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  • 51.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Ett medium för visuell bildning: kulturhistoriska perspektiv på fotoalbum 1850-19502013Book (Other academic)
    Abstract [sv]

    När fotografitekniken spreds under 1800-talet föddes också fotoalbumet. Konstvetaren Anna Dahlgren undersöker albumens olika funktioner före och efter sekelskiftet 1900, som minnesalbum, släktträd, översikter över sociala hierarkier eller samlingar av signerade kändisporträtt. Ett stort bildmaterial visar rikedomen i omslagsmaterial och utförande.

  • 52.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Fotografiska drömmar och digitala illusioner: Bruket av bearbetade fotografier i svensk dagspress, reklam, propaganda och konst under 1990-talet2005Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to study what effects computer-based technology for altering photographic images had on the photographic medium and visual culture in general. The aim is also to describe the expectations and conceptions of photographic alterations and digital technology in the 1990s. The study is based on a quantitative analysis of altered photographs in the Swedish daily and weekly press, interviews with artists, artdirectors and picture editors at the five largest daily papers in Sweden, as well as a systematic survey of Swedish photography journals. The dissertation comprises a historic survey of the use of photographic alteration from the mid 19th century to 1989, and a detailed account of the 1990s in Sweden. The quantitative analysis shows that the quantity of discernibly altered photographic images in the daily press and advertising increased in Sweden in the 1990s. This analysis also reveals that the daily papers subjected to the study did not follow their own guidelines concerning the marking of altered photographs and the frequency of labelling was generally low. Three thematic Twentynine images are presented with more comprehensive image analyses. The first theme is the paradoxical photograph, which means that they present a paradoxical relationship between representational techniques and that which is represented. These kind of motifs are interpreted as an expression of an initial fascination with a new technology. The second theme is the perfect photograph, which concerns altered photographs that does not appear to be altered. The third, an last theme, the transgressive photograph, deals with photographic images that transgress the photographic medium by appropriating appearances and functions from other forms of signs and image techniques. The transition to computer-based image alteration did not only affect the character and extent of altered photographs, it also produced effects on the photographic medium and visual culture in general. As technical tools for alterations of photographic images enabled a higher degree of perfection, there was for example a reaction in the form of an increased interest in the imperfect. The uses of altered photographic images also show how questions of authenticity, reality and representation were brought to the fore by the use of image alteration in photography during the 1990s. This study problematise technology-based definitions of photographic images and show how altered photographs contribute to an increased awareness of the arbitrary character of photographic images.

  • 53.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Mellan tråd och tomrum: Spetsar och fotologik2012In: Markeringar och maskeringar: Att visa eller dölja sin kropp / [ed] Roger Qvarsell, Birgitta Svensson, Stockholm: Nordiska museets förlag, 2012, p. 102-111Chapter in book (Other academic)
  • 54.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Mode+Fotografi=bidrag till den svenska modefotografins historia2009In: Mode - en introduktion: en tvärvetenskaplig betraktelse / [ed] Dirk Gindt, Louise Wallenberg, Stockholm: Raster förlag, 2009, p. 152-174Chapter in book (Other academic)
  • 55.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Tacts and tactics: the gendered life stories of four Swedish female photographers2011In: Images in time: flashing forward, backward, in front and behind photography in fashion, advertising and the press / [ed] Aesa Sigurjónsdóttir, Michael A. Langkjaer, Jo Turney, Bath Spa: Wunderkammer , 2011Chapter in book (Refereed)
  • 56.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    The ABC of the modern photo album2013In: The Photograph and the Album: Histories, Practices, Futures / [ed] Jonathan Carson, Rosie Miller, Theresa Wilkie, Edinburgh: MuseumsEtc , 2013, p. 72-102Chapter in book (Other academic)
  • 57.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    The Album as Site2013In: Representational Machines: Photography and the Production of Space / [ed] Anna Dahlgren, Nina Lager Vestberg, Dag Petersson, Århus: Aarhus Universitetsforlag, 2013, p. 194-216Chapter in book (Refereed)
  • 58.
    Dahlgren, Anna
    Stockholm University, Faculty of Humanities, Department of Art History.
    The Art of Display2010In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 79, no 3, p. 160-173Article in journal (Refereed)
  • 59.
    Dahlgren, Anna
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Lager Vestberg, NinaDepartment of Art and Media Studies, NTNU.Petersson, DagThe Danish Royal Academy of Fine Arts, School of Architecture.
    Representational Machines: Photography and the Production of Space2013Collection (editor) (Refereed)
    Abstract [en]

