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  • 301.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Till stadsbornas nytta och förlustande: Den offentliga parken i Sverige under 1800-talet1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to study the public parks in Sweden during the nineteenth century. It focuses on three general factors – decision process, design, and function – and is to a great extent based on previously unstudied material including town councils' minutes, drawings, and other contemporary sources. The dissertation considers a selection of the approximately one hundred public parks laid out in Sweden during the period.

    From the beginning of the century the middle classes endeavoured to create meeting places and social customs of their own, and public parks had a role to play in their efforts. There, families could spend their leisure time together, meeting acquaintances and amusing themselves. The park was also an aesthetic element in the townscape. The study shows that the first public parks appeared in the 1820s, and that they were established several decades earlier than is generally acknowledged. During the decades following 1860, a large number of new parks were made. From now on, moral considerations began being put forward as grounds for creating public parks. They were promoted as more suitable social settings than the streets, squares, and pubs – for the middle classes as well as for the workers. In the 1890s, new parks were made whose design and function differed distinctly from their predecessors. They were planned for active use to a much greater extent, with features such as games and sport, and all surfaces open to the public. The study also shows that town councils from the beginning of the century were involved in creating the parks, and generally assumed full economic responsibility.

    Concerning the design, the parks changed during the century. From the initial decades, the essential design assumption was that parks would be perceived as art rather than nature. It should be obvious that the trees, bushes, and flowers did not grow natural on the spot, an impression emphasised by their varied colours, shapes, and ways of growing. Exotic plants were used extensively. From around 1870 the attempt to imitate nature as closely as possible, often using an existing natural area as a starting point and employing indigenous plants, gradually became common.

    Previous studies have often pointed to the public parks' role in improving the hygiene in the towns, locating them within an overall town planning perspective. However, the study shows that the belief that they might also improve the moral and general living conditions of urban dwellers has been an even more important factor. The park was envisaged as a place of education and general cultivation, but also as a place for amusement, which was reflected in the bandstands, monuments, and playgrounds, etc. Though the parks were often smaller than their counterparts abroad, Sweden was in step with the rest of Europe.

  • 302.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Trädgård & text: Forums årsmötesseminarium 20092010In: Bulletin för trädgårdshistorisk forskning, ISSN 1652-2362, Vol. 23, p. 3-3Article in journal (Other academic)
  • 303.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Trädgård och park vid Skånelaholm2008In: Skånelaholm: ett gods i Uppland, Vitterhetsakademien, Stockholm , 2008, p. 96-111Chapter in book (Other academic)
  • 304.
    Nolin, Catharina
    Stockholm University. Stockholm University, Faculty of Humanities, Department of Art History.
    Trädgårdsarkitekten som stadsplanerare: exemplet Knut Forsberg2009In: Stad, hus, rum. : Studier tillägnade Thomas Hall / [ed] Lempi Borg Wik, Margaretha Rossholm Lagerlöf och Martin Rörby, Stockholm: Konstvetenskapliga institutionen , 2009, p. 58-68Chapter in book (Other academic)
  • 305.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Trädgårdskonst och trädgårdsodling2003In: Rosendals slott / [ed] Christian Laine, Stockholm: Byggförlaget/Kultur , 2003, p. 258-297Chapter in book (Other academic)
  • 306.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Trädgårdskonsten2002In: Signums svenska konsthistoria: [Bd 12], Konsten 1915-1950, Lund: Bokförlaget Signum, 2002, p. 597-635Chapter in book (Other academic)
  • 307.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Ulla Bodorff, landskapet och industrin2013In: Berättelser från markerna: en antologi om järn, skog och kulturarv / [ed] Ing-Marie Pettersson Jensen, Lena Berg Nilsson, Catarina Karlsson, Norberg: Bergslagens medeltidsmuseum , 2013, p. 297-306Chapter in book (Other academic)
    Abstract [sv]

    Texten behandlar Ulla Bodorffs gestaltning av Skånska Cements fabriksområde Stora Vika med tillhörande bostadsområde i det intilliggande Marsta på Södertörn omkring 1950 med utgångspunkt i landskapsgestaltning i stor skala, landskapsarkitektur som kulturarv och genusfrågor relaterade till landskapsarkitektur.

  • 308.
    Nolin, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Urban Parks in Sweden at the Turn of the Twentieth Century. The Nature Park and the Search for National Identity2013In: Public Nature: Scenery, History, and Park Design / [ed] Ethan Carr, Shaun Eyring, Richard Guy Wilson, Charlottesville & London: University of Virginia Press , 2013, p. 115-124Chapter in book (Refereed)
    Abstract [en]

    This essay deals with urban parks designed around 1900 in Sweden, designed to imitate nature and to invoke a national identity and a feeling for the Swedish nature among the park visitors. These parks were often planned with activities such as walking, skiing, skating and bycycling in focus and often had separate areas for children's games and plays. The author also discusses the public debate on nature parks and the connection to contemporary art. 

