| 1. |
- Knutsson, Johan, 1955-
(författare)
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Folkliga möbler : tradition och egenart : en stilanalytisk studie av renässans- och barockdrag i den svenska folkliga möbelkonsten
- 2001
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- A collection of furniture, most of which was produced before 1770, forms the basis of this description and explanation of the characteristics distinguishing vernacular furniture from bourgeois furniture, and the vernacular furniture in one area from that in another. The vernacular material is used to test the convincing force of the art history terms created to describe the artistic expression of the upper-class culture. The criteria previously used to define the specific characteristics of vernacular furniture is called into question and modulated.The study shows how regional characteristics can be observed as early as in the seventeenth century in many areas, long before what is considered the most prosperous period of vernacular art. It shows how Renaissance features played a crucial part in influencing the inherited characteristics of vernacular furniture right up until the emergence of rococo features in vernacular painting, towards the end of the eighteenth century, and sometimes even longer.The study focuses on the selection of stylistic features as an active choice. The survival of Renaissance features at the expense of baroque features cannot only be attributed to retardataire or 'cultural fixation' as a consequence of economic stagnation and lack of outside influence. The choice of certain stylistic features over others depends on a number of reasons. The pews, pulpits and other features in the parish churches that served as models played a crucial part. Out of all of that, the village joiner would chose the models he considered best suited for domestic furniture, and disregarded the others.
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| 2. |
- Vikstrand, Anna Micro
(författare)
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Strävan efter ett ordnat samhälle : stadsplanering i Huddinge 1900-1960
- 2005
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Suburbs sprang up round about many Swedish towns and cities in and around 1900. For obvious reasons, they were most numerous round about the City of Stockholm. This thesis sets out to map and discuss urban planning in the suburban Stockholm municipalities between 1900 and 1960. Urban planning development in the suburban municipalities differs to a great extent from that of the towns, cities and boroughs of Sweden. The reason for the difference is to a great extent to be found in the structure of urban planning legislation.I have chosen to undertake two case studies, both in Huddinge. The first concerns urban planning in the rural townships of Huddinge at the beginning of the 20th century, and second the construction of rental housing undertaken by the municipality in central Huddinge during the late 1940s and the 1950s. Comparison with two reference municipalities, Täby and Sollentuna, shows Huddinge in many ways typifying developments in the suburban Stockholm municipalities, the main differences being that Huddinge had six rural townships – the largest number anywhere in Sweden – and in the late 1940s and the 1950s built multi-family housing under its own aegis.
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| 3. |
- Banér, Anne, 1946-
(författare)
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Uppkäftiga ungar och oförargliga barn : Barn i svensk skämtpress 1894-1924
- 2006
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Drawings and anecdotes involving children in the two satirical magazines Söndags-Nisse and Strix during the years from 1894–1924 constitute the material. The main aim of this thesis has been to study how children are portrayed and what roles have been assigned to them. A secondary aim has been to highlight the relationship between text and pictures. In connection with this, the cartoonists’ contributions in the satirical press have been analysed. The third aim is to put the jokes in a humour theory perspective to obtain an answer to the question of what type of joke occurs in the magazines.The material has been analysed in seven groups on the basis of the characteristics assigned to the children: “the revealing child”, “the truth-telling child”, “the cheeky child”, “the clever and inventive child”, “the mischievous child”, “the wicked child” and “the naïve child”. In the first four groups, it is a strong and rebellious child who appears in the pages of the magazines: a child who dares to go against the adult world and stand up for itself. These children reveal a great deal about the period in which they lived. These drawings and jokes have been analysed in relation to the contemporary context.In the other groups the child created is not distinguished by such strong characteristics. Here, a joke is made of the child’s wickedness, stupidity or naivety: more general concepts. It has not, therefore, been possible to put these anecdotes into a contemporary context to the same extent.Throughout, it is the adults asking the questions and the children answering them. This has been interpreted as an expression of the power of the adults vis-à-vis the children.The seven groups represent two types of joke. The research shows that, in the satirical jokes, the role of the children is, in the first instance, to inform about contemporary circumstances while the role of the children in the amusing jokes is principally to entertain the adult readership.
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| 4. |
- Hedström, Per, 1963-
(författare)
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Skönhet och skötsamhet : Konstnärliga utsmyckningar i svenska skolor 1870-1940
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about the permanent artistic decoration of Swedish school buildings during the period 1870–1940. Its main aim is to examine the ideals and values which the works installed can be said to convey. It takes its starting point in the major movement for the decoration of schools in Sweden that began around 1900, and that was part of a broader recognition of the importance of public art in the country.The thesis analyses the basic thinking behind the move to install art in schools. In Sweden, discussion on the subject was initiated by the writings and lectures of Carl G. Laurin and Ellen Key. The most important argument for the artistic decoration of schools was the general ennobling influence of art. Art represented beauty, and was thus associated with goodness and truth.The study covers some eighty permanent schemes, or individual works, in Swedish schools, created between 1877 and 1940. They are discussed, first, in a thematic section, with a focus on the different types of subject matter represented, and second, in a number of case studies. Among the subjects dealt with in the thematic analysis are characteristic themes such as sport and outdoor recreation and scenes reflecting school activities. Many of the works portray well-behaved children and young people, who are held up as good examples.The nine case studies analyse individual schemes in greater depth. They include examples that reflect the specific cultures and ideologies of, for instance, higher public grammar schools and girls’ schools. An important aspect of the case studies is their analysis of the reception of the schemes. The reviews examined include discussions of what types of subject were appropriate in art for children and young people.One conclusion drawn in the thesis is that a broader aim of the artistic decoration of schools seems to have been to mould a sense of identity. The images created depict children and young people themselves, regional landscapes and regional and national history.
