| 1. |
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A Farewell to Critique?
- 2020
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Ingår i: Konsthistorisk tidskrift/Journal of Art History. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 89:2
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Annan publikation (övrigt vetenskapligt/konstnärligt)
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| 2. |
- Adelswärd, Rebecka Millhagen
(författare)
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More Than Meets the Eye. "Castles and Manor Houses in Sweden" Revisited
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 85:1, s. 97-108
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Tidskriftsartikel (refereegranskat)abstract
- The landmark book series Slott och herresaten i Sverige (transl. Castles and Manor Houses in Sweden), published in 1966-1971 by Allhems forlag, is still today considered the most important art historical reference work on Swedish manor buildings and country houses. The 18 volumes seem to present a near complete picture of the nation's rich heritage of manor buildings, combining the comprehensive and topographically organized guide book with the thoroughness of the architectural monograph. This paper will address the more problematic aspects of the book series, its critical role in the writing of a Swedish architectural history and in shaping a national country house narrative. While each volume provides an authoritative and concise overview of the history, ownership and stylistic development of the most significant manor buildings in the province - their architecture, interiors, gardens and collections - the presentation with its general descriptions, formal analysis and neutral tone omits a more in-depth analysis of these complex environments as well as underlying social, political and economic aspects. The descriptions have, in a sense, been working against the depth of historical understanding and the identification of more complex networks. As a consequence, the Swedish manor house is presented as a continuous and self-contained "treasure house", with the critical perspectives and broader European context very seldom present in the characterizations.
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| 3. |
- Ahlberg, Jörgen, 1971-
(författare)
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Visualization Techniques for Surveillance : Visualizing What Cannot Be Seen and Hiding What Should Not Be Seen
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Taylor & Francis. - 0023-3609 .- 1651-2294. ; 84:2, s. 123-138
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Tidskriftsartikel (refereegranskat)abstract
- This paper gives an introduction to some of the problems of modern camera surveillance, and how these problems are, or can be, addressed using visualization techniques. The paper is written from an engineering point of view, attempting to communicate visualization techniques invented in recent years to the non-engineer reader. Most of these techniques have the purpose of facilitating for the surveillance operator to recognize or detect relevant events (such as violence), while, in contrast, some have the purpose of hiding information in order to be less privacy-intrusive. Furthermore, there are also cameras and sensors that produce data that have no natural visible form, and methods for visualizing such data are discussed as well. Finally, in a concluding discussion an attempt is made to predict how the discussed methods and techniques will be used in the future.
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| 4. |
- Asgaard Andersen, Michael, 1973
(författare)
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Swedish Architecture in Nordic Contexts 1930-1950
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609. ; 85:1, s. 63-75
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Forskningsöversikt (refereegranskat)abstract
- This is a contribution to the study of how the history of Swedish architecture was written in the other Nordic countries (Denmark, Finland, and Norway) in the 1930s and 1940s. The key sources in this article are architectural magazines that were published in each of these countries as well as proceedings from the Nordic Building Day conferences. They provide new insights into the writing of Swedish architectural history from a Nordic perspective.
