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11	TIDENS MOTSTÅND : En komparativ studie av två skulpturer av Ellen Roosval / THE RESISTANCE OF TIME : - A comparative study of two Sculptures by Ellen Roosval Bergström Linder, Carin January 2022 (has links) This essay is a comparative study of two sculptures with the same motive and title, The Dance, by Ellen Roosval: a freestanding sculpture created in 1925 and a relief sculpture from 1933. The essay has two objectives: to analyse these works of art and to highlight the artist Ellen Roosval as an example of a female artist in the early 20th century. Roosval’s reworking of the free-standing sculpture into a relief generates multiple transformations. The research questions in the current study are: how the reception of the works relates to the viewer; how typology, site and material affect the design and expression; and how the two sculptures relate to the interwar period aesthetics, dance and the motive. In the analysis of both works aspects of their meaning in relation to the beholder’s experience have been crucial. The applied method of analysis originates from Wolfgang Kemp as developed by Jessica Sjöholm Skrubbe, with particular emphasis on the beholder’s movements, the meaning of the term site-specific and the impact of the base. The study begins with a general background on the situation for female sculptors in the early 20th century, the artist Ellen Roosval, and dance. The dance section also introduces the dance company The Swedish Ballet (1920-25) that the two versions of The Dance were a tribute to. Then follows a contextualized analysis of the works focusing on the formal elements, the different sites, bases and the beholder’s movements. Next follows an analysis of typologies, materials and stylistic expressions as well as the shaping of the human body, nudity and movements. Roosval’s The Dance 1933 is compared both to the relief The Dance by Antoine Bourdelle from 1912 and to the Swedish Ballet performances. The analysis concludes with a discussion of how the site relates to the choice of materials and how aesthetics and dance relate to the period 1920s. The results demonstrate aspects of various transformations in relation to the beholders experience. The final discussion concludes on Roosval’s norm-breaking achievements, which inspired the title of this essay: The Resistance of Time. Key words: Art history reception aesthetics freestanding sculpture relief sculpture dance transformations bronze granite Ellen Roosval female artist in early 20th-century Hallwyl museum in Stockholm The Swedish institute in Paris The Swedish Ballet Art History Konstvetenskap
12	“C” is for Ceramics – It Also Stands for: Collecting, Community, Content, Confusion, and Clarity Brod, Undine 12 September 2011 (has links) No description available. Art Education Families and Family Life Fine Arts Undine Brod ceramic sculpture mixed media sculpture art visual art memory found object animal animals family mothers self-reflective quesions studio practice art speak art clay artist American Artist Female Artist Narrative Doilies
13	Gerda Wallander : En återuppstånden konstnärinna / Gerda Wallander : A resurrected artist Olsson, Astrid January 2023 (has links) The purpose of this thesis is to examine the artistry of the Swedish artist Gerda Wallander (1860–1926). Wallander’s artistry has until recently been overlooked in Swedish art history, it is therefore uncharted territory. Provincialism is used as the overall theoretical framework in this study. By applying provincialism as the overall theoretical framework, the study distinguishes between international, national, and personal characteristics in Wallander’s aesthetics. In order to rediscover her artistry, the following study analyzes her biography, exhibitions, works of art, as well as the media coverage of Wallander’s artistry. The applied method is based on network analysis inspired by Pierre Bourdieu, biographical method, picture analysis inspired by Jan-Gunnar Sjölin, and close reading. The study demonstrates that Wallander’s artistic career is divided in two different periods, 1883–1895 and 1909–1919. Wallander’s aesthetics is characterized as moderate progressive in both of these periods, as the study suggests that this artistic sensibility enables her to gain recognition as a professional artist within the Swedish art scene. In addition, Wallander specializes in cityscape-painting depicting Stockholm during the early 20th century in her second artistic period. This illustrates the provincial aspects of Wallander’s artistry, as she implements both international and national artistic influences into her art. Furthermore, this study suggests that Gerda Wallander’s way of depicting pre-modern Stockholm is her way of dealing with the new urban experience, which is an effect of the rapid transformation of the Swedish capital in the beginning of the 20th century. The study exposes the lack of knowledge of this field, namely the depiction of Stockholm in early Swedish 20th century art within the Swedish art history discipline. Art history Gerda Wallander Alf Wallander female artist 19th century 20th century landscape cityscape Stockholm Paris Brüges provincialism plein-air post-impressionism modernism urban aesthetics Konstföreningen Föreningen för Nordisk konst Sveriges allmänna konstförening Svenska Konstnärernas Förening Konstnärshuset Art History Konstvetenskap
