian Americans Today. Minneapolis: University of Minnesota Press.
Miller, Margaret M. and Sigmund Aarseth. 1974. Norwegian Rosemaling: Decorative Painting on Wood. New York: Scribner’s and Sons.
Stoughton Historical Society. 2019. “Per Lysne and the Rosemaling Revival.” Accessed March 5, 2019. http://www.stoughtonhistoricalsociety.org/index.php/people/per-lysne/.