| 1. |
- Hinners, Linda, 1971-
(författare)
-
De fransöske handtwerkarne vid Stockholms slott 1693–1713 : Yrkesroller, organisation, arbetsprocesser
- 2012
-
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).
|
|
| 2. |
- Inzaina, Anna Brodow, 1965-
(författare)
-
Konstnärliga projekt & experiment : Beviljade projektbidrag ur Sveriges bildkonstnärsfond 1976-2007
- 2014
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis is about a state-funded artist subsidy granted to visual artists and intended for costly artwork and projects. The project subsidy with its administrative framework is to be found in the intersection between the artistic and political fields. On the board of Sweden’s Visual Artists’ Fund, which is an independent decision-making organ within the Swedish Arts Grants Committee, there are representatives for the art scene appointed by the government for a limited period.The aim of the study is to investigate the relationship between the two fields in the processes which led to the enactment of the subsidy. But also to highlight the changes over time in such relationships on the art scene which concern the relative strengths between positions in the artistic field and the relationship between the state and the artists. Furthermore, the aim is to answer the question of which types of projects have been granted means in the years 1976-2007 and how these relate to the guidelines for the subsidy.Two major changes in the power structures of the artistic field have been identified during the period. These form the basis of the division of the thesis into two parts which mirror each other in three chapters each. The description of two phases in the granting of the subsidies is the main result of the thesis. In the first part the artistic field is influenced by forces from without which affect the relative strengths within the artistic field, while in the second part it regains its autonomy and closes itself off from outside influences.The empirical investigation through cross-sections and sample studies has shown that the project subsidy was widely issued. However, changes on the art scene after the post-modern shift towards a conceptual and process-oriented art came to be of significant importance for the understanding of what a project is. The thesis has shown how the entire basic understanding of the project subsidy has changed and influenced the distribution in spite of the ordinance not having been changed since it was formulated in 1976.
|
|
| 3. |
- Qvarnström, Ludwig, 1975-
(författare)
-
Vigselrummet i Stockholms rådhus och det tidiga 1900-talets monumentalmåleri : Historia, reception, historiografi
- 2010
-
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.
|
|
| 4. |
- Robach, Cilla
(författare)
-
Formens frigörelse : Konsthantverk och design under debatt i 1960-talets Sverige
- 2010
-
Doktorsavhandling (övrigt vetenskapligt/konstnärligt)abstract
- This thesis explores a relatively unknown phenomenon in the design world. Here, the term den fria formen [the free form] is introduced as an analytical tool to narrow down this phenomenon, which was to be found in arts and crafts. The free form emerged in the 1950s, blossomed in the 1960s and lost in importance in the first half of the 1970s. The intention of the study is to analyse and explain the emergence and development of the free form, in the light of contemporary transformations of discourse, both within and without the design world. In the study, the free form is explored from four perspectives: object-oriented, aesthetic, social, and historiographical. The starting point has been a number of objects with an abnormal aesthetic expression. The term free [fri] has been borrowed from their contemporary context. I have defined the core based on three central aspects: an aesthetic dissociation from a normative concept of beauty, a rupture within the technical tradition of craftsmanship, and a subordination of the object’s practical function in favour of its aesthetic expression. However, the most important feature was a critical stance towards prevailing norms and structures. During the period a radical aesthetic transformation took place. This opened for a freer approach to the design world’s objects, which included an acceptance of a wider aesthetic concept. In the 1960s, the Swedish arts and crafts industry was compelled to undertake a major realignment to face an increased international competition. This meant that the platform, which had provided craftspeople with an income as well as a possibility to develop creatively, practically disappeared. Designers now had to refocus: either to become craftspeople or industrial designers. The study discusses arts and crafts’ position in history writing, not least in relation to the international debate pursued in recent years. Here, the area’s marginalisation has been emphasised. An efficient way of deconstructing this marginalisation has been to leave the aesthetic design vocabulary, the mystique of the material, and the object’s practical function – to, just as the free form, approach the visual art.
|
|
| 5. |
- von Bonsdorff, Jan, 1959-
(författare)
-
Den medeltida inredningen
- 2014
-
Ingår i: Kyrkan i Gamla Uppsala: från katedral till församlingskyrka. - Karlstad : Votum & Gullers förlag. - 9789187283284 ; , s. 41-64
-
Bokkapitel (refereegranskat)
|
|
| 6. |
- von Bonsdorff, Jan, 1959-
(författare)
-
Den smala linjens kraft
- 2012
-
Ingår i: 40 år med Alfons Åberg och hans skapare Gunilla Bergström. - Stockholm : Rabén & Sjögren. - 9789129684667
-
Bokkapitel (övrigt vetenskapligt/konstnärligt)
|
|
| 7. |
|
|
| 8. |
|
|
| 9. |
- von Bonsdorff, Jan, 1959-
(författare)
-
Moln som ting
- 2011
-
Ingår i: Förmodern globalitet: essäer om rörelse, möten och fjärran ting under 10 000 år. - Lund : Nordic Academic Press. - 9789185509683 ; , s. 219-228
-
Bokkapitel (refereegranskat)
|
|
| 10. |
|
|