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| 5. |
- Bengtsen, Peter
(författare)
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Carelessness or Curatorial Chutzpah? Controversies Surrounding Street Art in the Museum
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609. ; 84:4, s. 220-233
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Tidskriftsartikel (refereegranskat)abstract
- Taking the exhibition "Art in the Streets", which was shown at The Geffen Contemporary at the Museum of Contemporary Art, Los Angeles from 17 April to 8 August, 2011, as its main point of departure, the present article discusses street art's association with the institutions of the art world. "Art in the Streets" sparked a lot of debate before, while and after it took place. The article primarily focuses on two aspects of the controversies connected with the exhibition. First, it looks at the reaction of conservative American commentators, who saw "Art in the Streets" as problematic because of its apparent validation of vandalism as art. The article argues that this critical response should be understood not just as the result of pre-existing animosity towards graffiti and street art, but also as an expression of a particular idea about the role museums play in society. Second, the article considers the reaction to "Art in the Streets" of street art aficionados, who saw the museum's representation of street based artistic expressions as problematic. The criticism from within the street art world was fuelled by the removal of a commissioned artwork by the Italian artist BLU from the façade of the museum building prior to the opening of the exhibition. On the one hand, it is argued that this curatorial decision can be seen as symptomatic of the show's failure to integrate a non-institutional form of expression in an institutional context. On the other hand, it is argued that the removal can be related to the whitewashing process which takes place in the street every day, thus effectively reproducing in the institutional environment the conditions under which street art is produced. With an outset in a number of artistic responses to Art in the Streets, the article is concluded by a more overarching discussion about street art's relationship with the institutional art world. Here it is argued that the relevance and perceived authenticity of street art is challenged by the interest from excluding and conservational art institutions, which street art to some extent exists in opposition to. Given the unsanctioned nature of street art, as well as street art's connection to the street, it is further argued that while institutions can create shows that document and discuss the history of art in the street, and can show artworks derived from this context, street art proper cannot exist in an institutional context.
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| 6. |
- Berg Villner, Lena
(författare)
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"I cannot copy Gorbusier's entire life" - Architecture, history and architectural history (Walter Gropius)
- 2008
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 77:1-2, s. 96-101
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Tidskriftsartikel (refereegranskat)abstract
- The essay focuses on modernism and its - problematic - relation to its historical heritage, taking a starting-point in Walter Gropius' declaration for the Bauhaus. Two main strategies, still present, could be discerned as strategies for architectural schools during the following decades; on the one hand to concentrate on the building and its temporal and societal context, starting in the nineteenth century, thus postponing the confrontation with the dangerous and obsolete past; on the other to concentrate on architectural methods and principles, rather than form. History as a model is discussed from three examples from early Swedish modernism, adopting differing approaches, from an interest in architectural qualities as light in Backstrorm and Reinius' Villa Engkvist, to the use of architectural form as pattern in Artur von Schmalensee's own villa.
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| 7. |
- Bergström, Anders
(författare)
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Bilden av Tessin
- 2008
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Ingår i: Konsthistorisk Tidskrift. - : Taylor & Francis. - 0023-3609 .- 1651-2294. ; 77:1-2, s. 72-76
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Tidskriftsartikel (refereegranskat)abstract
- This article deals with the image of the Swedish architect Nicodemus Tessin the Younger (1654-1728), one of the main characters in the history of Swedish architecture. The image of Tessin was established by Swedish art historians at the beginning of the Twentieth century, partly as a parallel to other architects of a national reputation, notably Christopher Wren and Karl Friedrich Schinkel. The article concentrates on the image established by the Swedish art historian Ragnar Josephson in creating his monumental monograph Tessin, published in two volumes 1930-31. However, alternative images of Tessin, established by Josephson's contemporary colleagues, are used as comparative references. The article also offers a brief outline of the earlier periods of research on Tessin, and eventually emphasizes the importance of further research in the field of architectural historiography.
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| 8. |
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| 10. |
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| 11. |
- Bortolozzi, Anna
(författare)
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Recovered Memory : The Exhibition of the Remains of Old St. Peter's in the Vatican Grottos
- 2011
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 80:2, s. 90-107
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Tidskriftsartikel (refereegranskat)abstract
- Between 1616 and 1618, during the pontificate of Paul V, a number of sarcophagi, holy images, fragments of sculpture and mosaics, relics, epitaphs and architectural elements originating from the demolition of the old St. Peter's were exhibited on public display in the Vatican Grottos. Quite exceptionally, the fragments were labelled with stone epigraphs commemorating their history and original locations. As a complement to the exhibition, Giovan Battista Ricci painted detailed fresco representations of the exterior and the interior of the old basilica on the walls of the Grottos, giving the visitors an evocative image of its past appearance. This essay analyses the character of the installation in the Vatican Grottos and its formation, also looking at it as a result of the increased interest in antiquarian studies related to Christian antiquity and as an expression of the seventeenth-century taste for displaying antique fragments in palace ornamentation.
