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- Boström, Hans-Olof, 1942-
(författare)
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Carl Larsson : Monumentalmålaren
- 2016
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Bok (övrigt vetenskapligt/konstnärligt)abstract
- Carl Larsson är berömd och uppskattad för sina idylliska familjebilder från hemmet i Sundborn. Mindre kända är hans monumentalmålningar, trots att flera av dem pryder välkända offentliga byggnader i vårt land. Monumentalmåleriet var den del av hans konstnärskap som han själv satte högst.Ändå har det tilldragit sig begränsat intresse från forskningen. I den här boken sätts hans monumentalmålningar in i sitt europeiska sammanhang och studeras som bärare av samhälleliga, nationella och pedagogiska ideologier. De strategier Carl Larsson utnyttjade för att förmedla sitt budskap undersöks. Också förutsättningar i Carl Larssons egen psykobiografi bidrar till att förklara motivval och gestaltning i bland annat Midvinterblot på Nationalmuseum. Hans förhållande till konsthistorien och till sin samtids konst belyses genom egna uttalanden men också genom studium av hans bibliotek och reproduktionssamling på Carl Larsson-gården. Särskilt som monumentalmålare kunde Carl Larsson, utan att bli eklektiker eller imitatör, tillgodogöra sig impulser från äldre eller samtida europeisk konst men också från utomeuropeisk, inte minst japansk konst.Den samtida konsten i de tyskspråkiga länderna spelade en viktig roll för hans senare måleri, något som tidigare knappast uppmärksammats. Det finns all anledning att studera Carl Larssons måleri också utifrån ett genusperspektiv. Hans ofta komplicerade förhållande till mecenater och beställare granskas. Av största intresse är också receptionshistorien, inte minst då det gäller Midvinterblot, den kanske mest omstridda målningen i svensk konsthistoria. Boken handlar om konstverken men tecknar samtidigt en fascinerande bild av konstnärspersonligheten.
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- Fallenius, Peder
(författare)
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Storbiografens miljöer
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This dissertation focuses on the architecture and the artistic decoration within Swedish cinemas during the period 1915–1939. The cinema is considered to be one of the many new building types from the 20th century. The era of the purpose-built cinema in Sweden began around 1910. The aim of this dissertation is to deal with the cinema as a building type and to discuss the cinema as a setting for the filmgoer.The examples of the 1910’s and 1920’s are characterised by their integrated exterior; the manner in which the cinema merges into the cityscape. In the evenings, when audiences gathered at the cinemas, the differences between contemporary theatres and concert-halls became evident. Upon entering the cinema, one’s passage towards the auditorium took one through a sequence of rooms, including the booking office, the cloakroom, and the foyer. The spatial dramaturgy of the cinema is that of the concert hall and the theatre. The artistic decoration of the cinemas of the 1910’s and 1920’s is characterised by attempts at an iconography of motion pictures, in contrast to the established symbols of the theatre. The examples from the 1930’s are characterised by the cinemas’ distinct imprint on the city. Neon-lights, canopies, doors and walls of glass within the cinemas led the way. Artistic decoration within the cinemas of the 1930’s is scarce. Attempts on creating an iconography of the cinema are few. Instead, the foyers are decorated with the posters and photographic portraits of movie-stars.A common feature of cinemas from the 1930’s is that the passage to the auditorium is short. A vestibule is the only space the visitor passes. The spatial dramaturgy of the cinema is different from contemporary concert-halls and theatres. This dissertation demonstrates a substantial shift concerning the cinema as a building type. When one considers cinemas to be composed of a sequence of rooms for the visitor to pass through in comparison to concert halls and theatres, important differences stand out. Thus, the cinema presents itself as a building type with specific functions as well as a specific spatial dramaturgy.
