La revue Art d’aujourd’hui paraît de juin 1949 à décembre 1954, constituant une somme de trente-six numéros. Créée pour défendre et promouvoir l’abstraction géométrique et la synthèse des arts, elle s’inscrit dans un ensemble d’actions dont l’objectif principal est de rendre l’avant-garde accessible au plus grand nombre. Pour cela, elle bénéficie notamment de la collaboration de critiques influents des années cinquante.A partir des apports propres à Art d'aujourd'hui (son contenu – textes, illustrations, mise en pages -, ses archives, ses rédacteurs, les témoins vivants), nous abordons ensuite plus largement la problématique du rôle social qui peut être donné à la création plastique des Trente Glorieuses à nos jours. Qu'en est-il en effet aujourd'hui des objectifs de cette revue : l'art dans le quotidien, l'enseignement de l'art dans le milieu scolaire et la prise en compte des publics dans les musées d'art moderne et contemporain ? / The review Art d'aujourd'hui was published between June 1949 and December 1954, amounting to thirty-six issues. Created to defend and promote geometric abstraction and the synthesis of the arts, the review was one of a range of activities whose main objective was to make the avant-garde accessible to everyone. To that end, the review benefited from the collaboration of the most well-known and important art critics of the fifties.Following the analysis of the specific attributes of Art d'aujourd'hui (its content – texts, illustration, and composition; its archives, its writers and the testimony of witnesses), this thesis tackles the broader question of the social role of the plastic arts during the period from the so-called Trente Glorieuses to the present day. What today are the goals of Art d'aujourd'hui: art in daily life, the teaching of art at school, and the acknowledgement of the public for museums of contemporary and modern art?

The aim of my thesis is to study the release and the project of Litografiskt Allehanda, an art magazine covering contemporary Swedish art and artists, published from 1859 to 1865. My purpose is to look at the choice of the published material for Litografiskt Allehanda, the influence the contributing artists, how the work with advertisement and subscriptions was made and if it fulfilled its own purpose. Through a social and communicative perspective I am studying the relations between the different actors like the publicists, the artists, the subscribers and also the interaction between the lithographs and the texts.  Litografiskt Allehanda was the first successful lithographic work produced in Sweden, and the release lasted for six years. The printer and lithographer Axel Jacob Salmson, who was the founder of the magazine, led the printing work for two years before Sigfrid Flodin, a bookseller, took over and continued the work for another four years. The idea with Litografiskt Allehanda was to reach out to people all over Sweden and give everyone an opportunity to enjoy art, something that usually was exclusively for the upper class in the big cities. The analysis shows that there were people in smaller cities that subscribed to the magazine and also that the amount increased every year. Every volume contained 48 lithographic posters with a diversity of genres, from portraits and landscapes to some with more ethnographic character and ancient Nordic motives. The content became more Swedish with every year and letters show that the participating artists had quite a big influence over the published material. Every poster was accompanied by a text, which didn’t necessary had anything to do with the image, but was meant to create some entertainment for the reader. Some of these essays were written by special authors, while some were written by the artists themselves. Even if Litografiskt Allehanda is mentioned in almost every reference as being of great importance for the development of lithography and its proliferation in Sweden, there is nothing written that is just about the magazine.