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| 12. |
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| 13. |
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| 14. |
- Bydler, Charlotte, et al.
(författare)
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Editorial
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 85:3, s. 205-207
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Tidskriftsartikel (övrigt vetenskapligt/konstnärligt)
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| 15. |
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| 16. |
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| 17. |
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| 18. |
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| 19. |
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| 20. |
- Dahlgren, Anna
(författare)
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Contemporary Art, Criminal Acts and Media Events
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 85:2, s. 181-198
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Tidskriftsartikel (refereegranskat)abstract
- Artworks that trespass legal bounds and are judged as illegal acts or objects are illuminating examples of how the notion of art is continuously negotiated by different agents in different contexts. This essay seeks to discuss news media as one such agent or context. The two cases considered are the media coverage of Dan Wolgers' participation in the exhibition Ecce Homo in Stockholm in 1992 and Anna Odell's project Unknown woman 2009-349701 from 2009. Both acts were simultaneously considered as artistic statements and real illegal deeds. The overall aim is to explore how mass media-that is daily press, professional journals and television -interpreted this duality and how the media discourse intervened and acted in the artistic and legal processes. Thus, this article seeks to analyse the mediatization of art. Accordingly, this study expands its focus beyond the typical agents of the art world such as curators, critics and art historians as it also includes statements and writings from representatives of politics, media, entertainment, law and the general public. Although these artists and artworks differ in many respects, they share a legal postlude as well as extensive media coverage. The media debates that followed the production and display of these two artworks clearly impacted their legal postlude. Moreover, they directly or indirectly constituted parts of the artists' oeuvres. Being controversial acts, they allowed for multiple interpretations and thereby smoothly fed into the logic of the media system. Furthermore, these examples clearly display how individual artists and artworks may serve as vehicles in larger aesthetic and art political controversies within the logic and system of media.
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| 21. |
- Dahlgren, Anna, 1967-
(författare)
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The Art of Display
- 2010
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 79:3, s. 160-173
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Tidskriftsartikel (refereegranskat)
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| 22. |
- Dahlgren, Anders, 1982
(författare)
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The Svensk stad (Swedish Town) Project – Architectural History in Action
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609. ; 85:1, s. 76-84
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Tidskriftsartikel (refereegranskat)abstract
- Traditionally, historiographical studies deal mostly with published texts, that is, the products of historical writing. This paper will shift focus from the products to the practice of writing architectural history. The study draws inspiration from the development within science studies where the scientific work is seen as a practice. In Science in Action (1987) Bruno Latour writes: “our entry into science and technology will be through the back door of science in the making, not through the more grandiose entrance of ready-made science”. The Swedish Towns project (Svensk stad) is exceptionally well suitable for a study of “architectural history in the making”. It was an interdisciplinary project with the objective of writing the urban history of the Swedish nineteenth- and early-twentieth-century towns and to analyse how the industrialization of the Swedish society affected the urban environments. Swedish Towns was conducted as a teamwork including 20-something participants from various disciplines, but the predominant part had a background in art history. Due to the teamwork structure, the interdisciplinary mode of working and the fact that the process stretched over a decade (1940–1953) the project generated a unique archive material comprising of theoretical and methodological considerations on how to conduct the work. These discussions are for several reasons not included in the final products, published in 1950 and 1953. By returning to the archives of the Swedish Towns project this paper aims at analysing the process and practice of architectural history writing – architectural history in action.
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| 23. |
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| 24. |
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| 25. |
- Edling, Marta, 1959-
(författare)
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From Margin to Margin? : The Stockholm Paris Axis 1944–1953
- 2019
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Ingår i: Konsthistorisk Tidskrift. - : Routledge. - 0023-3609 .- 1651-2294. ; 88:1, s. 1-16
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Tidskriftsartikel (refereegranskat)abstract
- The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic and foresighted efforts of the Swedish curator Pontus Hultén. The text analyses two local contexts between 1944 and 1953: a presumed periphery, Stockholm, Sweden, and a presumed centre, Paris, France, and the collaboration between individuals in these two spaces. In focus is a 1953 exhibition in Paris of Swedish abstract art from 1913 to 1953. The text concludes with a methodological discussion arguing that by considering “the material conditions of encounters and exchange”, it becomes clear that the transnational contacts in these cases were spurred by local competition and that they were mutually dependent, rather than a product of diffusions of aesthetic innovation from centre to periphery.
