| 1. |
- Hemby Elmfeldt, Elisabeth, 1960-
(författare)
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Historiemåleri och bilder av vardag : Tatjana Nazarenkos konstnärskap i 1970-talets Sovjet
- 2013
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis focuses on the Soviet painter Tatyana Nazarenko and her position as an influential artist in the Soviet Union of the 1970’s, a decade when Nazarenko depicted everyday life and events from Russian history. The main purpose of this thesis is to shed light upon the importance of especially these motifs in their historical, political and aesthetic context. In this way, the thesis is a study of the artist’s work in a contextual perspective. In order to understand the general conditions for Soviet Art in the 1970´s, and Tatyana Nazarenko´s picture world, the official State-regulated Art is given attention, as Socialist Realism came to be the normative frame of reference for artistic life and the individual artists. Artistic life in the Soviet Union was well regulated and official Art dominated from the early 1930´s until the collapse of the Soviet Union, while especially during the 1970´s, became subjected to so-called unofficial Art, also known as underground. The unofficial, as well as the official Art, became important for Tatyana Nazarenko, for, while not belonging to either side, she came to have a constant relationship with them. She belonged, however, to a small art circle, balancing between the official direction and criticism of the system, later known as permitted. This thesis clarifies the relationship between what is defined as official, permitted and unofficial Art. In exposing her aesthetic strategies, it is shown in what way she deviates from the official and how far the artist could extend the permitted limitations. On the question of her aesthetic strategies a further question arises of how an awareness of history is expressed in motif and form. Finally, the importance of women’s experience in her picture world is discussed. Picture material in this thesis is composed partly of some thirty works from Tatyana Nazarenko´s own production and partly of works with a contextualized and comparative function, encompassing some fifty works taken from Soviet Art History. A few examples from Western Art History constitute further comparative material. The motifs consist mainly of depictions of historical events and pictures of everyday life i.e. genre pictures.
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| 2. |
- Adelswärd, Rebecka Millhagen
(författare)
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Monument, minne, museum : Stockholms slott under det långa 1900-talet
- 2021
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This study examines how the Royal Palace of Stockholm gradually, from 1880–2000, became established as a monument in art and cultural history, as well as a site of national heritage. The musealisation process of the royal residence is described by analysing the origin of new museal and exhibition milieus, and changes in the palace’s State and Bernadotte Apartments. These measures were taken to enhance and manage this cultural heritage and to make it accessible by using art historical and antiquarian expertise. The thesis discusses the origins of the Palace Museum (1936), Gustav III’s Museum of Antiquities (1958, 1992), the Treasury (1970), the Royal Armoury (1978) and the Tre Kronor Museum (1999). Two periods of consolidation are discernible. First, the façade restoration of 1898–1902, during the reign of king Oskar II, and the completion of the sculpture programme make manifest the late 19th- century positioning of the Tessin palace as a national heritage site. With the appointment of the art historian John Böttiger as Surveyor of the Royal Collections, the king’s commitment to the royal collections led to both object-based scientific research and new conservation practices. Second, collection and exhibition activities evolved during the reign of king Gustaf VI Adolf, 1950–1973, with pronounced educational ambitions and democratic characteristics. The study illuminates the contributions of the palace architects, the role of the Office of the Governor of the Royal Palace and the relationship with the state-run Nationalmuseum and Royal Armoury, which have contributed to continuity in the presentation of historic collections. The thesis demonstrates the importance of art history writing for museal and restoration practices, particularly Stockholms slotts historia 1–3 (1940–1941), a publication decisive in the restoration work in the State and Bernadotte Apartments from the 1940s until the 1970s. The study examines the palace’s dual function as a national monument and royal residence, and how this has been a condition of the musealisation process. Important analytical concepts in the study are musealisation, institutionalisation, professionalisation and scientisation.
