Åsebø, Sigrun, “Women Pioneers of Abstraction in 1950s Norway: the Balancing Act of Aase Texmon Rygh, Inger Sitter and Gudrun Kongelf”, in Greaves, Kerry (ed.), Modern Women Artists in the Nordic Countries 1900-1960, New York; London, Routledge, 2021, p. 39-50
→Godø, Randi E. V. (ed.) Aase Texmon Rygh: Modernisme for alltid!/Modernism forever!, exh. cat., Nasjonalmuseet for kunst, arkitektur og design, Oslo (March 7–September 28, 2014), Oslo, Nasjonalmuseet for kunst, arkitektur og design, 2014
→Bjerke, Øyvind Storm, Aase Texmon Rygh, Grønndal Dreyer, Oslo, 1993
Aase Texmon Rygh: Modernisme for alltid / Modernism forever!, Nasjonalmuseet for kunst, arkitektur og design, Oslo, March 7–Septembre 28, 2014
→Aase Texmon Rygh, Henie Onstad Kunstsenter, Bærum, December 5, 1992–January 24, 1993
→Aase Texmon Rygh, Galleri Moderne Kunst, Oslo, November 12–22, 1952
Norwegian sculptor.
Aase Texmon Rygh was a pioneer of sculptural abstraction in Norway. She was educated at the National College of Art and Design in Oslo from 1944 to 1946, and then at the Royal Danish Academy of Fine Arts in Copenhagen from 1948 to 1949. Aa. Texmon Rygh worked within modernist sculptural ideals, and her work underwent several gradual style changes over the course of her career.
When she began her practice, Aa. Texmon Rygh worked mostly in small formats using materials such as wood or bronze. Her first works explore sculpture as abstract dynamic motion. In Stor teakpike [Teak girl, 1952–1954] and Dans [Dance, 1955], she reduced the shape of the human body to curved forms. She captured embodied experience or movement, developing lines and working with the tensions between positive and negative space. This can be seen in her recurrent depictions of dance, through the visualisation of the lightness of ballet dancers’ movement in Piruett [Spiral, 1951], or the heavier feel of the Norwegian folk dance in Reinlender (1958).
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© Archives of Women Artists, Research and Exhibitions, 2023