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| 26. |
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| 27. |
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| 28. |
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| 29. |
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| 31. |
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| 32. |
- Edling, Marta
(författare)
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Teaching abstraction? : Art historical and sociological perspectives on Nils Wedel and the basic form course at Slöjdskolan in Gothenburg, Sweden 1946–1957
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 84:4, s. 205-219
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Tidskriftsartikel (refereegranskat)abstract
- From the perspective of art history and sociology, this article investigates the artist Nils Wedel (1897–1967) and his position as head teacher to the department of decorative painting at the art and design school Slöjdskolan in Gothenburg 1938–1953. The article argues that the recruitment of Wedel can be seen as a strategic outcome of combination of his deviant interest in abstract art (compared to his more successful expressionist contemporaries) and his modest career. Supporting his family as a graphic designer, he was, due to his abstract “inclinations”, isolated from the dominant networks of Francophile and well-tempered expressionist art in Stockholm and Gothenburg in the 1930s and 1940s. However, this homology of aesthetic and social characteristics that positioned him in the margins of contemporary Swedish art made him the perfect teacher to meet the increased demand in Sweden in the late 1930s for art and design artists tuned to modernist idioms and skilled in professional methods of visual design. In commercial work in visual imagery, such as advertisements, shop window displays, or even carpet design, abstraction had become fashionable by the early 1930s. Wedel's introduction of a basic form course in 1946 can be seen as a pedagogical confirmation of this attraction of modernist idioms. In the geographical, social and aesthetic periphery, it was possible to build a pedagogical setting that introduced students to the then historical avant-garde of abstract art and modern idioms while also training skills valuable for a commercial career. © 2015 The Author(s)
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| 33. |
- Edman, Victor, 1954-
(författare)
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Ett svenskt sjuttonhundratal : Moderna iscensättningar av tre historiska miljöer
- 2008
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 77:1-2, s. 49-56
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Tidskriftsartikel (refereegranskat)abstract
- During the last hundred years, the art and architecture of the Swedish eighteenth century has become a historic ideal, well integrated in the modern national identity. This research project deals with three eighteenth century environments which were restored and arranged as public museums in the 1930: s Skogaholm manor at the open air museum Skansen, Carl Linnaeus's house in Uppsala and the Royal Pavilion at Haga. The main isssue is how these environments were transformed into historic monuments and how the reconstructions relate to contemporary historiography, museology and restoration theories. The research project has been carried out at the School of Architecture, Royal Institue of Technology, Stockholm, and it will be published as a book in 2008.
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| 34. |
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| 35. |
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| 36. |
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| 37. |
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| 38. |
- Erlanson, Erik, 1986-, et al.
(författare)
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Estetisk ingenjörskonst och konstens ekologisering : Richard Bergh, Människan och nutiden och Öyvind Fahlström
- 2022
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Ingår i: Konsthistorisk Tidskrift. - : Routledge. - 0023-3609 .- 1651-2294. ; 91:2, s. 57-73
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Tidskriftsartikel (refereegranskat)abstract
- The following article seeks to analyze the biopolitical interconnections between cultural policy and the arts during the Swedish 1900s. Of special relevance is the concept of “aesthetic engineering”, denoting the attempt to vitalise and activate the population through manipulation of the sensuous environment. In this context, the significance of the individual artwork can only be understood in relation to the larger media ecology of which it forms a part. The study analyzes three heterogenous examples of aesthetic engineering, juxtaposing a Social-Democratic report on cultural policy, Människan och nutiden (1952), with the essays of painter and museum director Richard Bergh (1858–1919), and the utopian visions of neo-avant-gardist Öyvind Fahlström (1928–1976). The different examples all provide theories on the purported necessity of art's “ecologization”: i.e. of the integration of the artwork in the environment. By recognising this shared ground, we suggest that a novel context for the understanding of art and welfare politics in twentieth-century Sweden can be established.
