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The aim of this thesis is to examine how mirrors were hung and used in decorating a room during the gustavian period (1770-1810) and the functionalistic period (1930-1939) in Sweden. I have compared the two styles and the way of decorating with mirrors. Based on the comparison I deduced the differences and similarities. The material which the thesis is based on are three drawings and one painting depicting four gustavian rooms containing mirrors. To illustrate the functionalistic period I used four photos from the catalogue from the Stockholm exhibition in 1930. To explain the context this thesis also contains a discussion of the mirrors technical history and the frame designs during the two periods. The questions I raised at the beginning of the thesis is how and were has the mirror been placed and is there a specific reason for this? Are there distinct differences between the two periods in how they decorated with mirrors? The results of my analysis shows that mirrors are often placed between two windows on the centre of the wall during the gustavian period. The functionalistic decorators on the other hand usually placed the mirrors a bit of centre on the walls. Differences between the two styles become apparent when looking at the way mirrors were used. In the early period the mirrors were a decorative element and a show piece with high status. Later it became just a necessary and useful object with a low status as it became more common.

Museum of Modern Art har varit mycket tongivande för historieskrivningen och definitionen av modernismen, "the international style". Svensk modernisms mest kärnfulla period 1930-1960, representeras av 55 objekt i MoMAs arkitektur och designsamling. De svenska objekten i samlingen visar på en reception av svensk design som mest inflytelserik under 1950-talet. Årtiondet är det mest välrepresenterade, till antalet objekt räknade, men ger också den mest representativa bilden av hur svensk design marknadsfördes i USA. De mest inflytelserika tillfällena för marknadsföringen av svensk design i USA under åren 1930-1960 är enligt konstprofessor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), världsutställningen i Chicago 1933, världsutställningen i New York 1939 och utställningen Design in Scandinavia 1954-1957. Knappt hälften av de representerade formgivarna i MoMAs samling fanns med under marknadsföringen ,vilket kan visa på samband mellan marknadsföringen och samlingens karaktär. / Museum of Modern Art has been very influential for the historiography and definition of modernism, "the international style". Swedish modernisms most vigorous period 1930-1960, is represented by 55 items in MoMA´s Architecture and Design collection. The Swedish objects in the collection show at a reception of Swedish design as most influential during the 1950s. The decade is the most well-represented, in number of objects counted, but also gives the most representative picture of how Swedish design was marketed in the United States. The most influential opportunities for the promotion of Swedish design in the United States during the years 1930-1960 are according to art professor Jeff Werner (Medelvägens estetik: Sverigebilder i USA), the World's Fair in Chicago in 1933, the World's Fair in New York in 1939, and Exhibition Design in Scandinavia 1954-1957. Just under half of the represented designers in the MoMA collection, were included in the marketing, which can show correlations between marketing and the collection's character.