    Photography does not only represents space. Space is produced photographically.Since its inception in the 19thcentury, photography has brought to light a vast array of  represented subjects. Always situated in some spatial order, photographic representations have been operatively underpinned by social, technical, and institutional mechanisms. Geographically, bodily, and geometrically, the camera has positioned its subjects in social structures and hierarchies, in recognizable localities, and in iconic depth constructions which, although they show remarkable variation, nevertheless belong specifically to the enterprises of the medium.This is the subject of Representational Machines: How photography enlists the workings of institutional technologies in search of establishing new iconic and social spaces. Together, the contributions to this edited volume span historical epochs, social environments, technological possibilities, and genre distinctions. Presenting several distinct ways of producing space photographically, this book opens a new and important field of inquiry for photography research

    Download (pdf)
    Table of contents
  • 60.
    Dahlgren, Anna
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Snickars, Pelle
    Stockholm University, Faculty of Humanities, Department of Cinema Studies.
    I bildarkivet - en introduktion2009In: I bildarkivet: Om fotografi och digitaliseringens effekter / [ed] Anna Dahlgren, Pelle Snickars, Stockholm: Kungl. biblioteket , 2009, p. 7-30Chapter in book (Other academic)
  • 61.
    Dahlgren, Anna
    et al.
    Stockholm University, Faculty of Humanities, Department of Art History.
    Snickars, PelleStockholm University, Faculty of Humanities, Department of Cinema Studies.
    I bildarkivet: Om fotografi och digitaliseringens effekter2009Collection (editor) (Other academic)
  • 62.
    Dahlström, Sara
    Stockholm University, Faculty of Humanities, Department of Art History.
    BECOMING CLEAN: En studie av David LaChapelles porträttserie2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Denna studie undersöker fotoserien Becoming clean, tagen av fotografen David LaChapelle 1996. Fotoserien utgörs av tre porträttbilder av den amerikanska rapparen 2Pac. I uppsatsen ställs frågorna: ”Hur skapar dessa bilder mening” och ”Hur utmanar bilderna föreställningar om kön, genus och begär”.

     

    Med Roland Barthes semiotiska metod analyseras bildernas betydelsebärande element utifrån en queerfeministisk vinkel. Judith Butlers performativitetsteori och Raewyn Connells begrepp hegemonisk maskulinitet används operativt i studien. Syftet är att redogöra för dels vilket budskap bilderna förmedlar till en betraktare samt hur detta görs.

     

    Analysen inleds med en redogörelse för bildernas gemensamma element. Efter detta argumenteras för bildernas ytterligare betydelser, i tre individuella bildtolkningar. Studiens metodik tillåter en dekonstruktion av bilderna som synliggör dess komponenter. Det teoretiska ramverket synliggör hur vi uppfattar dessa komponenter som ”maskulint” eller ”feminint” kodade. Teorin möjliggör även ett omförhandlande av de olika delarnas förhållande gentemot varandra.

     

    Slutligen argumenteras för att bildserien har starka kopplingar till konsthistoriska och populärkulturella framställningar av religiös karaktär, samt att en lek med, kön, genus och begär är dominerande. Denna lek menar studien har uppnåtts då LaChapelle placerat en ”maskulint” kodad bildkomponent i ”icke-maskulint” kodade bildkompositioner. 

  • 63.
    Didon, Rune
    Stockholm University, Faculty of Humanities, Department of Art History.
    Rokokon och dess måleri i det svenska 1800-talets ögon1988Doctoral thesis, monograph (Other academic)
  • 64.
    Dimholt, Anneli
    Stockholm University, Faculty of Humanities, Department of Art History.
    Prinsessan Margarita: – konsten att blåsa liv i en flicka2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Kandidatuppsatsen undersöker flickans position i konsten utifrån sex svartvita tusch­målningar av konstnär Carlota Perla. Undersökningen fokuseras på prinsessan Margarita och vad som kan sägas om hennes roll som gränsöverskridande och normbrytande flicka. Margarita som flicka i konsten beskrivs i ljuset av andra flickors position, dels i konsten, men även i litteraturen.

