| 21. |
- Andersson, Maj-Britt, 1955-
(författare)
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Sköna hem i Hälsingland
- 2010
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Ingår i: Byggnadskultur. - Svenska byggnadsvårdsföreningen : Byggnadsvårdsföreningen. - 0348-6885. ; 4, s. 38-41
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 22. |
- Andersson, Maj-Britt, 1955-
(författare)
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Svar till Erik Nordin.
- 2004
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Ingår i: RIG. - Lund. - 0035-5267 .- 2002-3863. ; :1, s. 52-53
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Tidskriftsartikel (populärvet., debatt m.m.)
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| 23. |
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| 24. |
- Andersson, Maj-Britt, 1955-
(författare)
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Till gårdens prydnad : en jämförande studie av Forsadörrar och Pehr Westman-portaler
- 2006
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Ingår i: RIG. - Lund : Föreningen för svensk kulturhistoria. - 0035-5267 .- 2002-3863. ; :3, s. 139-155
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Tidskriftsartikel (refereegranskat)abstract
- Portals of beauty The county of Hälsingland is well-known for its large, red-painted farms decorated with impressing porches. In Forsa though, there are white doors typical for this parish. They are decorated with ornaments like flowers, fabulous beasts and biblical inscriptions. The aim of this essay is to compare doors created by the carpenters in Forsa Jöns Månsson and Jonas Lust with the portals by the artist Pehr Westman in the parish of Hemsö, Ångermanland, at the beginning of the 19th century. The carpenters are studied in their social, economical, cultural and architectural context. Jöns Månsson and Jonas Lust developed characteristic mixtures of rococo, Swedish Classicism, empire for decoration of doors, portals, interiors, and furniture. They belonged to a social category called outsiders who were not farmers but often farm-hands, tenement soldiers and craftsmen. Their work can be studied as artistic interpretations of the local mentality, its normsystem, style-codex. The portals of Pehr Westman in Hemsö, Ångermanland, are considered as independent works by a self-conscious talented artist who did not follow a local aesthetic system. Westman was a farmer himself, but delivered artistically expressiv Gustavian portals to local farmers, mansions, burghers in nearest town Härnösand, and Stockholm, where he also had his education. Pehr Westman introduced the Swedish Classicism in Ångermanland. His local cultural knowledge and the style of the regional rural architecture facilitated his introducation of a new style. Storsnickare in Norrland were stylists in independent pre-industrial communities aware of new fashion styles, and of the different tastes in other parishes and nearest town. The craftsman who was at the one with the aesthetics of the parishioners and could add some innovation, was the most sought after, in Hälsingland as well as Ångermanland.
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| 25. |
- Andersson, Maj-Britt, 1955-
(författare)
-
Varför hålls Agnes Andersson tillbaka?
- 2008
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Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 13:3, s. 58-68
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Tidskriftsartikel (refereegranskat)abstract
- This article presents the photographers Mathilda Ranch (1860-1938) in the town of Varberg in the south of Sweden and Agnes Andersson (1865-1958) in the parish of Alfta in north of Sweden. In their lifetime Sweden was changing into the industrial era introducing new professions beyond gender connotations. Individuals desiring independence found new lifestyles. Ranch and Andersson both lived in their own houses and never married. As photographers they lived in a modern zone where they could reject a compulsory heteronormative partnership. In Varberg, people said that Mathilda Ranch did not like men, due to her inferior social position as an unmarried woman. In Alfta, there was a silence concerning the familylife of Agnes Andersson although her "foster daughter" took over the atelier. Agnes Andersson is an appreciated photographer and parishoner, but as "Mathilda" in Varberg often intimately diminished as "Agnes" and far from fame outside Alfta. Why is Agnes Andersson held back?
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| 26. |
- Andersson, Maj-Britt, 1955-
(författare)
-
Vidmakthåller myten
- 2011
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Ingår i: Byggnadskultur. - Stockholm : Byggnadsvårdsföreningen. - 0348-6885. ; :3, s. 46-
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Recension (övrigt vetenskapligt/konstnärligt)
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| 27. |
- Andersson, Maj-Britt, 1955-
(författare)
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Villa Farnesina och Sodoma : konstvetenskapens heteronormativitet marginaliserad
- 2007
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Ingår i: Lambda Nordica. - Stockholm : Lambda Nordica. - 1100-2573 .- 2001-7286. ; 12:3, s. 33-60
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Tidskriftsartikel (refereegranskat)abstract
- The Villa Farnesina in Trastevere in Rome, built 1506-1511 for the rich banker Agostino Chigi from Siena is a Sienese Renaissance-villa in which noble and harmonious architecture and pictorial decoration fuse into a synthesis. The sober volumetric and spatial articulation of the Villa, devised by the architect, painter and theatrical designer Baldassare Peruzzi from Siena, is a perfect setting for the rich decorative programme of the interior frescoed by great masters as Raphael, Sebastiano del Piombo, Peruzzi himself and Giovanni Antonio Bazzi, known as Sodoma. Villa Farnesina was built as a permanent and representative habitation for Chigi and his young spouse Francesca Ordeaschi whom he married in 1519, framed by frescoes with evident allusions to the glory of the banker, the ancient world, eroticism and love. The bedchamber that was to receive the spouses was the most intimate room in the Villa. Chigi wanted to allude to its function and commissioned the decoration from Bazzi, whose nickname derived from his habits. Beneath a magnificent coffered ceiling with erotic motifs he decorated the walls with a fresco cycle showing the wedding of Alexander the Great and his bride Roxana. The centerpiece of the narrative is the scene of the imminent consummation of the marriage, assisted by two men who are Alexander´s lover and the god of marriage. The decoration programme of Villa Farnesina reveals sexual norms, values and conventions, which can also be seen in the context of Sodoma´s work in Siena, where he married and settled down after leaving his commitment Stanza della Segnatura in the Vatican to Raphael. Influenced by Raphael and Michelangelo he successfully introduced la maniera moderna from Rome, including a spectacular personal lifestyle. Sodoma´s work is characterized by a striking sensual homoerotic charisma. In the Sienese frescocycles in Abbazia Monte Oliveto Maggiore, Oratorio di San Bernardino, the church of San Domenico women as well as men are flirting with each other. He had committments in prestigious environments as Palazzo Comunale, the Cathedral, Santa Maria della Scala, palaces and churches all over the republic of Siena. The organization of sexuality in his home-town seem to have given Sodoma a more solid artistic and social reputation than among art historians of the 20th century. Art history is a prim bourgeois discipline, which except for some Renaissance-experts in the 19th century focusing on the Florentine Renaissance has marginalized this Sienese eminent notorious Renaissance-artist. A queer, ethnological and historical reading of Villa Farnesina in Rome and initial impression of the sexual context of Sodoma´s work in the republic of Siena of the 16th century indicates a considerable appreciation of his homoerotic work as well as his personal image. Above all it reveals a flagrant heteronormativity and its mechanisms in the discipline of Art History in the 20th century, marginalized by Sodoma in Villa Farnesina.
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