Anna-Eva Bergman

1909 (Stockholm) / 1987 (Grasse)
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In the hostile splendor of the Nordic countries, the principle of survival has led to consider a woman as equal to a man. In Norway, women artists are therefore more numerous than elsewhere. Yet, although Anna-Eva Bergman's autumn sonatas have the haunting brilliance of the metaphysical cinema of her Swedish namesake, her solitary and icy work still seems to suffer - in France at least - from the tragic shadow of Hans Hartung, the man of her life. If, after the war, the Norwegian was forcibly enrolled in the French lyrical abstraction of the School of Paris, it is as much by opportunity as by error - even by love. Born to simplify nature, she herself said she practiced an "art of abstraction".

Anna-Eva Bergman, Atelier Antibes 04-1975
© Archives Fondation Hartung-Bergman - Photo Francois Walch

Artist's issues

Issue 106

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