     

    Bildanalyserna sker genom en kvalitativ, semiotisk analysmetod med utgångspunkt i Roland Barthes denotativa respektive konnotativa nivåer i bilder. Vilka tecken finns i bilderna och vad kan de ha för betydelse för undersökningen av flickpositionen? Flickans roll i konsten speglas mot flickans roll i litteraturen med utgångspunkt i genusteori för att se om likheter eller paralleller kan upptäckas i berättelser om flickor och om hur subversiva flickpositioner skapas.

     

    Resultaten av undersökningen visar att flickpositionen är svårdefinierad. Med hjälp av metaforen såpbubblan, Michel Foucaults heterotopi-begrepp och de genusteoretiska begreppen skev och gurlesk kan det mångfacetterade begreppet ”flicka” analyseras utan att begreppet låser fast sig i normativitet eller trånga kategorier.

  • 65. Dimitrakaki, Angela
    et al.
    Perry, Lara
    Huneault, Kristina
    Kivimaa, Katrin
    Noack, Ruth
    Proctor, Nancy
    Sjöholm Skrubbe, Jessica
    Stockholm University, Faculty of Humanities, Department of Art History.
    Steorn, Patrik
    Stockholm University, Faculty of Humanities, Department of Media Studies, Fashion Studies.
    Uhlyarik, Georgiana
    Constant Redistribution: A Roundtable on Feminism, Art and the Curatorial Field2013In: Journal of Curatorial Studies, ISSN 2045-5836, Vol. 2, no 2, p. 218-241Article in journal (Refereed)
    Abstract [en]

    This discussion between nine curators, theorists and art historians addresses some of the contemporary issues related to feminism and curating. Topics include the role of the geographical and geopolitical in curatorial projects; the place of canons and canon-making in feminist approaches; the nature of contemporary feminist collectivities; the importance of the museum and its context of capitalism within politicized curatorial practice; and the status of the object and aesthetics in feminist-oriented curatorial practice.

  • 66.
    Dufwa, Jacques
    Stockholm University, Faculty of Humanities, Department of Art History.
    Winds from the East: a study in the art of Manet, Degas, Monet and Whistler 1856-861981Doctoral thesis, monograph (Other academic)
  • 67.
    Edling, Marta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Om måleriet i den klassicistiska konstteorin: Praktikens teoretiska position under 1700-talets andra hälft1999Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The character of the manual execution and material form of the art object were ascribed little value in the classicist theory of art. The practical act of painting was associated with handicraft and routine. The thrust of the theory was towards the literary and the philosophical and great value was ascribed to the artists' mental creativity and the treatment of the subject. It is my aim in this dissertation to investigate the separation between the manual/material and the mental/creative aspects in the art of painting and to clarify the role of practice within this theoretical tradition during the second half of the eighteenth century. The texts studied are written by leading art theorists: Reynolds, Mengs, Watelet, Levesque, Sulzer, von Hagedorn, Cochin and de Piles.

    One of the most important findings of the study is that the mental and the material were regarded not only as essentially different in kind, but that the relation between them also was of central importance. The picture was regarded as a combination of two effective parts: a carefully formed idea was realized, or produced, through the mediation of a material structure.

    Practice was thus seen as a tool of thought, and as such could be ascribed a complementary value. Consequently it was also possible, without contravening the established ranking of the mental and the material, to value and appreciate the material aspect for the important function it fulfilled in the production of the work as a whole.

    The practical and material aspect of painting should restrain the expressive powers of the brushwork and the handling of colours and subordinate itself to the mental creativity and the intellectual content. But it was recognized that paintings that did not live up to the highest aims was not for that reason necessarily "poor". In their categorizations of styles, genres, national schools of painting and individual artists' works it is possible to see that the theorists did allow more lowly and less highly valued kinds of paintings to be considered and appreciated, without risking any challenge to the established ranking order.

    The study shows that such deviations from the classical rules need not be regarded as temporary suspensions of the classical norm, rather, they represent a flexibility permitted within frames that remain intact. Some theorists exploited this freedom and took special interest in the manual and material components. Their texts demonstrate that it was possible to work upon the boundaries between the mental and material aspects.