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| 5. |
- von Lampe, Thérèse, 1949-
(författare)
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Det skapande rummet
- 2004
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- King Gustav III (1746–1792) was an imaginative person who ardently dedicated himself to the creation of a national Swedish culture, formed in accordance with contemporary continental models. He was also himself a great talent in the area of art and literature. One of his major projects was the creation of an English park at Haga, in the outskirts of Stockholm. An essential component of this project was a Royal Pavilion, which served as a temporary residence for the King. This small building was in every part constructed and decorated in accordance with his wishes.The decoration was carried out by Louis Masreliez, a gifted artist who worked in the so called arabesque style and whose artistic ability lay in his solid knowledge of classical art and literature as well as his avid use of metaphores. Louis Masreliez’ wall paintings comprise diverse figures in exuberantly detailed compositions, which reproduce a veritable Olympus of gods, mixed with other motifs from Greek and Roman mythology and culture. The aim of this dissertation is to reconstruct the messages conveyed in these paintings and to, thereby, expose the general intention of King Gustav III.The nine official rooms of the King’s Pavilion are examined and two modes of interpretation are applied. The first, called ”exoteric”, concerns itself with meanings which are directed outwards, i.e. with evident political and cultural messages. The ensuing examination, called ”esoteric”, is motivated by the interest in mysticism shown by Gustav III and his circle. Earlier research has ascertained that the King was drawn to freemasonry, alchemy and even spiritism. In the Pavilion, overt and traditional explanations are found to cohere with esoterical meaning, i.e. with messages intended for an enlightened and initiated minority in high society.The method applied is a way of approaching the decorations with the view of the cultivated observer of the eighteenth century. The starting point lies in the conditions taken for granted: the way of living, thinking and feeling. Primarily, however, the associations are drawn from references which were of current interest in the days of Gustav III. A few books in the library of the Royal Pavilion are of considerable value for this theses, but the most significant literature is to be found in the private library of Louis Masreliez. His collection counted as the most prominent of its kind in Sweden and was, with regard to its content, representative of the learned humanist. Especially one category of books helps to clarify the meaning of the compositions in the Pavilion, namely the one containing engravings of antique artefacts with an adjacent text explaining each motif. The one book most valuable is L’Antiquité expliquée et representée en figures (1719) by Bernard de Montfaucon. This survey of Greek and Roman remains has hitherto been unnoticed as having been useful to Swedish interior decorators of the eighteenth century.
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| 6. |
- Wahlberg Liljeström, Karin, 1964-
(författare)
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Att följa decorum : Rumsdispositionen i den stormaktstida högreståndsbostaden på landet
- 2007
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- During the sixteenth and seventeenth centuries the layout of the aristocratic country house throughout Europe changed considerably. The purpose of this thesis has been to study the layout of Swedish aristocratic country houses during the Era of Greatness. Three country houses in the county of Uppland have been examined: Per Brahe the Younger’s Bogesund, Carl Gustaf Wrangels’s Skokloster and Nils Bielke’s Salsta. Bogesund and Skokloster were erected starting in the 1640s and 1650s respectively. Salsta was rebuilt and extended during the 1670s and 1680s. The country houses have been studied from the start of these activities until the 1720s. A study of thirteen architectural treatises has been included in order to illustrate contemporary ideas about the aristocratic country house. By analysing categories of rooms, topology, access, denomination, use and also hanging of painting, the layout of rooms have been examined. The identity of an aristocratic country house could be expressed by e.g. its topology, use and choice of interior decoration and paintings. Planning of buildings was closely linked to decorum. Decorum meant in this context something both socially and aesthetically appropriate. The three country houses expressed different types of ideas about the use of a building. The layout of Bogesund gave opportunities for several encounters between residents and visitors. In Skokloster the few staircases rendered some possibilities of unexpected encounters, even though there was strict spatial differentiation in social classes, gender and age. In Salsta with its many small suites and adjoining antechambers and more staircases, the rooms could fulfil their specialised function without blending of people of different social categories. The layout of Bogesund and Skokloster could therefore been seen as more generative than the conservative and confirming one of Salsta.
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| 7. |
- Weibull, Nina, 1947-
(författare)
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Spegling och skapande : En studie i Lena Cronqvists "Målaren och hennes modell"
- 2006
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- For their self-representation painters are referred to the use of existing codes of representation. These codes can be modified by displacement of conventional meaning. In the historically central discourse of the figure of the artist, the model functions as a complementary aspect of the painter. If, as in the work analysed in this thesis, the conventional code is changed into "the painter and her model", the outcome will be not only a deconstruction of the concept of "the painter and his model", but also a new meaning.Cronqvist (b. in 1938) represents herself with paint brushes and a hand mirror. Whereas the brush signifies the artist's potential for creation, the mirror introduces an imaginary aspect of the painter. The mirror is a critical factor in self-portraiture in the sense that the mirrored image may convey both familiar and unfamiliar aspects of its spectator. The mirror is a source of ambiguity. I maintain that the mirroring theme relates to three separate discourses; Vanity, Narcissus and Medusa. The theme of Medusa provides a productive, if not all-inclusive, context for the interpretation of the androgynously signified body of the painter, of the mirror face and of the petrification of the painter's body.Cronqvist also investigates the potential for representing herself within the codes of the nude, a metaphor for art, which is here characterized by ambivalent gestures and the ambiguous whiteness signifying the untouched picture surface. While an imaginary aspect of the maternal body can inspire male artists, it tends to represent a source of ambivalence to the female artist.
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| 8. |
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| 9. |
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| 10. |
- 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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