  • 309.
    Nolin, Catharina
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Bergström, Anders
    Arkitekturskolan, KTH.
    Millesgården: Arkitektur och trädgård2004Book (Other academic)
    Abstract [sv]

    Millesgården på Lidingö norr om Stockholm är ett av Sveriges mest välkända konstnärshem. Här uppförde skulptören Carl Milles från 1908 en kombinerad ateljé och bostad med anslutande trädgård. Trots att Milles var en mycket produktiv och framgångsrik skulptör, finns det skäl att framhålla Millesgården som hans främsta konstnärliga arbete. I denna rikt illustrerade bok skildrar författarna Millesgårdens tillkomst i nära anslutning till den samtida utvecklingen inom arkitektur och trädgårdskonst. Anläggningen fungerade inte bara som hem och ateljé utan även som utställningsmiljö.

  • 310.
    Nolin, Catharina
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Krohn Andersson, Fredrik
    Stockholm University, Faculty of Humanities, Department of Art History.
    Vardagens landskap och bebyggelse, köksdrömmar och medierad arkitektur2014In: Bebyggelsehistorisk tidskrift, ISSN 0349-2834, no 67Article in journal (Refereed)
  • 311.
    OLOFSSON HJORT, ANNA PERNILLA
    Stockholm University, Faculty of Humanities, Department of Culture and Aesthetics. Stockholm University, Faculty of Humanities, Department of Art History.
    Konst, aktivism och forskning – radikal intervention eller samverkan i det offentliga rummet: Om gränser och territoriell indelning, illusion och det offentliga rummets demokrati2017Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen utforskar gränser mellan konstnärlig gestaltning utifrån radikal intervention och samverkan i det offentliga rummet. Uppsatsen är indelad i fyra delar med bland annat en del som analyserar det egna Konstprojektet – Bodies of Excess [Överflödiga kroppar]. Konstprojektet utprövar radikal konst som metod för demokratisk intervention i det offentliga rummet. Uppsatsens analys består av dels konstprojektets materialitet, dels av en undersökning om konst, politik och vetenskap – konst i det offentliga rummet, aktivism och radikal demokrati. I uppsatsen utreds platsernas ideologiska symbolik och dess socioekonomiska villkor, vilket illustreras genom att markera de rum i Stockholm som konstprojektet Bodies of Excess undersöker. Med utgångspunkt ur konstprojektet undersöks platsens betydelse och det platsspecifika samt konstnärlig forskning, konstens plats i samhället och gestaltning – offentlig konst. 

    Genom att dra paralleller och se samband mellan rum och kropp, konst och vetenskap, institution och aktivism undersöks idén om konst som radikal konst och som nyttoaspekt i samhället samt hur konsekvenser skulle resultera för de båda formerna, aktivistisk konst och konstnärlig forskning. 

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    Olofsson_Hjort_AP_kandidatuppsats_Konst, aktivism och forskning – radikal intervention eller samverkan i det offentliga rummet_2017
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    Olofsson_Hjort_AP_konstnärligt gestaltningsarbete_Bodies of Excess // Överflödiga Kroppar Gestaltning i det offentliga rummet –Om gränser och territoriell indelning, illusion och det sociala rummets paradox_2017
  • 312.
    Pegelow, Ingalill
    Stockholm University, Faculty of Humanities, Department of Art History.
    Sankt Martin i svensk medeltida kult och konst1988Doctoral thesis, monograph (Other academic)
    Abstract [en]

    St Martin, Bishop of Tours in the 4th century, ”the Apostle of Gallia” and later also the revered patron saint of the Merovingians, still remains depicted in many Swedish churches. The aim of the present theses is to charter the Martin Cult of present Sweden and Finland, which, during the Middle Ages, were united politically. To this purpose, the author has examined many medieval parchment documents for evidence of the Martin Cult, both liturgical texts and letters of indulgence. The investigation shows that St Martin was revered all over the country with a high degree of celebration.

    In spite of the fact that the medieval liturgical texts contain various legends about the saint, it seems that it is, above all, the Sharing of the Cloak that is depicted in art. Several other motifs from the Martin Legend are identified in this work, though. The majority of the Martin images derive from the Late Middle Ages, which, partly, may be due to the fact that leprosy hospitals and Holy Ghost houses greatly increased in number during that period. St Martin became a patron of the lepers and the poor. More often than not, an image of St Martin is found as well in churches decorated with motifs of a Dominican or Franciscan character. Archbishop Jacob Ulvsson, who founded a special office of alms at Uppsala Cathedral, also had a great reverence for the saint. This is shown, i.a., by the many Martin depictions executed by Albertus Pictor, an artist often engaged by the Archbishop.

    Most of the still existing Martin images are found in the provinces of Uppland, Gotland and Skåne, in the latter two mostly in the form of murals. The Finnish depictions, though, are above all sculptures.