    My study also suggests that, during the period studied, the idea of the art of painting as pictorial construction appear to be in question. Too much "artistry" in the technique and staging of the subject is said to obstruct the beholder's perception of the message that the picture has to convey. The distrust in the medium is indicated by these calls for an art both less theatrical and less concerned with its material make-up.

  • 68.
    Ekdahl, Ingemar
    Stockholm University, Faculty of Humanities, Department of Art History.
    En formvärld i fothöjd - om hörnblad i svenska medeltidskyrkor2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen beskriver den skulpturdetalj som går under benämningen hörnblad. Hörnbladen finns på baserna hos kolonner, halvkolonner, knektar och i portalernas baser och basband. Men de höggs också på dopfuntar som utformades med en attisk bas på en kvadratisk plint. Hörnbladen höggs i Sverige under en period på ca 250 år. Från ca 1130, under den romanska stilepoken, tills de går ur tiden under höggotiken vid 1300-talets andra hälft.

     

    En översiktlig typologi presenteras där hörnbladens formmässiga förändring över tiden beskrivs. Hörnbladen utformades antingen som växtornamentik eller som föreställande figurer. Som växtornamentik återfinns rötterna i antikens formspråk. Som föreställande figurer kan hörnbladen i stor utsträckning tolkas enligt en allmänt vedertagen kristen ikonografi, men här förekommer också såväl fornnordiska formelement som groteska figurer av profant, folkloristiskt slag.

     

    Den teoretiska utgångspunkten är Panofskys ikonologi och de metoder som använts för beskrivning och tolkning är förutom generell form-och stilanalys, analys i tre steg – pre-ikonografiskt, ikonografiskt och ikonologiskt – enligt Panofsky.

     

  • 69.
    Eklund Nyström, Sigrid
    Stockholm University, Faculty of Humanities, Department of Art History.
    Möbelarkitekt på 1930-talet: om inredningsfirman Futurum och hur en ny yrkesgrupp etablerar sig1992Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The home and its design were a topic of great interest in Sweden during the 1930s. A new, independent profession—that of the furniture designer—began to establish itself. A study is made of the professionalisation and training of furniture designers. SIMS, the Swedish Association of Interior Architects and Furniture Designers, was founded in 1933 to assert the professional identity of furniture designers and to safeguard their interests, e.g. in matters of copyright. A full study is made of SIMS' activities in this connection. Furniture design was also variously influenced by master-carpenters, furniture manufacturers and building architects. A brief investigation has been made of the training of these groups—or their lack of it—and their achievements, above all during the twenties and thirties, in order to clarify relations between them and the furniture designers. The 1930s saw the rise of many small firms of interior designers which disseminated and elaborated Functionalist ideas from the Stockholm Exhibition concerning the design and furnishing of the home in a softer, brighter and more comfortable style. Futurum is a typical example. It was founded in 1934 by Margareta Köhler, one of Sweden's first women furniture designers, and the artist Marie-Louise Idestam- Blomberg. Later on the weaver Harriet Uhlén also became a partner. Futurum designed and sold furniture, soft furnishings, carpeting and other interior design products, and textiles and carpets were also imported from a number of European companies. Futurum's main idea was the creation of functional, appropriate, beautiful and pleasant homes adapted to the customers' true needs, not for entertainment and formal occasions. A close study is made of Futurum's implementation of these ideas through exhibitions and interior designs for private homes and public buildings, as well as the company's production of specially adapted interiors for children.

  • 70.
    Ekstrand, Tommy
    Stockholm University, Faculty of Humanities, Department of Art History.
    Stockholms byggande och intressegrupper: Nutidens och framtidens stadsplanering2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper deals with the Stockholm construction and residential development. When the Stockholm Alliance parties announced that it wants to meet the housing shortage in the county by building 140,000 new homes by the end of 2030 - what will that mean for the city's identity and character? More interesting is how these plans cope with the increasingly public opinion. This has made me curious about the very active ongoing debate about how the future Stockholm should be built. Choosing four out of these loud networks (for and against) led me to an intensive debate on how Stockholm should remain as beautiful in the future as it is now. How the politicians in charge should avoid making the same historic mistakes by building ugly function separated modernist suburbs as well as demolishing of the Klara district in the middle of the city, one of the most vibrant and densely populated area in Stockholm. Most of the groups, despite their differences have the same visions on how to repair the functionalistic wounds made in the 60s and 70s. Even the city recognizes the aesthetic slip and urban sprawl and now wants to mitigate the damage, but how? The network groups can agree on one preferable thing. The return to Stockholm’s golden era, pre modernist times, with block structured neighborhoods, classicist architecture and densification. These are the most popular and desirable areas in town and this is what most people would see more of, but building companies and architects are not interested in building pastisches, nor are they interested in building for those in need of apartments: young people and students. So, this paper also deals with those problems and how to overcome them. My end result is, based on these network’s criteria – is there any new neighborhood they could agree upon?