14	Sigrid Blomberg och altargruppen i Oskarshamns kyrka : en kvinnas verk / Sigrid Blomberg and the altarpiece in the church of Oskarshamn : a woman’s work of art Andersson, Anna-Malin January 2020 (has links) Sigrid Blomberg and the altarpiece in the church of Oskarshamn – a woman’s work of art, is an essay with the aim to describe, analyse and to discuss the gypsum altarpiece in the city church of Oskarshamn and its artist, the Swedish sculptor Sigrid Blomberg. The essay begins with a brief historical description of the situation for female artists in Sweden at the turn of the 20th century and a comment on the material chosen for the altarpiece – gypsum. This is followed by a short summary of the life of Sigrid Blomberg and two other examples of her work to illustrate and discuss similarities with the altarpiece in the church of Oskarshamn. This is followed by a description of the church and its interior, as well as the altarpiece’s history, creation process and problems. The essay then focuses on an analysis of the different parts, as well as the whole, of the altarpiece – characters, meanings and interpretations. The essay ends in a discussion of the findings and the author’s conclusions regarding the altarpiece and the artist’s place in the art history. Central in the essay is the apparent lack of female artists in the art canon and the reasons and effect due to this. The author uses a semiotic method and a feminist theory premiss to find the answers to questions such as: why was a female artist chosen for the assignment; how does the artwork compare to other, equivalent and contemporary artworks; how may the placing of the work have effected the perception of the altarpiece; have the perception changed over time; and finally what’s characteristic for the artist Sigrid Blombergs idiom? Altarpiece Gypsum Oskarshamn Sigrid Blomberg Sculptor Female artist Crucifixion Church Altargrupp altarprydnad kalvariegrupp skulptur skulptör skulptris Sigrid Blomberg Oskarshamn Oskarshamns kyrka gips kvinnlig konstnär krucifix Joh. 19:25-27 kyrka Bebådelsen Nationalmuseum konstnärlig kanon kvinna kvinnlig skulptör 1800-1900 motljusproblematik Kungliga medaljen Blomman Oskarshamns församling. Humanities and the Arts Humaniora och konst
15	President of Crimea. Constitution : Author(s) Autonomous Republic of Xena-Maria Kulykivska, Mariia January 2020 (has links) In this essay, two voices are heared, from two women: a certain artist Xena, who talks about her life and its dramas, interwoven with her own experiences from her diaries; and the voice of Maria, who analyzes Xena's life story and her art, diffracted through the prim of the history of 21stC art. Art the outset, "President of Crimea. Constitution", announces its author as Xena-Maria; but it is not yet clear whether the author is one person or two, nor who they are. Is it Maria who writes here, or Xena, or both? Or are they one and the same person? But at the end of the story, which is told rather in a form of certain legends and fairy tales, Maria and Xena turn into one whole, and meaningfully put an ellipsis after the words "to be continued". This reception was specially intended by the artist Maria Kulikovska, author of this essay, in order to protect both herself and the reader from possible persecutions by migration services and goverment officials of various countries, especially Russia. Also, for her it is an opportunity to step aside and analyze her own life and art form a third person, about which, perhaps, a fictional character from her childhood talks - a sensible step for Maria Kulikovska. The step that her creative language conceptually continues is to replicate casts of her own body and establish them in different spaces and contexts. So she fairly confuses the viewer as to where is the truth, and where is fiction; where is herself, and where is her clone - only now, here, she has applied the same trick in her text. This essay tells a very personal story of the life of a human body, a migrant woman in forced relocation, displacements, alienation and persecutions for her views on life and the conduct of society, and for her moral values expressed throught architecture, sculpture, drawings, performances, actions and public statements. Through the prism of geopolitical upheavals, it tells the artist's own story: How her analysis of own body position and boundaries helped her overcome stigma regarding the body of a woman from Eastern Europe, and how art can save and redeem in an unending inner drama. Maria Kulikovska art in exile exile displacement body borders art and borders migration sculpture performative sculpture performance action live performance objects art of Eastern Europe architecture feminism crimean artist ukrainian artist swedish immigrant artist political art installation manifestation Louise Bourgeois Joseph Beuys degenerative artists forbidden artists female artist Mariia Kulikovskaya queer art alien art productive alienation Masha Kulikovska Masha Kulikovskaya Мария Куликовская Маша Куликовская Марія Куликівська Марія Куліковська художник в изгнании искусство в изгнании крымская художница украинская художница тело границы феминизм в искусстве квир художник Visual Arts Bildkonst

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