  • 313.
    Persson, Sophia
    Stockholm University, Faculty of Humanities, Department of Art History.
    Getting Things Done For Satan: Linnéa Sjöbergs performativa projekt och dess politiska ståndpunkter2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen ämnar att presentera, analysera och politisera konstnären Linnéa Sjöbergs performativa projekt GTD4s810, en förkortning som står för Getting Things Done For Satan, ur ett feministiskt, intersektionellt perspektiv, med syftet att placera konstprojektet i en samtida, politisk kontext. Uppsatsens empiriska material består främst av dokumentation kring projektet som publicerats mellan ca 2009-2011, samt fotografiskt material hämtat från Sjöbergs portfolio. Det teoretiska perspektivet bygger på feminismens teoribildning, där identitetsbegreppet diskuteras utifrån Judith Butlers performativitetsteori. Analysen består även av en intersektionell begreppsanalys av begreppet ”karriär” i relation med intersektionalitetens klassperspektiv. Uppsatsen är uppdelad i två kapitel, där det första presenterar Sjöbergs projekt och eventuella agenda, och det andra placerar projektet i en världslig kontext. Analysens resultat visar att det finns stora likheter mellan GTD4s810 och den feministiska konsthistorien.

  • 314.
    Petersson, Sonya
    Stockholm University, Faculty of Humanities, Department of Art History.
    "Alexander Roslin. Nationalmuseum, Stockholm, 27 september 2007 - 13 januari 2008"2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 1, p. 43-50Article, book review (Other academic)
  • 315.
    Petersson, Sonya
    Stockholm University, Faculty of Humanities, Department of Art History.
    Anna Lena Lindberg, En mamsell i akademien: Ulrica Fredrica Pasch och 1700-talets konstvärld2011In: Sjuttonhundratal, ISSN 1652-4772, p. 328-333Article, book review (Other academic)
  • 316.
    Petersson, Sonya
    Stockholm University, Faculty of Humanities, Department of Art History.
    "Emanuel Swedenborg, Om darrningar, Inledning och kommentarer av David Dunér"2008In: Sjuttonhundratal, ISSN 1652-4772, p. 129-131Article, book review (Other academic)
  • 317.
    Petersson, Sonya
    Stockholm University, Faculty of Humanities, Department of Art History.
    Konst i omlopp: mening, medier och marknad i Stockholm under 1700-talets senare hälft2014Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this doctoral thesis is to explore how art was mediated and given meaning in the environment of an urban media culture in Stockholm during the second part of the 18th century. It comprises studies of how art was distributed on the market, how it was discussed in the press and how it was exhibited in public. It also includes an analytical orientation toward mixing of concepts and values, rather than purifying them into categories such as elite and popular. Art is approached as an open concept of investigation.

    The thesis presents three studies. The first discusses art as concepts and subject matter in papers, pamphlets and encyclopaedias, with a critical stand against the historiography emphasizing the establishment of the 'fine arts'.  The second situates art in two parallel practises of showing art in public, exhibitions arranged by the Academy of Arts and the Auction Chamber's public sales. The third deals with prints on the market, a medium equally recognized as one of the fine arts and as a visual mass medium. All studies also consider notions of interaction, public, and social class.

    Two overarching arguments are developed. The first concerns media cultural functions as mechanisms of cultural transgression. This argument points to the mixing of international and local, regarding both themes in the press and prints on the market. It also stresses the mixing of art, commerce, and entertainment, in the dual character of both the academy's exhibitions and the auction's sales. The second argument consists in pointing to alternative cuts, by which I suggest discursive relations between art, luxury, entertainment, and knowledge. These are areas that, since the 18th century, have often been kept apart, but were nonetheless deeply interwoven. One overarchig pattern studied throughout the thesis is the 18th-century linking of the fine arts as well as luxury, entertainment, and knowledge to a perceptually defined subject.

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  • 318.
    Petersson, Sonya
    Stockholm University, Faculty of Humanities, Department of Art History.
    Prints and Attraction in Eighteenth-Century Stockholm2013In: Sweden in the Eighteenth-Century World: Provincial Cosmopolitans / [ed] Göran Rydén, Farnham: Ashgate, 2013, p. 147-174Chapter in book (Refereed)
  • 319.
    Pihl Atmer, Ann Katrin
    Stockholm University, Faculty of Humanities, Department of Art History.
    Sommarnöjet i skärgården: sommarbebyggelse i Stockholms inre skärgård 1860-19151987Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The custom of moving out of Stockholm for the summer spread to a wider circle in the latter part of the 19th century. The focus in this study is on sparse villa settlements — the practice of erecting villas on the inner Stockholm islands on plots at a distance from the existing communities (bathing resorts, spas, etc.). A number of mantal-assessed properties have been examined: Stora Sickla säteri in Nacka parish, Velamsunds säteri in Boo parish, Norra Lagnö frälsehemman in Gustavsberg parish and Tynningö säteri in Värmdö parish. Two aspects are highlighted: land utilization (the exploitation and subdivision of these properties to form plots for summer residences) and the design and construction of the summer villas.