     

    Keywords: Urbanism, Jane Jacobs, Modernism, Post modernism, City planning, Sprawl, YIMBY, Jagvillhabostad.nu, Charles Jencks, Stockholm skyline, Samfundet S:t Erik, densification, Ola Andersson

  • 71.
    Eliasson, Sabrina Norlander
    Stockholm University, Faculty of Humanities, Department of Art History.
    A 'faceless society'?: Portraiture and the politics of display in eighteenth-century Rome2007In: Art History, ISSN 0141-6790, E-ISSN 1467-8365, Vol. 30, no 4, p. 503-520Article in journal (Refereed)
    Abstract [en]

    In eighteenth-century Europe portraiture held an important function within the art collections of the elite. The genre had an aesthetic purpose but also a strong social one. Portrait displays were frequent within domestic spaces that held a particular dignity but also offered public accessibility. Portraiture constituted in this sense the elite families a social guarantee and manifested the continuity of their social achievements. However, this general overview may be questioned if we move beyond the all-too-often cited examples of the monarchies of Britain and France. Instead, this article examines the social use of portraiture in eighteenth century Rome with particular reference to the structures of social manifestations of certain papal families.

  • 72.
    Ellehag, Claes
    Stockholm University, Faculty of Humanities, Department of Art History.
    Clas Ralamb as developer. Thoughts about a few surviving architectural drawings from the 1600s2013In: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 82, no 1, p. 36-51Article in journal (Refereed)
  • 73.
    Ellehag, Claes
    Stockholm University, Faculty of Humanities, Department of Art History.
    Fem svenska stormanshem under 1600-talet1994Doctoral thesis, monograph (Other academic)
  • 74.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    A Material Turn? The Contexts of Early Modern Material Scientific Heritage2013In: (Re-)Contextualizing Literary and Cultural History: The Representation of the Past in Literary and Material Culture / [ed] Elisabeth Wåghäll Nivre, Beate Schirrmacher, Claudia Egerer, Stockholm: Acta Universitatis Stockholmiensis, 2013, p. 269-284Chapter in book (Refereed)
  • 75.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    Display of Instruments on Seventeenth-Century Astronomical Frontispieces2014In: Scientific Instruments on Display / [ed] Silke Ackermann, Richard Kremer, Mara Miniati, Brill Academic Publishers, 2014, p. 199-215Chapter in book (Refereed)
    Abstract [en]

    This essay explores how the illustrations in seventeenth-century astronomical books address consumption. It asks how instruments are displayed on frontispieces and illustrated title pages. Illustrations on the first pages of the book, when there are any, advertise the content. This was where the producers of the book could communicate to the user why it should be bought, read, and further used. I am particularly interested in the kinds of settings in which the instruments are displayed, in the human actions to which they are connected, and in how these images are referred to in the text, particularly as concerns consumption.

  • 76.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    Heavens and Earth: Early Modern Astronomical Frontispieces2014In: Mapping Spaces: Networks of Knowledge in 17th Century Lanscape Painting / [ed] Ulrike Gehring, Peter Weibel, München: Hirmer , 2014, p. 130-135Chapter in book (Refereed)
    Abstract [en]

    In 17th century Europe, art, science and technology were deeply intertwined. Mapping Spaces traces the multifaceted relationship between the disciplines. The article explores how the combined interest in mapping of the heavens and earth was presented in illustrations, particularly frontispieces in books on astronomy.

  • 77.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    Inspiration from Antique Heroic Deeds: Hercules as an Astronomer2012In: Culture and cosmos: a journal of the history of astrology and cultural astronomy, ISSN 1368-6534, Vol. 16, no 1-2, p. 139-150Article in journal (Other academic)
    Abstract [en]

    In the early modern period (during the Renaissance/Baroque eras) the comparison of the astronomer and his work to a Hercules or a Herculean Effort was not unusual. The learned and intellectual Hercules was described as an ideal and put forward as exemplary. This paper explores how the comparison was presented in text and image.

