Ragna Breivik
Ragna Breivik was a Norwegian tapestry designer and weaver.
Personal life
Breivik was born on 9 September 1891 to Marta Knutsdotter and Lasse Breivik at the farm of Rød in Fana Municipality, Hordaland county. The area is now part of Bergen Municipality in Norway. She learned to weave from her mother at an early age and could card, spin, dye, and weave by the age of ten. In childhood she also developed a strong interest in Norse mythology and Norwegian history, which would lead to a longstanding association with the painter and illustrator Gerhard Munthe. Throughout her life she was acquainted with many other leading Norwegian artists, including the painter Nikolai Astrup, and the prominent Norwegian cultural historian was a champion of her work.In 1917 she moved to Oslo, and in January 1927 to America, returning to Norway in 1932 after the death of her mother the previous year. Her brother, Captain Nicolai Breivik, drowned when his ship Elfrida sank in a storm on 9 December 1959. This greatly affected Ragna, who created the tapestry Engelen satt krone på in his memory. She herself died at Rød on 10 March 1965 at the age of 73.
Education
Breivik undertook a course in weaving at Bergen's Home Crafts Association in 1910, followed by a one-year course in weaving and vegetable dyeing at in 1910–11 under the tutelage of Hilda Kristensen. At her father's suggestion, she trained as a teacher at the in Oslo in 1914.Career
Breivik's first independent tapestry work was Dansk Folkevise in 1913, based on a painting by the Danish fresco painter Joakim Skovgaard. She took a position as a teacher of needlework and weaving at Nordhordland County School from 1915 to 1916. Her work from this period until 1920 includes De fem gode og de fem dårlige Jomfruer after a drawing by the artist Sigurd Lunde; Lunde later became a great help to her by adapting Gerhard Munthe's watercolours for weaving. She also wove two tapestries based on cartoons by the painter Axel Revold, Bjergprekenen and Jesus i Getsemane, as well as one based on Paa Havets Bund after a design by the painter Arne Lofthus.1920 saw the first of Breivik's many tapestries based on the designs of Gerhard Munthe, Trollebotn. It was followed in the early 1920s by another, Draumkvædet, woven for Fana Municipality and considered one of her major works. In 1921 she became a teacher of tapestry, dyeing, and spinning at, where she stayed until 1936. Her work was included in a group exhibition at the in 1926.
Her most renowned work is the Åsmund Frægdegjæva tapestries, a series of ten tapestries which she produced from 1923 to 1949 at her home in Rød i Fana from drawings by Munthe. The tapestries are now housed at the Bryggens Museum in Bergen, forming the centrepiece of a dedicated exhibition "Tales in Thread" of Breivik's life and work in 2025. The series illustrates the events of the medieval Norwegian ballad Åsmund Frægdegjevar.
From 1927 to 1932 she was an artist-in-residence at Edgewater Tapestry Looms in New Jersey, USA, with a solo exhibition at the Architectural League of New York running throughout her residency. At Edgewater she was in charge of all the wool dyeing for the studio, allowing her free rein to use her flair and sense of colour; in one single-panel tapestry she noted down 6,112 different shades, all from natural plant dyes, including over 40 used to depict the skin of a single face in the design. While in America she also exhibited at the Metropolitan Museum of Art, Brooklyn Museum, and the Toledo Museum of Art in Ohio, receiving critical praise in both the American and Norwegian press, including from prominent figures such as Allen H. Eaton and Knut Gjerset.
Breivik continued to produce tapestries based on Munthe's works after the completion of the Åsmund Frægdegjæva series. In 1949 she finished Døren i fjeldet, exhibiting with other artists in Munthe's house the same year. In 1951 she headed the tapestry course at the Bergen School of Arts and Crafts, and received a three-year work grant from the Norwegian state from 1951 to 1954. She also taught the textile course at the same institution from 1962 to 1963. In the period 1953–62 she wove eight tapestries from her own drawings with biblical motifs, and produced two more works from Munthe's drawings in the early 1960s: Engelen satt krone på in memory of her brother Nicolai and based on a vignette in Minder og meninger in 1960, and Beileren in 1962. She finished her final tapestry, again from a Munthe design, in February 1964.