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| 39. |
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| 40. |
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| 41. |
- Fahlgren, Siv, et al.
(författare)
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Having Your Cake and Eating It? : The “Painful Cake” Incident of 2012 Examined
- 2015
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Ingår i: Konsthistorisk Tidskrift. - : Routledge. - 0023-3609 .- 1651-2294. ; 84:1, s. 55-70
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Tidskriftsartikel (refereegranskat)abstract
- On the 15th of April, 2012, The Modern Museum (Modernamuseet) in Stockholm celebrated the World Art Day by having a reception with the Swedish cultural minister present, at which an artwork in the form of a cake made in the likeness of the body of a caricatured black woman was served, cut up and eaten, while the artist, masked as the cakes head, screamed. This conceptual, relational, and contextualizing artwork, which leads to a much heated debate in Sweden and which was also internationally picked up on, was made by the explicitly anti-racist artist Makode Linde. In this article, we explore the problem of this event in terms of its sociocultural significance. How did we react upon the drama that we were following from a distance? What did it make us see? What questions did the incident raise about the Swedish society of today? These are examples of the questions we as gender researchers working in Sweden will discuss in the form of a triptych. We use the triptych metaphor as a tool for opening dialogue. By opening its panels it becomes possible to decommodify the single image of the artwork and make relations between agents traceable, visible, and readable.
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| 42. |
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| 43. |
- Fallberg Sundmark, Stina, 1977-
(författare)
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Dining with Christ and His Saints : Tableware in Relation to Late Medieval Devotional Culture in Sweden
- 2017
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 86:3, s. 219-235
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Tidskriftsartikel (refereegranskat)abstract
- The profane meal was an important part of social life during the Middle Ages and could take place within a single household, at a larger banquet or in the community of a guild. The focus of this article is on medieval material culture in relation to the meal. At the centre are cutlery and drinking vessels from medieval Sweden such as spoons, knives, jugs, drinking horns, bowls and goblets. These categories of objects have so far been studied only on a limited scale and mostly from the perspective of the material, technique, style, trade and practical use, while the function and meaning of inscriptions and images have not been thoroughly examined. The article points at the appearance of pious images and prayers in relation to Christ and the saints on utility goods as an expression of a desire for and a promise to receive help and protection in everyday life. Devotional images or short prayer inscriptions could in all likelihood generate a response in the form of a quick prayer or a pious thought. Objects such as the presented utility goods could accordingly activate devotion. Open to the senses in relation to devotion, the owner could view the images, read the prayers aloud or silently, touch the images and words with the fingertips, lips and tongue and in that way come in direct bodily contact with what was regarded as sacred.
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| 44. |
- Fallberg Sundmark, Stina, 1977-
(författare)
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Instruments of Devotion in Close Bodily Contact : Jewellery, Costume Details and Other Personal Belongings in Relation to Late Medieval Piety
- 2023
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Ingår i: Konsthistorisk Tidskrift. - : Routledge. - 0023-3609 .- 1651-2294. ; 92:3, s. 194-211
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Tidskriftsartikel (refereegranskat)abstract
- Late medieval personal belongings such as jewellery, costume details, weapons and tools are sometimes provided with direct and indirect prayers for help and protection, images of Christ and saints relating to motifs in the church interior and in prayer books, and image composition giving associations to altar-screens and shrines. Taken altogether these objects explicitly have a devotional character, which has been further strengthened through analysis of written sources such as exempla and preserved more extensive prayers. This point towards the relevance of talking about these objects as instruments of small-scale and everyday devotion. People were in constant need of help and protection from everyday threats. By relating to preserved prayers and exempla from late medieval Sweden, the article shows that these objects with prayers and holy images were regarded as transmitting divine help, protection, consolation and blessing. Due to the small size and portability of the personal objects carried on the body, divine intervention could take place irrespective of time and space. Lived religion and everyday devotion could therefore be performed anywhere, including on the move.