    The following factors contributed to the establishment of summer settlements on the properties: the landowner’s policy, new legislation permitting the serverance of land, the provision of steamboat services, and the distance from Stockholm. The tendency to sell land arose in the 1860s, grew stronger in the ’80s and accelerated after the turn of the century. The villa owners were members of a bourgeois strata in which entrepreneurs were a prominent group.

    Three villa styles are distinguished in Swedish building journals published in the 1860s and ’70s: the Swiss, the Italian and the English cottage style. The Swiss style, heavily promoted but seldom adopted in its pure form, features mainly in the summer villas’ decorative elements. The great majority of the villas relate to a more traditional country house style with a regular design, with C.E. Löfvenskiöld as a prominent protagonist. In the 1880s this led to a widely spread standard villa type the rectangular villa — often designed for two families. More elaborate villa types, reflecting current architectural trends, were erected at about the same time in a few places, for example on the Velamsund manor. After the turn of the century the one-family house became more common.

    A comparison with other seaside areas in Sweden (Göteborg and Gävle) and Finland (Turku and Helsinki) shows that the spread of summer settlements was a general tendency. The closest counterpart to the development of sparse villa settlements is to be found in the Helsinki islands, though there the most common villa type was the English cottage villa.

  • 320.
    Piroska, Mona
    Stockholm University, Faculty of Humanities, Department of Art History.
    Bilden och det heliga under tre tidsepoker: En studie av tre altaruppsatser i Brännkyrka kyrka2013Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsens syfte är att ikonografiskt analysera tre altaruppsatser från olika tidsepoker som uppförts i Brännkyrka kyrka. Den första från 1851 målad av Peter Lehman, den andra från 1979 målad av Einar Forseth och den sista från 2011 skapad i glas av Bertil Vallien.

    De tre altaruppsatserna analyseras vart och ett för sig för att även kunna placeras in i ett kulturellt och socialt sammanhang och där betraktaren utgör en viktig del. Undersökningen väcker frågan om de olika konstnärernas inflytande när det gäller val av motiv och form och hur och varför kyrkans förtroendevalda fattade beslut om att ersätta de gamla bilderna mot nya.

  • 321.
    Ranta, Michael
    Stockholm University, Faculty of Humanities, Department of Art History.
    Mimesis as the Representation of Types: The Historical and Psychological Basis of an Aesthetic Idea2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This work attempts to investigate a long-standing tradition within the history of aesthetics according to which the function of pictorial representation consists, or ought to consist, of the rendering of general or idealized types rather than particulars. Proponents of this view may be found in various versions from antiquity to the present. The second chapter of this work gives a historical overview of this tradition.

    How could this tradition be explained or given any plausibility? Aestheticians, and perhaps most notably analytic aestheticians, have been rather reluctant to take empirical research into account. In this study, however, it is claimed that empirical/psychological research may be of considerable importance for clarifying at least some aesthetic problems, including that mentioned above. Thus the third chapter of this work gives a historical survey of some psychological attempts along these lines. Theoretical foundations of such an approach may be found among 18th century British empiricists, wheras concrete investigations have been made during the 19th and the 20th centuries.

    The focus of this study will, however, be on recent cognitive psychology and categorization research, which will be discussed in chapters four and five. A basic tenet within cognitive psychology consists of the idea that higher organisms are capable of constructing and storing mental representations. Such representations may reflect general or exemplary characteristics of categories, but they also involve ideal features defined in terms of goal-efficiency. Pictorial representations of general and idealized types may correspond to the stored mental representations of beholders. Based upon recent research within emotion theory, it will be argued that matches and moderate mismatches between pictorial renderings of types and beholders' mental representations and schemata may lead to hedonic effects and thus may have a bearing on aesthetic preferences.

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  • 322.
    rasmussen taengh, evelina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Identitet, Konst & Kritik: En fördjupning i Marianne Lindberg De Geers självporträtt2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna kandidatuppsats syftar till att undersöka tre självporträtt av Marianne Lindberg De Geer ur ett feministiskt och genusteoretiskt perspektiv. Jag belyser konstnärens kritiska förhållningssätt till kultur/konstvärlden, de patriarkala strukturerna och hennes undersökande av kön/genus genom skapandet av olika identiteter. Marianne Lindberg De Geer är en av de fåtal konstnärer idag som aktivt deltar i det offentliga samtalet genom till exempel debattartiklar, sin egen konst och genom olika uttalanden. Jag undersöker således det faktum att hon tillhör etablissemanget och på samma gång kritiserar det.

    Uppsatsen ställer frågorna: Hur representeras konstnären i olika identitetssökande roller?

    Hur har självporträtten mottagits och hur ser förhållandet ut mellan den kritik som verken fått och konstnärens egna intentioner?

    Det teoretiska ramverket utgörs av Leena-Maija Rossis teorier om att re-turnera blicken, Joan Riviéres resonemang om kvinnlighetens maskerad samt Judith Butlers performativitetsteori. Undersökningen är dels en tematisk komparativ bildanalys av självporträtten Marianne som man, Jag tänker på mig själv och Bronskvinnorna men även en textanalys där jag tittar närmare på den skrivna mediala kritik som verken fått.

