| 11. |
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| 12. |
- Hinners, Linda, 1971-
(författare)
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De fransöske handtwerkarne vid Stockholms slott 1693–1713 : Yrkesroller, organisation, arbetsprocesser
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The thesis deals with French sculptors and painters active around 1700 at the Royal Palace in Stockholm. They were summoned from Paris by the architect Nicodemus Tessin the younger (1654–1728). This study analyses the Frenchmen’s professional roles, how Tessin organised their work and the working methods applied in the decoration of the Gallery of Charles XI and the adjoining parade rooms. It also involves questions concerning the artist’s roles and the status of artistic professions at the early modern period.The artisans were a group of some fifteen sculptors, painters, founders and a goldsmith. Several of them were accompanied by family members, some of whom were active in the workshop. In France these sculptors and painters had worked in the Bâtiments du Roi and particularly at the Gobelins. Although they were not part of the artistic elite at the Académie Royale de Peinture et de Sculpture they had vital knowledge in classical pattern/design, le bon goût and drawing. The artisans were also members of the guild system and were thus permitted to accept private commissions.My aim has been to clarify the artisans’ background in Paris and the recruitment undertaken by the diplomat Daniel Cronström (1655–1719). With regard to their activities in Sweden, it has been important to clarify their conditions in the building organisation at the Royal Palace, including social contexts such as their family situation and the possibility to practise their Catholic faith. Equally important is the professional relationship between the Frenchmen and Tessin, who was appointed Superintendent in 1697. Through detailed archival studies, the working practices and the creative process are analysed, especially the collaboration between Tessin and the painter Jacques Foucquet and the sculptors René Chauveau (1663–1722) and Jacques Foucquet (1639–1731).
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| 13. |
- Iliescu, Mircea, 1943-
(författare)
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Exonarthex : form och funktion i ortodox kyrkobyggnadskonst
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- An orthodox church is, in general, divided into three rooms, counting from the east: the bema, the naos and the narthex. The bema, or sanctuary, is the holiest room, while the narthex is the least sacred of all. However, there are churches that have a further architectural volume in front of the narthex. Varying in structure and shape, from an open portico to a closed room, this fourth architectural unit, more or less integrated in the church building, is usually called the exonarthex. It is clear from the rich literature on orthodox church architecture that the term exonarthex is used as a denomination for all the kinds of building units that are situated in front of the narthex.The present thesis aims firstly to define these "additional" building units and then to demonstrate the ways in which they have spread both over time and geographically. The different types of these architectural structures are discussed; in certain cases they were built at the same time as the church, while in others they were added later. The research analyses a period of eight hundred years, from the 9th century to the end of the 16th. Geographically it encompasses the region known today as the Balkans, but some of the comparative analyses refer also to Russian and Caucasian architecture.Until now, the term exonarthex has been used in a general and rather imprecise way. The second major question addressed by this thesis is to answer whether this term is meaningful. And if it is, what does it mean? The aim is to find out if it is possible to identify similar architectural features and functional characteristics for a whole group of monuments, not only for the palaiologan churches of Constantinople and Thessaloniki, but also for a large number of buildings from later periods and from other orthodox regions.In order to reach a correct definition of the exonarthex we must therefore consider the relationship existing between the room itself and the inner or outer parts of the church in terms of a balance between the theological and the practical. The more the room opens towards the outside world the less its religious importance becomes, although the latter does not disappear completely. The majority of exonarthexes are sizeable architectural volumes which open through large windows or arcades. Light, which plays a central role in the theological doctrine of the time - the hesychasm - appears to have been used as a means of architectural expression, to concretize and even emphasize, in a pleasing way, the strong link between the sanctified inner space of the church and the secular world around. The daylight flowing into the exonarthex transforms this first room of the church into a kind of intermediate zone in front of the half-lightened narthex.During the palaiologan renaissance, theologians appear to have used architecture to emphasize that the individual now has freer access to the House of God, and, perhaps more important, that the Divine and Man should leave the church together, because "Man's task is to sanctify the world, not to get away from it" (Zernov). The more humane content of religion offered new impulses to church building and gave master-builders additional opportunities to further develop the architectural heritage of antiquity in accordance with the new direction of the religious message - from the interior of the church to the world surrounding it.