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- Kåberg, Helena, 1966-
(författare)
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Rationell arkitektur : Företagskontor för massproduktion och masskommunikation
- 2003
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- Modern architecture, which can be perceived as representational, metaphoric or symbolic, has often been excluded in Swedish architectural debate and writing. Ideological perspectives dominate, and the focus has been on housing and infrastructure. Frequently, architecture of the mid twentieth century has been characterized as neutral. The aim of this dissertation is to broaden the horizon, and by investigating corporate architecture of the 1950s, show examples expressing more than economic and technical rationality. The perspective is that of the commissioners’, but the focus is on symbiotic relationships in society. The question is: What is rational architecture? And, what defines a rational corporate office building? Is it a building that functions like a well-oiled officemachine? Or, can other architectural features enhance productivity, and fight off competition in the market place? The study is developed around three interrelated themes: rationalization, democratization, and mass marketing. Scientific management, and its effects on office work and office building is dealt with. Symbiotic relationships between economical development and democratization, within corporations and in society as a whole, are discussed. Within an economic history framework, the dissertation deals with how changing attitudes were expressed architecturally, as tangent ambitions in corporate building projects and in architectural debate concerned with new monumentality and the culture of cities. Surviving tough competition, however, also means successful distribution and mass marketing, and the dissertation describes how architecture and interior design became marketing tools, and how rationality, modernity and democratic values could both increase productivity and work as sales arguments. The three themes of the dissertation are tied together in two case studies. The first, describes Asea’s innovative curtain-wall office building in Västerås, Sweden, inaugurated in 1960, and designed by Asea engineers and the architect Sven Ahlbom. The second, deals with corporate offices and showrooms designed for the American branch of the Swedish officemachine manufacturer AB Addo, and the Addo house style, created in 1957 by the Addo-X Inc President Göran Agrell, the graphic designer Ladislav Sutnar, the architects Oscar Nitzchke and Hans Lindblom, and the stage and interior designer Elfi von Kantzow Alvin
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- Lundström, Bo
(författare)
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Officeren som arkitekt och konstnär i det svenska 1800-talet
- 1999
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- In the study of 19th century, Swedish art history, military artists are repeatedly discovered, often as sketch-artists or painters, but also in their capacity as directors of the Board of Public Building or architects. Within picture art, these so-called "military painters" areconsidered to be typical representatives of the widespread amateurism of the century.The aim of this study, is to describe and illustrate the background to military contributions to 19th century architecture and picture art, and, using several case-studies, show the depth and variation in character, wich was a hallmark of their building and artistic activities.The position of the Army in society and its education in architecture and drawing arepresented, together with four officers as architects and town-planner, and the four military directors of the Board of Public Building, who attained the highest position in the hierarchy of Swedish art. Six artistically-active officers are also presented, who, though they often occur in surveys of Swedish art history, have never, together, been the object of any closer examination. The role of drawing in educational aims and the position of amateurism, is discussed in the final chapter, while a shorter international perspective concludes the presentation.
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- Mårdh, Hedvig, 1979-
(författare)
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A Century of Swedish Gustavian Style : Art History, Cultural Heritage and Neoclassical Revivals from the 1890s to the 1990s
- 2017
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This is a study of the intersection between art historical theory and practice, and cultural heritage, where the revivals and mediations of the neoclassical Gustavian style have been used as a platform for further exploration. In relation to this, the use and changing meanings of the concepts authenticity and style have been examined. The research has a historiographical and multidisciplinary character, drawing on the fields of art history, critical heritage studies and design history. The study shows how the Gustavian style has been routinely used when Swedish culture has been staged, nationally and internationally, but also when shaping ideas of the ideal home and good taste. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. In the study we meet the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness and in a commercial context. The Gustavian style, perhaps like no other, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history, which has been an important influence on the way the past has been presented, valued, categorised, preserved and re-used. The author argues that the style has been able to maintain its relevance due to its ability to embody many different prevailing aspects across the 20th century, for example tradition and modernity, nationalism and internationalism, but also the past, present and visions of retro-utopia.
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- Qvarnström, Ludwig, 1975-
(författare)
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Vigselrummet i Stockholms rådhus och det tidiga 1900-talets monumentalmåleri : Historia, reception, historiografi
- 2010
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Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- The competitions for the commission to decorate the Marriage Chamber in Stockholm City Law Courts (1912–1915) have become one of the most important events in the history of mural painting in Sweden. One of the proposals, by artist Isaac Grünewald, has become a major icon of early modernistic art in Sweden. Among the participants in the competition we find some of the most important introducers of fauvism (Grünewald) and cubism (Georg Pauli) into Swedish art. None of the participating artists received the commission, however. Instead, the architect Carl Westman executed a sketch that was painted by Filip Månsson’s decorative firm in the autumn of 1915. A fundamental question in the study is why the proposal by Grünewald, rather than the winning proposal by Pauli or the actual painting, has become an icon in Swedish art history. By posing this question, the study allows for a broad analysis of the history of early 20th century public art in Sweden and also for a critique of the established art historical writing. At the same time, the dissertation is also a detailed study of networks, individual artists’ “repositionings” on the Swedish art scene, art critical discussions and institutional relations during the period 1912–1915. It is also a detailed study of the construction of the narrative concerning this situation. The purpose of the dissertation is to describe the diversity of artistic expressions in the early 20th century public art in Sweden, and to explain the formation and institutionalisation of the story of the Marriage Chamber. This dual purpose is indicated in the dissertation by its two separate parts, “Situation” and “Narration”. In part I, “Situation”, the complexity of the historical situation connected to the decoration of the Marriage Chamber is analyzed and described. The purpose is to demonstrate the complexity of the situation from which the established story has been constructed. In part II, “Narration”, the formation and institutionalisation of the narrative concerning the Marriage Chamber are analyzed. The purpose is to point at key texts, persons, institutions and exhibitions and at the primary material, which has contributed, to the narrative of the Marriage Chamber. The narrative structure is analyzed with the purpose of constructing underlying explanatory models. The dissertation shows that the established historiography of mural painting in Sweden is based on a selection with modernism as the aesthetic norm. Works of art made by artists who had direct contact with and were inspired by the Parisian avant-garde have been put forward as milestones in the Swedish art history. This simplistic and biased narration has not only resulted in an specific selection, where never actualized proposals for wall paintings have filled the gaps in the narration, but also ignored certain aspects of the proposals for the decoration of the Marriage Chamber. In the thesis, an interpretation of Grünewald’s proposal as both connecting to French fauvism and to regional decoration tradition is introduced as an example of the need for a more diversified art historical writing on early 20th century mural painting in Sweden.
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