  • 323.
    Rosengren, Helena
    Stockholm University, Faculty of Humanities, Department of Art History.
    Från stadsplanefråga till kulturvårdsfråga: en diskuriv analys av hur Gamla stans historiska miljöer omvärderades2014Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen undersöker hur Gamla stan omvärderades från en ”icke bevarandevärd” historisk miljö till en ”högst bevarandevärd” historisk miljö mellan åren 1860-1980. För att ringa in hur uppfattningen om de historiska miljöerna har förändrats analyseras olika aktörers utsagor och praktiker kopplade till Gamla stan. Uppsatsens teoretiska utgångspunkter ansluter till ett diskursanalytiskt perspektiv vilket innebär ett synsätt där uppfattningarna om de historiska miljöerna ses som socialt konstruerade och historiskt betingade. För att granska materialet har diskursanalys använts även som metod. Genom empirisk undersökning har utsagor och praktiker  från regleringsförslag, inventeringar, debatter och officiella dokument undersökts och valts ut.

     

    Uppsatsens resultat understryker att det är det ideologiska sammanhanget som har skapat och format uppfattningen om Gamla stans historiska miljöer. Detta betonar att det är vad som kan sägas om den historiska miljön som har förändrats, inte miljöerna i sig. Vidare visas hur Gamla stan går från att vara en stadsplanefråga till att bli en kulturvårdsfråga. Genom förskjutningen framträder att uppfattningen om Gamla stan som en bevarandevärd kulturhistorisk miljö har legitimerats genom professionaliseringen av kulturvården under 1900-talet. Genom denna kulturarvsprocess upprättas Gamla stans som ett självklart bevarandevärt kulturarv.

  • 324.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    A Painting without Genre: Meaning in Jan Vermeer's The Girl with the Wine Glass2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 2, p. 77-91Article in journal (Refereed)
    Abstract [en]

    The article claims that Jan Vermeer's painting The Girl with the Wine Glass (Braunschweig) is a challenge of the pictorial codes of the period and also a challenge relating to awareness of human conditions. The subject matter adhers to low ranking but popular "genre" painting in the "familiar" style. Without inventing new narrative elements Vermeer, however, installs the subject matter in a totally new and bewildering "modern" way, in using perspective, scale, contrast to defined pictorial codes, and in an open address to the beholder. The laugh and the presumed returned gaze of the girl eventually turn into glazed immobility containing desperation, maybe - opening up unexpected meaning and an address to the beholder with emotional quality and insistence on awareness of human risks and of "modern" painting as visually potent sign-functions installing present life as open ended.

  • 325.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Aesthetics meets a work of the contemporary art scene: Grand Tour by Matts Leiderstam - subversion and commitment2007In: Word & Image, Vol. 23, no 2, p. 165-181Article in journal (Other (popular science, discussion, etc.))
    Abstract [en]

    The article is an investigation of meaning in the installation Grand Tour by Matts Leiderstam shown at Magasin 3 Stockholm konsthall 2005. The interpretation relates the work to different statements in aestethic theory, bringing forth conflicts and meaning production in the work. The idea of the analysis is that an overarching aspect of subversion is a cover or concealment of an urge or need to be involved in the act of painting on the grand sites of historical tradition.

  • 326.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Att beröra antiken - Johan tobias Sergels "antiker"2011In: Svenskar och antiken / [ed] Brita Ahlrot, Charlotte Scheffer, Stockholm: Stockholms universitet, Institutionen för arkeologi och antikens kultur , 2011, p. 31-54Chapter in book (Refereed)
    Abstract [en]

    Antiquity as historical reality is gone forever and can only be ‘reached’ through the mind, in essentialist and purified expressions of supreme classicizing art. Classical is projected against tense and disturbed refutations of the present (a perfect human state, in contrast to the sicknesses, weaknesses and imperfections of present life). This is the notion of classicism informing Neo-classical endeavours of art in the 1770s international circle of artists inspired by Roman paradigms. The article studies these attitudes and the style derived from it, as evidenced in the sculptures by Johan Tobias Sergel, a Swedish sculptor staying in Rome 1767-1778. In the sculptures, based on stories of passion from classical sources, the classical ideal (as aspects of artfulness and works of the mind) comes forth in the faces and hands of the figures, in the sense of extremely idealized forms in blend with more natural and yet heroic bodies. In Sergel’s sculptures, the remote and ideal of the classical is however countered by manifest instances of very sensual touch – fingertips, in particular – channelling feelings of sensuous experience. The sense of touch is moreover heightened towards the more hidden backside, where a more Bernini-inspired style prevails.

