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The Global ETD Search service is a free service for researchers
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Showing 1 to 3 of 3 (0.035 seconds)Spelling suggestions: "subject:"kungliga"" "subject:"kunglig""
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Anders Zorns kungliga porträtt : En förändrad bild av kunglighet i en tid av demokratiseringTrygg, Hanna January 2024 (has links)
Anders Zorn är allmänt ansedd som en av sin tids främste porträttkonstnärer och bland hans mest upphöjda modeller hittar vi diverse medlemmar i den svenska kungafamiljen. I den här uppsatsen undersöks tre av hans kungliga porträtt utförda mellan åren 1898 och 1909. De tre porträtten är alla målade i olja på duk och föreställer de två kungarna Oskar II och Gustaf V samt änkedrottning Sofia av Nassau. Uppsatsens syfte är att undersöka Zorns kungliga porträtt i relation samtida framställningar av kungligheter, den kungliga porträttraditionen i Sverige och statsporträttet som genre. Frågeställningarna centrerar kring hur porträtten förhåller sig till den kungliga porträttraditionen, hur Zorn använde sig av klädsel och attribut och vilken effekt det fick i hans framställningar, i vilken utsträckning som hans verk följer den traditionella kungliga ikonografin och hur den personliga relationen till kungligheterna påverkade framställningarna av dem. Undersökningen utgår ifrån en semiotisk bildtolkning av de tre verken och uppsatsens teoretiska perspektiv utgår ifrån T.J. Clarks beskrivning av socialhistorisk konstvetenskap. Resultatet visar att Zorn använder sig delvis av den kungliga ikonografin samt använder sig av element vanliga inom statsporträttets genre samtidigt som han i det stora bryter med traditionen både när det kommer till klädsel, attribut och komposition. Det har även framkommit att relationen till kungligheterna var nära och att detta säkerligen påverkade den informella tonen i Zorns kungliga porträtt. Undersökningen visar också att Zorns porträtt kommer till i en brytningstid där hans kungliga porträtt har mer likheter med de som kommer efter än de som har tillkommit tidigare. / Anders Zorn is generally considered one of the most prominent portrait painters of his time and among his subjects we find several members of the Swedish royal family. This thesis investigates three of his royal portraits painted between 1898 and 1909. The portraits are all painted in oil on canvas and depict two kings, Oscar II and Gustaf V, as well as the dowager queen Sofia of Nassau. The aim of the thesis is to investigate Zorn’s royal portraits in relation to contemporary depictions of royalty, the traditional royal portraiture in Sweden, and the state portrait genre. The questions focus on how the portraits relate to the royal portrait tradition, how Zorn used clothing and attributes and the effect this had in his representations, to what extent his work follows traditional royal iconography, and how his personal relationship with the royals influenced the representations of them. The investigation is based on a semiotic interpretation of the three works, and the essay's theoretical perspective is based on T.J. Clark's description of social art history. The results show that Zorn partially uses the royal iconography and elements common within the genre of the state portrait, while he also largely breaks with tradition in terms of clothing, attributes, and composition. It is also shown that the relationship with the royal family was close and that this certainly influenced the informal tone of Zorn's royal portraits. The investigation also shows that Zorn's portraits are produced at a turning point where his royal portraits have more similarities with those that follow than those that precede.
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Diadem och identitet : En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem / Diadem and Identity : A Study on Identities in Empress Josephine's Pearl and Cameo Diademaf Klinteberg, Kristina January 2020 (has links)
This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris. To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study. When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus. A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809. Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit. Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.
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Ett diadem och dess ikonografi : En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 2010 / A Diadem and its Iconography : A Study of Empress Josephine’s Pearl and Cameo Diadem in Portraits between 1812 and 2010af Klinteberg, Kristina January 2021 (has links)
The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.
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