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| 14. |
- Karahan, Anne, 1958-
(författare)
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Byzantine holy images and the issue of transcendence and immanence : The theological background of the Late Byzantine Palaiologan iconography and aesthetics of the Chora church, Istanbul
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- On the basis of theological ideas in the Christian Orthodox tradition in general, and the Cappadocian Fathers in specific, this dissertation examines how the ontology of the transcendent triune God and the human and divine in Christ is implied or manifest in the Late Byzantine Palaiologan mosaics and murals of the Chora church.The study is divided into four chapters. The first chapter focuses on conceptual prerequisites in the tradition of Christian Orthodoxy and the three Cappadocian Fathers, for representation and indication of ‘the right belief’, and of beauty in a Christian sense. In addition to a brief historical background of holy images, it also explores how the Cappadocian concept of eikôn theou, during the iconoclastic era, was used as argument for holy images and how a semantic change of this concept paved the way for extensive use of images.The second chapter is an analysis of how, in the iconography and aesthetics of the Chora church in particular, but also in some Early and Middle Byzantine contexts, light, color, form and matter, abstraction and concretion are used to imply or represent the idea of a communion between the transcendent uncreated and uncircumscribed triune Christian God and the immanent divine and human presence in the world of Jesus Christ.The third chapter is an exploration of how abstraction is in communion with narration in the holy images of the Chora church and that this is a result of religious ideas on the theology, God’s constitution, and the economy, God’s actions. The study of these ideas shows that a paramount religious factor for Byzantine iconography and aesthetics is that the evangelical event, which pertains to the Gospel narrative, also has implications beyond the created in time and space; i.e. divine history differs from human history. To emphasize the divine disposition balance and unbalance, as well as kinetics and statics contrast the idea of eternal divine balance to that of the ‘unnatural’ unbalanced state of evil.The last chapter is a study of how patristic authority and significance of dogmatic tools such as apophatic and cataphatic theology are essential for analysis of the theological impact of holy images. A holy image is a divine darkness that enables the believer to have encounters with the divine.
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| 15. |
- Kollnitz, Andrea, 1970-
(författare)
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Konstens nationella identitet. : Om tysk och österrikisk modernism i svensk konstkritik 1908-1934
- 2008
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation investigates the reactions to German and Austrian modernism in Swedish art criticism between 1908 and 1934. It analyses the rhetoric of art-critical texts and examines the persuasive strategies and powerful verbal imagery of art criticism as well as its national interests. Earlier perceptions of a generally negative Swedish reaction to German art are revised. The analysis reveals a strong Swedish commitment to German art, which has been neglected or ignored by previous Francophile narratives in the writing on Swedish art history.In interpreting and defining German and Austrian art as both product and evidence of national character and as an antithesis to French art, Swedish art criticism is indirectly defining and manifesting Swedish art identity. Dramatic and metaphorically loaded descriptions of modern German exhibitions in Sweden present Swedish art identity as split between its racial and mental closeness to “Northern” German culture and “brutal” vigorous expressionism on one side, and its longing for the “beauty” and moderate harmony of “Southern” French and classicistic art on the other. The critics’ ambivalent feelings toward German modernism also hide a crucial conflict between modernizing and internationalizing tendencies versus conservative and nationalistic tendencies in the Swedish artworld. The textual analyses thus show a complex interaction between modernistic and nationalistic ideas, not least concerning the artist’s rôle. In case studies on the Swedish reception of German and Austrian expressionists – Emil Nolde, Egon Schiele, Oskar Kokoschka, Gabriele Münter, Die Brücke and Wassily Kandinsky amongst others – the avant-garde artist is revealed as not only striving for autonomy and international openness, but also as nationally bound and dependent on a national audience and nationalistic legitimation.
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| 16. |
- Krohn Andersson, Fredrik, 1973-
(författare)
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Kärnkraftverkets poetik : Begreppsliggöranden av svenska kärnkraftverk 1965–1973
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The first Swedish commercial nuclear power plant was ordered in 1965. By 1973 it had been inaugurated, and building work had begun on the remaining three facilities that became the locations of Swedish large-scale nuclear power production. This thesis explores what kind of architectural objects, in a broad sense, the nuclear power plants in Sweden was discursively constructed as during these years. During the post war years enormous expectations were in Swedish politics attached to the implementation of nuclear power technology. An important discursive figure was that energy was of fundamental importance to society. Simultaneously it was articulated that nuclear power would provide an unlimited supply of energy. Society therefore was on the verge to a completely new era, an era which was to materialize through the nuclear power plant. Drawing upon Norman Fairclough’s theorization of discourse, three different orders of discourse are delineated wherein the nuclear power plant during the period 1965–1973 could be conceptualized as building: a discourse order of architecture, of landscape and of cultural heritage. It is a question of what sort of collective identity that is constructed through the utterances on nuclear power plants. Through the orders of discourse not only objects are produced, but also a who, on a collective level, that is producing them. These orders of discourse are connected to three different specific modes of temporal orientation which are formative for collective identity: towards the future, the past, and a position outside of history. Through an analysis of utterances and narratives in magazines, official texts, films, etc., this examination shows that in contrast to an international context, the nuclear power plant in Sweden was almost completely negated within the discourse order of architecture. Instead it was within the discourse orders of landscape and of cultural heritage that the nuclear power plant was to be conceptualized.