  • 327.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Blint angrepp på modernismen2011Other (Other (popular science, discussion, etc.))
    Abstract [en]

    The article is a main review in the Swedish daily morning paper Dagens Nyheter October 15 2011, of an anthology arguing for a revisionist stance in art. The anthology proposes Academic realism and the use of classical paradigms and it criticizes Modernism (and its present day "aftermath") indiscriminately. The review is a strong criticism of the standpoints of the anthology, not least ideas presented in it by the British philosopher Roger Scruton. The review contests Scrutons metaphysical aestheticism and his choice of canonic masters as well as his tendency to speak for "humanity" and naturally based values in art. The review defends art as a relational challenge demanding attention and a sense of dialogue, instead of claims of metaphysically founded objective values.

    Download full text (pdf)
    I den nya antologin
  • 328.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Bländverk2008Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Recension av Britt Tunanders bok Bländverk Dagens nyheter 9 juni 2008

  • 329.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Caravaggio-the final years: the national gallery, london february 23-may 22 20052005In: Konsthistorisk tidskrift, ISSN 0023-3609, Vol. volym 74, no häfte 2, p. 122-128Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    comments and interpretations on caravaggio's late works, in relation to an exhibition at the national gallery in london

  • 330.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Fate, Glory, and Love in Early Modern Gallery Decoration: Visualizing Supreme Power2013Book (Refereed)
    Abstract [en]

    Analysing the decorative programmes of the most opulent European palaces of the time, Margaretha Rossholm Lagerlöf investigates how meaning was conveyed through display and visual effects. She explores the visual meaning inherent in the scheme of spatial relations; in effects of scale, perspective, lighting, figures' positions and postures; and in relations among image types. The analysis concerns the interrelations of various kinds of images in the ensembles; the relations between images and physical site; and the address to the beholder. Lagerlöf considers the visual impact of the imagery in conjunction with 'readable' or symbolically 'coded' meanings; thus, the study does not merely subject these decorations to formalist aesthetic principles. She shows the visual meaning generally to sustain the verbal or readable messages, but often in subtle ways, extending or elaborating the meaning. Occasionally, the visual meaning comes forth as an undercurrent or complication, deviating from the proclaimed and symbolic meaning. Fate, Glory, and Love in Early Modern Gallery Decoration contributes to the body of scholarship on visual rhetoric and on how images 'act' out their messages.

  • 331.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    I bildkonstens reflexionskammare: Sophie Totties Kommande dagar2007In: Konstverk och konstverkan, Brutus Östlings Bokförlag Symposion , 2007Chapter in book (Other academic)
    Abstract [sv]

    Kapitlet (s 221-251 i boken) analyserar visuella verkningsmedel i ett konstverk av installationskaraktär, med flera bildmedier i samspel. Verket är Sophie Totties Kommande dagar (1999). Undersökningen gäller hur mening produceras i samspelet mellan bildarter och i varje bildart genom dess identitet som tillhörig en viss bildkategori med en tradition av meningsspel. Här ingår även en diskussion kring skillnader mellan tolkning av litteratur och tolkning av bildkonst, med en betoning av bildkonstens mening som mera knuten till det materiella och betecknande i uttrycket.

  • 332.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Ideal Landscape: Annibale Carracci, Nicolas Poussin and Claude Lorrain1990Book (Refereed)
    Abstract [en]

    The book first discusses the emergence of the genre of landscape painting, its essential principles and its position in the theoretical structure of classicism. The main part of the analysis concerns an interpretation of the paintings through the "filters" (contexts) of drama, rhetoric, utopianism and metaphysics. The painted landscapes contain elements of freedom and existential speculation, thus providing a subjective and subversive stance connecting to naturalistic solutions to problems of metaphysics.

  • 333.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Inlevelse, "concerto", paradox. Känslans uttryck i barock bildkonst: Caravaggio, Poussin och Bernini2008In: Själens uttryck. Passion, dygd och andakt - samspel mellan själ och kropp i 1600-talets människosyn, 2008, p. 122-141Conference paper (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln skildrar, med exempel från tre av de mest inflytelserika konstnärerna under 1600-talet (Caravaggio, Poussin och Bernini), hur starka känslor framställs i barock bildkonst. Hos Caravaggio finner vi ett suggererande och nedtonat uttryck som inbjuder till betraktarens medverkan genom inlevelse; hos Poussin ser vi ett slags scenisk installation av känslans rytm och färg, påminnande om musikaliska uttryck inom musikarten "concerto"; hos Bernini ser vi hur själslig extas framställs genom spel med motsatser.

  • 334.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Inlevelse och vetenskap - om tolkning av bildkonst2007Book (Other academic)
    Abstract [en]

    The main idea of the book is to claim a performative theory of interpretation concerning visual art. Throughout the work, aesthetic, subjective, and performative aspects of meaning in visual art are related and the patterns of these relations are examined.

    The idea is that there are two levels of meaning in an interpretation of a visual artwork; one is semantic and categorical, based on identification of genre, medium, subject matter, and historical circumstances; the other is performative in the way that the identified work seems to “act out” its meaning to the recipient whose involvement is aroused.