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| 45. |
- Geijer, Mia
(författare)
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Power over Monuments - architects and antikvarier in practical work experience
- 2008
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 77:1-2, s. 57-63
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Tidskriftsartikel (refereegranskat)abstract
- During the period 1850-2000 the Swedish Renaissance castles, created by the Vasa kings, have been subjected to restorations. These restorations have been carried out by official authorities, representing the bureaucratic organisation managing state-owned real estate in Sweden. During the period an official management body for the built heritage, a legal system and political guidelines for the maintenance have been developed. The field of restoration have been of importance to architects, art historians and conservators of built heritage in their process of professionalisation. The article deals with the changing views on history and art history among these professions, how these changes have influenced the actual restorations and how the aforementioned professions have strived for influence on the field of restoration.
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| 46. |
- Gillgren, Peter
(författare)
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Siting Michelangelo's Last Judgment in a Multimedia Context : Art, Music and Ceremony in the Sistine Chapel
- 2011
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 80:2, s. 65-89
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Tidskriftsartikel (refereegranskat)abstract
- Michelangelo's Last Judgment is a site-specific work. The fresco was painted in 1535-1541 for permanent installation in the Sistine chapel and conceived as part of a multimedia spectacle, involving the singing of Costanzo Festa's Miserere (a forerunner to Allegri's better known piece) and the gradual darkening of the chapel the famous tenebrae ceremony. Several of the painting's characteristics can be explained as the result of the artist optimizing his work to function within this very context. The study is based on witness reports of the late eighteenth and early nineteenth century, as well as sixteenth-century sources on the art, music and ceremonies of the Sistine chapel. Special consideration is given to the tapestries by Raphael and their relationship to Michelangelo's work.
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| 47. |
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| 48. |
- Grandien, Bo
(författare)
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Who is most important - the developer or architect?
- 2008
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 77:02-jan, s. 84-89
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Tidskriftsartikel (refereegranskat)abstract
- In especially older studies on architecture the role of the builder very often comes in the shadow of the architect's. It can certainly be said that it is the existing building, not what it could have become, or what negotiations, characterized of a mutual giving and taking that have preceded the finished product, that shall be the object of the analysis. A study of the long creation process, however, gives a surer ground for analyse and understanding. This is especially relevant for modern urban architecture, whose road from the first ideas to the finished building is characterized of a number of complicated negotiations, considerations and compromises between fighting wills. For the architecture scholar of today, the task of mapping this complex context is self-understood. If I self-critically look upon my own research in this field, I find that in my two large monographs on the architecture of the 19th century, I have a tendency to give the architect the main role. The first is about the self-taught architect, and professor of Greek, Carl Georg Brunius (1792-1869), a Swedish example of what in Germany was called ""Baudoktoren"" the second about the professional architect and civil-servant Fredrik Wilhelm Scholander (1816-1881). In two later publications, one more related to the history of ideas, one a survey of the building activities of a whole epoch, 1850-1890, I have, however, strived for a better balance.
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| 49. |
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| 50. |
- Görts, Maria
(författare)
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Up the stylish staircase. Situating the Furstenberg Gallery and the art collection in a late nineteenth-century Swedish art world
- 2016
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Ingår i: Konsthistorisk Tidskrift. - : Informa UK Limited. - 0023-3609 .- 1651-2294. ; 85:2, s. 199-203
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Recension (övrigt vetenskapligt/konstnärligt)abstract
- The aim of this thesis is to show how Furstenberg's gallery and collection were both a part of and product of what has been called the modern breakthrough in Swedish art. The analysis is based on the established narrative in art history literature, also known as the master narrative, and how Furstenberg's gallery and collection has represented this rendering. This study has a sociological perspective as a framework, but the focus of the analysis is the visual; from how the home environment portrayed a bourgeois subjectivity and identity to museum practitioners, and art exhibitions' exhibits and paintings' representations of the Furstenberg collection and their home.
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