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| 17. |
- Tillberg, Margareta, 1960-
(författare)
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Coloured Universe and the Russian Avant-Garde : Matiushin on Colour Vision in Stalin's Russia, 1932
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Colour vision was of fundamental importance in modernist art. One reason its significance has been studied so little with regard to Russian art is that Soviet archives were inaccessible until the early 1990s. This work is the first close study on a so-called laboratory in an art- and science institute in the Soviet Union in the 1920s. It is based on extensive research in twenty different Russian archives, each including numerous archival funds, in addition to the Stedelijk Museum Prentenkabinet in Amsterdam and other unpublished material.Contemporary ideas from German Bauhaus and De Stijl in Holland have received deserved attention. In the Soviet Union, avant-garde artists were silenced as enemies of the people – their priorities were other than the class struggle.The implicit narrative of the book, is about a group of intellectuals who struggled to work with what they believed in, e.g. an expansion and change of innate possibilities to create something never seen before, despite political oppression.The aim of this study is to present and analyse the hitherto unknown colour theory of Mikhail Matiushin (1866–1934) published in Leningrad and Moscow in 1932.The work is divided into five parts. The first part, Colour, deals with the contexts of history, colour and art. During the 1920s a number of institutes for interdisciplinary scientific research in art, design and architecture were founded in the Soviet Union. One of them was the Institute of Artistic Culture in Leningrad – GINKhUK – where Malevich and Tatlin also worked. One goal was to formulate a universal language with mathematics as the ideal science, to be collected into an encyclopaedia for visual culture (art, architecture, design); another goal was to redesign the world for the masses outside the ‘dead’ museums, and to produce a new kind of human being, a third goal. There the artist, musician and theoretician Mikhail Matiushin supervised the Department of Organic Culture with his Laboratory of Colour.The second part, Vision, analyses Matiushin's training programme, a variant of synaesthetical union of the senses, which includes an extension of the visual angle to a complete 360°; i.e., the consciously amplified eye, defined in Matiushin’s peculiar way.The third part, Culture, compares Matiushin with the theosophist mystics Pëtr Uspenskii and C. H. Hinton, the painter Wassily Kandinsky and the philosopher Henri Bergson.Part four, Ideology, sheds light on colour from those whose perspective was based on the State philosophy of dialectical materialism. By the early 1930s, the innovative institutes were closed down due to centralization of all expressions of culture under the banner of Socialist Realism.The last part, Synthesis, provides a detailed discussion on what happened after the 1930s. It concludes with the colour theory text, both its Russian original and for the first time in English translation.The belief is that Matiushin’s colour theory was not given any consideration after its publication in 1932. The results of this study show, however, that his colour handbook has been and still is used in the colour design of St. Petersburg.
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| 18. |
- Willén, Maja, 1983-
(författare)
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Berättelser om den öppna planlösningens arkitektur : En studie av bostäder, boende och livsstil i det tidiga 2000-talets Sverige
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Since the beginning of the 21st century the open plan dwelling, i.e. open connections between reception areas and kitchen, has become an increasingly popular form of housing in Sweden. The aim of this thesis is to investigate narratives describing the life in open plan apartments, discussing (1) what they contain, (2) how they are constructed and distributed and (3) what social consequences they entail. These three questions have an immediate connection to the three levels of the critical discourse analysis formulated by Norman Fairclough where he analyses every instance of a discourse as simultaneously being text, discursive practice and social practice. The study has been accomplished in the newly built area Hammarby sjöstad in Stockholm through interviews with builders, architects and people living in open plan apartments. Articles in interior magazines describing an open plan lifestyle has also been taken into consideration. Three themes is being discussed, the first describing the social qualities imagined to be naturally embedded in the open plan architecture. The second highlights the idea of cooking as both a way of living and as a factor contributing to the popularity of the open housing design, and the last focuses on the open plan home as a place for self performance. At the text-level the material describes the impact of the open plan dwelling as a result of new interests, as dependent on new social habits and as a desire to put the home and the ongoing life on display. The ideas of what an open plan architecture actually can accomplish may, at a discoursive practice level, be given explanations from three main orders of discourse: the architectural, the market, and the good life order of discourse. The social practice level makes it obvious that the ideals concerning housing and lifestyle simultaneously reproduce old and create new social practices, taking into account cultural notions of gender relations, family life, social habits and questions of class.
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| 19. |
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