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| 3. |
- Brown, Carolina, 1964-
(författare)
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Liksom en herdinna : Litterära teman i svenska kvinnoporträtt under 1700-talet
- 2012
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis investigates how the class- and gender-related consumption of culture in the eighteenth century influenced Swedish female portraits from the period 1730–1800. A special interest is focused on the connections between portraiture and the literary world. The decisive driving force for the renewal and differentiation of eighteenth-century portraits of women is above all sought in novels and in dramatic art. The portraits are also considered in the light of a rich body of images that were part of the visual culture of the day – engravings, fashion images, book illustrations and genre paintings that can shed light on the portraits’ relationships to different literary themes. The popularity and impact of literary fiction reinforced a collective social identity within the elites of eighteenth-century Sweden and Europe. In portraiture, women manifested their participation in this social and cultural community by posing with novels on their laps or assuming the role of particular fictional characters. For centuries, established portrait conventions had placed the role of women in an allegorical and mythological sphere, but, without breaking this continuity, eighteenth-century portrait painting demonstrated a marked ability to be updated and enriched with new meaning as new literary genres emerged. This thesis explores such changes with reference to selected literary themes in Swedish portraits of the period. It studies the significance of books in the paintings and the image of the reading woman, as well as pastoral and orientalising themes in the allegorical and disguised portraits of the period. Portraits in which women assumed the role of a shepherdess or sultana likewise articulated an endeavour to identify with the heroines of literary fiction and the ideals with which they were associated. The conscious role play of such images defined the sitter both as an informed, contemporary consumer of culture and as a figure linked to the boundless realm of fiction.
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| 4. |
- Lindblad, Jakob, 1964-
(författare)
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470 nya kyrkor : Bidrag till Sveriges arkitekturhistoria 1850-1890
- 2009
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The present study critically examines the zealous building of 470 new parish churches in Sweden in 1850–1890; mainly replacing older churches in Västergötland, Småland and Scania; mainly new sites in Norrland. The primary source material is the church itself, meticulously examined in the fi eld and from archives, comparative analysis, the systemati-sation of formal elements and interpretation of architectural expression, characterisation of locations, plans, interiors and exteriors. The roles of initiators, architects, state/church authorities and building entrepreneurs are scrutinized as also liturgical demands, practical matters and the effects of growing populations and increased industrialisation leading to larger congregations, innovative building materials and new fashions. The results are extensively substantiated by analytical drawings, photographs, maps and tables of collated data, all new and by the author; fully availing of his training as architect, art-historian and Sockenkyrkoprojektet researcher. 18 churches are detailed in a representative sample. The parish church is its own art-historical genre. Each church is the sum of its parts interacting with its environs. When formal elements reoccur this refl ects practical solutions not always apparent from the written sources. A divergence between theory and practice is emphasised. Conforming rules, offi cial vetting and reuse of old drawings by the architects of Överintendentsämbetet were countered by master builders who deviated from approved designs, inspired by neighbouring churches. A spirit of architectural freedom fl ourished, encouraging creativity and novel architectural motifs. Traditional stylistic terminology is not applicable to these parish churches. Historical associations may have been sought, but were subsidiary to other demands of the building process. Individual architects and joint building ventures are identifi ed. Three ideals are isolated, variously utilizing form, light and height with a fashionable emphasis on spaciousness, the sacral and propriety. Today, increased secularisation and falling rural populations make these over-large churches an endangered cultural heritage.
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| 5. |
- Ahlund, Mikael
(författare)
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Landskapets röster : Studier i Elias Martins bildvärld
- 2011
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about the Swedish landscape painter Elias Martin (1739-1818). The main interest is in his depictions of nature, landscape images and topographical views. Chronologically, it covers the period 1760 to 1810. The first part puts Martin's artistic achievement in a historiographic perspective and presents an overview of his artistic career - from his birthplace Stockholm to Paris and from there to London, where he successfully established himself on the English art scene in the 1770s. Returning to his native Sweden in 1780, he soon emerged as the country's leading landscapist of the period.In the second part of the thesis, a study is presented of Martin's relationship to the art markets of England and Sweden, and in the third an attempt is made, through the medium of a specific genre of Swedish eighteenth-century literature - travel writings - to gain a deeper insight into the attitudes and values of the period. Here, the focus of interest is on different ways of viewing nature and landscape art in Sweden in the late eighteenth century. On the basis of this discussion, an attempt is made to reconstruct a Swedish 'period eye', specific to the upper-class culture of the Gustavian age.These discussions of the importance of the market and of a Swedish period eye form the basis for an answer to the overarching question of this thesis, concerning the relationship between Martin's images and contemporary perceptions of nature. From the conclusions drawn, it becomes clear that different ways of relating to landscape existed side by side. The attitudes discernible in the artist's pictures, as in the travel writings of the period, are diverse and contradictory, complicating an understanding of the eighteenth century's view of nature as something uniform. Elias Martin's art thus illuminates the many vantage points and variations in the Gustavian era's feeling for nature.
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