THE VIGELAND PARK covers an area of 80 acres. The park contains 212 sculptures, all modelled life-size by Gustav Vigeland himself. He also designed the architectural setting and layout of the grounds. The sculptures are arranged along an 850-metre-long axis divided into five main sections: the Main Entrance, The Bridge with the children's playground, The Fountain, The Monolith Plateau, and The Wheel of Life.
The Vigeland Park showcases a large collection of Gustav Vigeland’s works, including 212 sculptures in bronze and granite as well as several wrought iron gates. Vigeland modelled all his sculptures in full size without assistance from pupils or other artists. The carving in stone and the casting in bronze were entrusted to a group of skilled craftsmen.
At the highest point of the park, on the Monolith Plateau, circular stairs lead up to the Monolith. The sculpted section, featuring 121 figures, is 14.12 meters tall, and the total height including the plinth is 17.3 meters. The Monolith was carved from a single granite block, which is the origin of its name (mono: one, litho: stone). While the Fountain expresses the melancholy theme of the eternal life cycle, the Monolith suggests a very different meaning: man’s longing and yearning for the spiritual and divine. Could the column symbolize man’s resurrection? The figures are drawn heavenward, expressing not only sadness and restrained despair, but also joy and hope, accompanied by a sense of togetherness, holding each other tightly in this strange feeling of salvation.
The first small sketches for this giant column date back to 1919. Vigeland modelled it life-size in clay in his new studio at Frogner during 1924 and 1925, completing it in just ten months. It was then cast in plaster. In the autumn of 1926, a granite block weighing several hundred tons was transported by sea up the Oslofjord from a quarry near Halden. The block arrived in early 1927 and was erected the following year. A shed was built around the stone, and the plaster model was placed beside it.
The process of transferring the figures began in 1929 and took three stone carvers 14 years to complete. In 1943, the final parts of the plaster model were dismantled and taken back to the Vigeland Museum, where they can still be admired today. Before the shed was demolished around Christmas 1944, the public was allowed inside. Nearly 180,000 visitors climbed the shed’s steep stairs to study the work up close.
The Vigeland Park showcases a large collection of Gustav Vigeland’s works, including 212 sculptures in bronze and granite as well as several wrought iron gates. Vigeland modelled all his sculptures in full size without assistance from pupils or other artists. The carving in stone and the casting in bronze were entrusted to a group of skilled craftsmen.
At the highest point of the park, on the Monolith Plateau, circular stairs lead up to the Monolith. The sculpted section, featuring 121 figures, is 14.12 meters tall, and the total height including the plinth is 17.3 meters. The Monolith was carved from a single granite block, which is the origin of its name (mono: one, litho: stone). While the Fountain expresses the melancholy theme of the eternal life cycle, the Monolith suggests a very different meaning: man’s longing and yearning for the spiritual and divine. Could the column symbolize man’s resurrection? The figures are drawn heavenward, expressing not only sadness and restrained despair, but also joy and hope, accompanied by a sense of togetherness, holding each other tightly in this strange feeling of salvation.
The first small sketches for this giant column date back to 1919. Vigeland modelled it life-size in clay in his new studio at Frogner during 1924 and 1925, completing it in just ten months. It was then cast in plaster. In the autumn of 1926, a granite block weighing several hundred tons was transported by sea up the Oslofjord from a quarry near Halden. The block arrived in early 1927 and was erected the following year. A shed was built around the stone, and the plaster model was placed beside it.
The process of transferring the figures began in 1929 and took three stone carvers 14 years to complete. In 1943, the final parts of the plaster model were dismantled and taken back to the Vigeland Museum, where they can still be admired today. Before the shed was demolished around Christmas 1944, the public was allowed inside. Nearly 180,000 visitors climbed the shed’s steep stairs to study the work up close.