    Part I is an examination of some leading art historical interpretations of works by Jan van Eyck and Nicolas Poussin. Here the idea is to show the impact of involvement on scholarly interpretations.

    Part II is an extended reflection on aesthetic properties in art, in relation to the beholder’s involvement. Philosophical reflection in the field of aesthetics is juxtaposed to art historical interpretive strategies.

    Part III deals with imagination in relation to visual art. A section treats perspective in visual art in terms of imagination and involvement.

    Part IV contains specific analyses of a number of artworks: two Baroque works (an altarpiece and an epitaph in Swedish churches), and four works from the contemporary art scene (by Sophie Tottie, Eva Koch, Måns Wrange, and Peter Hagdahl).

    Concluding remarks contain epistemological evaluations of the performative meaning issued in an interpretation of an artwork. It is held here that the performative level of an interpretation depends on the semantic and categorical, but that it also works as a corrective or test in relation to this primary level of meaning.

  • 335.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Interpretation, emotion, and belief: cognitive dimensions in art historical investigation, featuring examples from Jan Vermeer, Nicolas Poussin, and Gian Lorenzo Bernini2011In: Word and Image, ISSN 0266-6286, E-ISSN 1943-2178, Vol. 27, no 4, p. 366-375Article in journal (Refereed)
    Abstract [en]

    The article argues for the recognition of 'other'beliefs in arthistorical interpretations of art. There is a tendency in the practice of interpretation to avoid aspects of potential 'foreignness' in thoughts that are uncomfortable for the interpreter to acknowledge in an artwork of great importance and high artistic value. This theoretical problem is discussed with reference to ethical claims in the understanding of art. The article examines the 'allegory' (in Walter Benjamin's sense) as a thought-form comprising the notion of foreignness; but it leaves this option and suggests instead the 'analogy' as a thought-form more appropriate to the real understanding that occurs in successful interpretations. With the analogy as the proposed thought-form relevant for interpretation of art, the article apostrophizes similarity, nearness as well as remaining alterity in the approach of the interpretation.

  • 336.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Interpreting Visual Art: Performance and Articulation2003In: Types of Interpretation in the Aesthetic Disciplines, Mc Gill-Queen's University Press , 2003Chapter in book (Other (popular science, discussion, etc.))
    Abstract [en]

    The article argues, with the examples of interpretations of Jan van Eyck's Arnolfini portrait, that interpretation of aesthetic aspects of a work of visual art depends on subjective and performative parametres. It states that the artwork shows itself in certain ways in the interpretive act, as if "staged" according to the identifcations of the interpretation that in turn are depending on the involvement of the viewer. To be able to capture aesthetic mechanisms of a visual artwork the scholar must use her/his subjective involvement, but this condition does not exclude epistemic criteria in the evaluation of the interpretation. On the contrary, interpretations that avoids the aesthetic and subjective fall short of understanding the way the work produces meaning.

  • 337.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Kleopatra blir Ariadne. Identitet och förvandling: Prins Eugens Waldemarsudde 11 oktober 2003-8 februari 20042004In: Konsthistorisk tidskrift, ISSN 0023-3609, Vol. 73, no 1, p. 55-59Article in journal (Other (popular science, discussion, etc.))
    Abstract [sv]

    Exhibition review of an exhibition at Prins Eugens Waldemarsudde where Ariadne as a subject matter is the leading theme in a very suggestive, learned, and intreaguing way

  • 338.
    rossholm lagerlöf, margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Konstförsök med döden hack i häl2008Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln, en understreckare i Svenska Dagbladet, diskuterar problemet med språklig skildring av bildkonst, i vetenskap och kritik. Utgångspunkt tas i Timothy Clarks bok The Sight of Death: An Experiment in Art Writing

  • 339.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Konsthistoria med visuell aptit2007Article in journal (Refereed)
    Abstract [sv]

    Recension av Bokförlaget Signums bok "Konst och visuell kultur i Sverige före 1809" redaktör Lena Johannnesson artikel i DN 30 augusti 2007

  • 340.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Le Brun var franska hovets reklammakare2009In: Svenska dagbladet, ISSN 1101-2412, no 20 augustiArticle, book review (Other (popular science, discussion, etc.))
    Abstract [sv]

    Artikeln är en "understreckare" i Svenska Dagbladet 20 augusti 2009. Den diskuterar förhållandet mellan Ludvig XIV krigföring i Holland på 1670-talet och gestaltningen av de militära "triumferna" i målningarna i Galerie des glaces i Versailles, utförda under ledning av Charles Le Brun. Artikeln diskuterar Le Bruns sätt att med visuell retorik i ljusföring och perspektiv iscensätta buskapet om den franska monarkins makt och dess centralgestalt Ludvig XIV.

  • 341.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Life Transformed: Performative Meaning, Analogy, and the Art of Bernini's Funerary Chapel Decorations2012In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 81, no 1, p. 2-30Article in journal (Refereed)
    Abstract [en]

    The article is an interpretation of three funerary chapel decorations by Gian Lorenzo Bernini: the Cornaro chapel, the Fonseca chapel, and the Altieri chapel. The process of interpretation is a main lead of the study, along with the messages of the decorations. Performativity and analogy are the tools of interpretation.

