The History of the Stenersen Collection
The presence of the Stenersen collection in Bergen is the result of a significant act of generosity by Rolf Stenersen. In 1971, he donated nearly 250 works to the city of Bergen. This transfer of modern European art remains one of the most substantial gifts in Norwegian history, surpassed only by the collection of Edvard Munch gifted to Oslo municipality. The works arrived in Bergen as a cohesive body of modernism, reflecting a specific era of European creativity.
The establishment of the collection followed a precise arrangement. It was organized as a separate foundation, a structure that holds ownership of both the artworks and the building itself. This foundation ensures the continuity of the collection within the city. The 1971 donation remains a cornerstone of the local art landscape, providing a substantial presence of 20th-century works that continue to be presented through various exhibitions.
The Building and its Architecture
The structure located in Rasmus Meyers allé was designed by architect Sverre Lied and reached completion in 1978. The site itself was provided by the Bergen municipality at no cost to the foundation. This dedicated space was established to house the collection through a partnership of individual citizens, the Arts Council of Norway, and the private business community in Bergen.
The museum functions through a focus on rotating interests. On the first floor, the space is organized around temporary exhibitions that change with the seasons. The ground floor contains a bookshop, providing a quiet area for study and reflection on the works held within the foundation. The architecture supports a sense of movement, allowing the collection to be presented in various configurations rather than in a static arrangement.
Masterpieces of the Collection
The collection brings together significant presences from the 20th century, centering on the evolution of modern European art. Pablo Picasso is represented by Sylvette (1953) and Dead Cock and Jar, alongside Seated Woman (1953) and Peace Dove (1958). These works exist alongside the rhythmic compositions of Paul Klee, such as Trollritt / Ogre Ride (1923) and Scenic-Physiognomic (1931). The presence of Klee's Abstract Architectural Composition with Dark Yellow Ball (1915) offers a specific point of focus within the gallery's arrangement.
Abstraction and form define much of the visual experience here. Sonia Delaunay’s Composition No. 1173 and Asger Jorn’s Composition invite a quiet observation of color and movement. Victor Vasarely’s Yony II (1956-59) provides a structured counterpoint to the more fluid expressions found in Corneille’s Spring in the Desert (1955). These pieces are part of a broader assembly that includes works by Helene Schjerfbeck, Käthe Kollwitz, and the diverse styles of the modern era.
