There is something unique about the art of Karin Mamma Andersson. It has a tone, it has something of its own that is hard to put into words. The stories Andersson tells lure us. She is also an exellent artist when it comes to materials and techniques. The purpose of this paper is to investigate if Andersson uses paint and techniques together with the stories she tells in her art. That Andersson has a unique world of images and that the narrative plays a great part in her art, is easy to understand. But is there an interplay with the way she paints? By using the iconological method of Panofsky and the semiotic method, three of Anderssons paintings have been analyzed. By the analyzes, the purpose has been to investigate if and how Andersson also uses her painting techniques to support the narrative in her stories. A comparative analysis and a comparison between the three paintings has also been done. As theoretical framework for the paper, the feminist grounded theory has been chosen and the intenstion is to apply it by using a gender perspective on chosen parts of the image analyzes. In the search, the conclusion is that everything is connected. It is impossible to seperate the narrative from the painting techniques or the painting techniques from the narrative. Together they form the entity of the feeling we as observers get when we look at Anderssons art - a feeling of something not spoken, a feeling of a caption, a feeling of not being certain where we are - are we in a dream or in reality? Or are we in both places at the same time?
| Identifer | oai:union.ndltd.org:UPSALLA1/oai:DiVA.org:uu-445317 |
| Date | January 2021 |
| Creators | Marschal, May |
| Publisher | Uppsala universitet, Konstvetenskapliga institutionen |
| Source Sets | DiVA Archive at Upsalla University |
| Language | Swedish |
| Detected Language | English |
| Type | Student thesis, info:eu-repo/semantics/bachelorThesis, text |
| Format | application/pdf |
| Rights | info:eu-repo/semantics/openAccess |
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