    Each site is a unique combination of artistic means, the bel composto that Bernini explained as the potential of each art-form to exceed its ‘rules’. Each site installs the event of death and the perspectives of after-life in a specific way. And, the interpretation proposes that the main idea concerns the bodily resurrection of the deceased, in a Jesuit frame of mind.

  • 342.
    rossholm lagerlöf, margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Now and Then, Then and Now2009In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 78, no 4, p. 171-177Article in journal (Refereed)
    Abstract [en]

    The article provides a discussion of the notions "now" and "then" as they are confronted in an institution such as the Moderna Museet, where the ongoing, dialogue and intentions are felt as dimensions also connected to the narratives and explanations of "history". The art museum is described as a kind of mausoleum for past events, but as parts of the museum art works nevertheless become reactivated in the present, in the work of memory. The article gives flash-backs of the American breakthrough of the 1960s and the art questions at stake - not only what art is but what it could be. The article demonstrates how memory works with and reworks the meaning of art, in a reminding and challenging analysis of Robert Rauschenberg's Monogram.

  • 343.
    rossholm lagerlöf, margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Performative Meaning in Art2007In: Images in Arts and Sciences: Selected Papers from a Conference Held by the Royal Society of Arts and Sciences in Göteborg 13-14 October, 2004, 2007, p. 149-161Chapter in book (Refereed)
    Abstract [sv]

    The article deals with the concept "performative meaning in art" as a kind of meaning that concerns the way the art work appears in the "key" of a certain interpretation. Interpretation is held to issue two kinds of meaning, one level of identification of the expression (genre, subject matter, contextual functions), the other an aesthetic and performative, emerging as a result of the identification.

  • 344.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Prins Margareta en maktfaktor i franska hovet2010Other (Other (popular science, discussion, etc.))
    Abstract [en]

    The article treats the power balance within the "trinity" of the rule of Francois Ier - between the king, his sister Marguerite and his mother Louise. It highlights the position of Marguerite and discusses the reflections of this power structure in the gallery decoration at Fontainebleau, Galerie Francois Ier.

  • 345.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Rum för kulturens medvetande2008Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    En reflexion om ett modernt konstmuseums kulturella betydelse och funktioner.

  • 346.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    själens djup i dräktens yta (21 okt 2006, Dagens Nyheter)2006Other (Other (popular science, discussion, etc.))
    Abstract [sv]

    Survey of theoretical possibilities in the field of fashion studies.

  • 347.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Sophie Totties språk; Sophie Tottie at Liljevalchs A Performative Language of Visual Art2007In: Sophie Tottie Fiktionen är inget skämt: Liljevalchs konsthall, utställningskatalog, utställning 14 april-27 maj 2007, Stockholm Liljevalchs konstahll , 2007Chapter in book (Other (popular science, discussion, etc.))
    Abstract [sv]

    The article is an analysis of Sophie Totti's art shown in the exhibition documented in the catalogue. The article argues for a performative perspective onTottie's art, entailing the view that the "content"aspects of the works function as equivalents to the media chosen for the realization; the "signified" of her works thus turns up as layers of the "signifyer".

  • 348.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Spatial Effects and Meaning in the Galerie des glaces at Versailles2010In: Ars Aeterna, ISSN 1337-9291, Vol. 2, no 1, p. 137-149Article in journal (Refereed)
    Abstract [en]

    The article is an analysis of meaningful spatial effects of the decoration in the Galerie des glaces at Versailles. Visual spaces (representational space, reflected space of the mirrors, and the physiacal space of the room and the site) are examined in terms of their interrelations and in terms of address to a viewer. Visual space is considered the most important tool to arouse curiosity and admiration in the spectator, the rhetorically most efficient aspect of the decoration. Three types of effects are discerned and discussed: ambiguity; control and domination; tension (as intensification, as challenge, and as risk).

  • 349.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of Art History.
    Stilarten kan skymma egenarten2011Other (Other (popular science, discussion, etc.))
    Abstract [en]

    The article is a main essay, "understreckare", in the Swedish daily morning paper Svenska Dagbladet, August 18 2011. It discusses the problem of general categories of style in interpretation of individual and esthetically specific artworks. Two examples are chosen: a painting by Björn Ahlgrensson from the Racksta colony of "national romantics" of the late 1890s in Värmland; and a late Baroque church decoration in Älgå church, also in Värmland, with two large angels shown as flying above the pulpit. The specific expressions of these two examples are discussed with questioning of general style categories.

  • 350.
    Rossholm Lagerlöf, Margaretha
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Subjektivitet och vetenskaplig analys i konstvetenskap2002Other (Other academic)
    Abstract [sv]

    Theoretical perspectives on the issue of how to deal with subjectivity as an element in the interpretations and the studied phenomena in art history

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