Det allt mer digitaliserade samhället innebär att företag har valt att satsa på marknadsföring på sociala medier. Instagram som har blivit en mycket populär plattform för visuellt skapande och kan användas av företag för att förmedla sin identitet samt för att vinna konkurrensfördelar och marknadsandelar. Eftersom plattformen ofta används som ett tanklöst socialt medium har företagen inte lång tid på sig att fånga konsumenternas uppmärksamhet. Det blir därför av stor vikt för företag att sticka ut på plattformen och förmedla en stark identitet så de inte hamna i skuggan av andra bilder som publiceras på forumet varje dag.   Studien hade som mål att undersöka hur väl bilder på Instagram reflekterar smyckesföretags identitet, samt hur bilder kan medverka till att bygga identitet. Eftersom ett fåtal smyckesföretag har kapacitet eller personal att genomföra och utforma en effektiv designstrategi samt då de saknas tidigare studier inom detta område, är de viktigt att undersöka denna bransch. De smyckesföretag som studien behandlat är Sophie by Sophie, Malin Ljung Jewellery, Caroline Svedbom Jewellery, Drakenberg Sjölin och Guldfynd.   Metoden som användes är kvalitativ undersökning och inkluderade semi-strukturerade intervjuer. Intervjuerna bestod av två olika moment, där första momentet innebar att respondenterna fick svara på frågor gällande användningen av Instagram samt som marknadsföringsplattform. Under andra momenten fick respondenterna studera olika bilder av de fem smyckesföretagens Instagramkonton samtidigt som de fick besvara frågor.   Studien bidrog till slutsatser som att begreppet identitet var ett brett begrepp som var svårt att definiera. Respondenterna ansåg att enbart ett av företagen utstrålade sin identitet, de övriga lite eller inget alls. Det fanns flera likheter och skillnader i hur estetiken uppfattas men färger, personer och smycken på bilderna, vardagliga- och studiobilder, bildkomponering samt materialval var vad som oftast kommenterades. / The increasingly digitized society means that companies have chosen to invest in marketing on social media. Instagram has become a very popular visual creation platform and can be used by companies to convey their identity and gain competitive advantage and market share. Since the platform is often used as a thoughtless social medium, companies do not have much time to catch the consumers’ attention. It will be of great importance for companies to stand out on the platform and convey a strong identity so that they do not end up in the shadow of other images published on the forum every day. This thesis goal was to investigate how well images on Instagram reflect the identity of jewellery companies, and how images can contribute to building an identity. Since a few jewellery companies have the capacity or staff to implement an effective design strategy and since it lacks previous studies in this area, it is important to investigate this industry. The jewellery companies that are in this thesis is Sophie by Sophie, Malin Ljung Jewellery, Caroline Svedbom Jewellery, Drakenberg Sjölin and Guldfynd. The used method is qualitative examination and included semi-structured interviews. The interviews consisted of two different moments, where the first moment meant that the respondents answered questions regarding the use of Instagram and as a marketing platform. During other moment, the respondents were asked to study different images of the five jewellery companies' Instagram accounts while they answered questions. The thesis contributed to the conclusion that the concept of identity was a broad concept that was difficult to define. The respondents considered that only one of the companies expressed their identity, the others expressed little or nothing at all. There were several similarities and differences in how aesthetics perceived but colors, persons and jewellery in the pictures, every day and studio images, image composition and material selection were the most commented.

Alexandre-Gabriel Decamps (1803-1863) set out on his only trip to Greece and Turkey in 1828 to return to France and produce visual images of the Orient at a time when no major European artist had traveled to the Near East and at a time when the Orient had yet to be experienced, understood, and interpreted. Decamps’ highly original and personal interpretation of the Orient in painting has been studied by present-day scholars exclusively within the context of Romantic Orientalist genre painting. Studying criticism written on his work throughout the 19th century and working closely with his paintings, certain issues in his Orientalist paintings question the longstanding categorization of his work as solely Romantic Orientalist genre paintings. The fact that the artist never returned to the Orient; the fact that he invested his Orientalist landscapes with a Rembrandesque rather than Oriental light; his constant inclusion of contrasting opposites in the ostensibly subdued compositions he produced; the striking differences between his Oriental visual expressions and those of his Romantic contemporaries; and his own sentiment of being a failed artist, reveal alternative, less settled, readings of his work. Studying Decamps’ Orientalist oeuvre in its social and political contexts and taking into account the artist’s personal ambitions demonstrates the lasting resonance of this work, of the artist’s highly original working methods, and of his innovative technique. This study provides an assessment of Decamps’ Oriental work; it also delineates its relevance and influence in movements beyond Romanticism and into trends that developed during the late 19th and early 20th centuries. / Thesis (Master, Art History) -- Queen's University, 2008-12-11 20:43:05.08