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1	Prinsessan och livet : En ikonografisk-ikonologisk studie av prinsessan Eugénies konstverk Eklund, Sophia January 2021 (has links) This Bachelor's thesis in Art History at Uppsala University is an iconographical and iconological study of six artworks made by Princess Eugénie of Sweden and Norway (1830-1889). These works of art consists of two ink-drawings, two aquarelles and two sculptures. One of the sculptures is in porcelaine and the other in terra-cotta. The iconographical and iconological analysis is made according to Erwin Panofsky's three level-method. Art History Swedish art history iconography iconology Princess Eugénie female artists artist’s life in the 19th century. Art History Konstvetenskap
2	A Century of Swedish Gustavian Style : Art History, Cultural Heritage and Neoclassical Revivals from the 1890s to the 1990s Mårdh, Hedvig January 2017 (has links) This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia. Gustavian style authenticity style taste Swedish art history nationalism exhibition design reconstruction period furniture historical societies design history critical heritage studies museum studies historiography Nordiska Museet Nationalmuseum Svenska Slöjdföreningen Art History Konstvetenskap
3	Med blicken på modellen : Pierre Louis Alexandre i verk av Konstakademiens elever 1878-1903 / With the Gaze on the Model : Pierre Louis Alexandre in Artworks by Students at the Royal Swedish Academy for Fine Arts 1878–1903 Nagano Holm, Maya January 2021 (has links) Abstract The subject of the thesis concerns visual representations of the African diaspora in Swedish art history. The focus is on paintings by students at the Royal Swedish Academy for Fine Arts 1878–1903 for which the dockworker and artists’ model Pierre Louis Alexandre (1844–1902) posed. Twelve paintings are selected for visual analysis. Drawing on a theoretical framework provided by postcolonial studies and critical visual culture studies, the thesis investigates how Alexandre lent his body to visual types and representations, as well as how he himself emerges through these paintings. The thesis arrives at the following conclusions: Alexandre lent his body to several figures and representations constructed through contemporary orientalist ideas concerning race and the “Orient”. However, he can also be seen depicted as figures of the male worker in a modern Stockholm. Additionally, some of these images can be interpreted as the model himself emerging, thus enabling a claim to existence as an individual and subject, historical and visual. / Populärvetenskaplig sammanfattning Uppsatsen undersöker hur Pierre Louis Alexandre (1844–1905), levande modell och hamnarbetare med afrikanskt ursprung, framställdes i elevarbeten skapade på Konstakademien mellan 1878–1903. Med hjälp av postkoloniala studier och kritiska visuella kulturstudier samt konstvetenskapliga metoder för bildanalys undersöks tolv målningar som han poserade för. De frågor som ställs inför verken berör hur Alexandre lånade sin kropp till visuella representationer och typer, samt även hur han själv framträder genom målningarna. Målningarnas visuella innehåll och produktionssammanhang analyseras i relation till verkens och modellens samtida kontext, utifrån konsthistoriska perspektiv rörande konstakademiska ideal, och idéer kring ras, genus och klass. Resultatet visar att flera av de figurer modellen lånade sin kropp till konstruerades enligt samtida orientalistiska idéer kring ras och ”Orienten”. Dock så kan flera av verken istället ses skildra arbetaren som figur i ett samtida Stockholm. Slutligen kan Alexandre själv tolkas framträda genom verken, vilket möjliggör ett anspråk på historisk och visuell existens som individ och subjekt. Representation visual types orientalism visual culture artists’ model the black model Royal Swedish Academy for Fine Art 19th century Swedish art history countervisuality Representation visuell typ orientalism visuell kultur levande modell svart modell konstakademien 1800-tal svensk konsthistoria motvisualitet Humanities and the Arts Humaniora och konst
4	Barbro Östlihn och New York : Konstens rum och möjligheter Öhrner, Annika January 2010 (has links) The study analyses the American neo-avantgarde as well as the narratives of Swedish post World War II art history, through a specific subject position. The Swedish painter Barbro Östlihn (1930-1995) lived in New York from 1961, where her work was exhibited and received on a new art scene. Despite the strong focus within Swedish Art History on the 1960’s and the American art scene, Östlihn seems to be marginalized in its narratives. Studies of selected corpora of American art criticism, and of segments in the Swedish art scene in the 1960’s are maintained. Discursive and field-related mechanisms, which help to explain what positions were available, are revealed. Transnational processes of avant-garde culture between Manhattan and Stockholm are discussed, e.g. through an analysis of the American pop art show at Moderna Museet in 1964. This becomes the backdrop for the final chapter’s discussion of the narratives in post World War II Art History in Sweden. In the interpretation of Östlihn’s work-process, her use of photography is understood as a strategy to connect her painterly work with urban space. The painterly and the photographic are merged, as in other artistic practices in a historical moment of crisis in painting. The studio, the site where modes of art production are constructed, is one point of departure in a spatial analysis of the art field. Another is the ongoing urban renewal on Lower Manhattan and its impact on artistic work and on how artists are positioned. Östlihn’s co-operation in the work of her husband Öyvind Fahlström, is understood as a merging of a traditional division of work between genders, and new co-operative modes of art-production. The study is the first academic work on Barbro Östlihn, and covers the time span 1960-1969. Feminist theory, Pierre Bourdieu’s field theory and Michel Foucault's discourse theory is used as its main framework. Barbro Östlihn post war art history American post war art history Swedish art history pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Barbro Östlihn post World War II Art History American post World War II art Swedish Art History pop art feminism painting photography avantgarde neo-avantgarde Moderna Museet The Royal Academy of Art Aspect 61 Pentacle art criticism New York urban renewal Öyvind Fahlström Roy Lichtenstein Robert Rauschenberg Jasper Johns Billy Klüver Donald Judd Barbara Rose Dore Ashton Pontus Hultén NUNSKU Manhattan Urban Renewal Pierre Bourdieu Michel Foucault. Art Konstvetenskap

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