  • 78.
    Elmqvist Söderlund, Inga
    Stockholm University, Faculty of Humanities, Department of Art History.
    Taking possession of astronomy: Frontispieces and illustrated title pages in 17th-century books on astronomy2010Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The thesis is a survey of 291 frontispieces and illustrated title pages in European books on astronomy from the 17th century. It is a quantitative and qualitative survey of how motifs are related to consumption, identification and display. Elements in the motifs related to factual content as opposed to those aimed to raise the perceived value of astronomy are distinguished.

    The quantitative study shows that astronomical phenomena (90 per cent) and scientific instruments (62 per cent, or as much as 86 per cent if only titles with illustrations occupying an entire page are considered) are the most common motifs to inform the reader of the genre. Besides these, a wide range of depicted features indicate the particularity of each title. Different means for raising the value of astronomy and its attributes are identified. The interplay of “real” or “credible” elements with fictional ones was used to attract attention, create positive associations and promote acquisition and reading. The motifs mainly promote delectation and erudition, although some attract attention through their deliberately enigmatic design and a few through fear. The survey determines prevalent settings (palaces, the theatre, gardens, the wilderness and the heavens), activities (skilful use of instruments, conversations or disputes), references to the ancients and heraldic components. They present both the self-image of astronomers at the time and ideal components that contain connotations of an enhanced reality. This self-image also contributed to the definition of normative values for astronomers in the 17th century. The affinities between painters and astronomers are examined.

    In addition, an analysis of descriptions of frontispieces is undertaken, which shows that the user of the book was expected to devote considerable time to the frontispiece in order to understand all of its particular features and that the illustrations were suitable for display and learned digression.

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  • 79.
    Elsner, Catharina
    Stockholm University, Faculty of Humanities, Department of Art History.
    Expressionismens framväxt: August Brunius skriver om konst 1904-1913 = [Vers l'émergence de l'éxpressionnisme] : [les écrits esthétiques d'August Brunius de 1904 à 1913]1993Doctoral thesis, monograph (Other academic)
  • 80.
    Endresen, Signe
    Stockholm University, Faculty of Humanities, Department of the History of Art. Konstvetenskap.
    Akt-motivet i Norge, ca 1900-25.: Et motiv med variasjoner2006In: Valör: Konstvetenskapliga studier, ISSN 0283751X, no 2-3Article in journal (Refereed)
  • 81.
    Endresen, Signe
    Stockholm University, Faculty of Humanities, Department of the History of Art. Konstvetenskap.
    Nini Anker Dessen: Uttrykk med variasjoner2007Book (Other academic)
  • 82.
    Endresen, Signe
    Stockholm University, Faculty of Humanities, Department of the History of Art. Konstvetenskap.
    Om detaljenes symboler: Rolf Estensens fotografiske arbeider2007Book (Other (popular science, discussion, etc.))
  • 83.
    Endresen, Signe
    Stockholm University, Faculty of Humanities, Department of the History of Art. Konstvetenskap.
    Se som en mann og male som en mann?: Kvinners kår som kunstnere i Norge 1910-19302006In: Moderne kvinder: Kvindelige malere i Norden 1910-1930, utställningskatalog: GL Strand, Göteborgs konstmuseum, Trondheim Kunstmuseum , 2006Chapter in book (Other academic)
  • 84.
    Engellau-Gullander, Cecilia
    Stockholm University, Faculty of Humanities, Department of Art History.
    Jan II van Coninxlo: a Brussels master of the first half of the 16th century1992Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This dissertation consists of a monograph on Jan II van Coninxlo (c. 1489 - after 1558), one of the masters working in the system of Flemish altarpiece production in Brussels. This production was at its most vigorous during the first two decades of the sixteenth century, when altarpieces were being exported widely to different parts of Europe. Examples of van Coninxlo's work can therefore be found today in Sweden, France and Belgium. First the situation of the pictorial arts in Brussels during the first half of the sixteenth century is described. The Late Gothic background of the production of the Flemish altarpieces, and developments in the art of the tapestry in the spirit of the High Renaissance, are both discussed here. This is followed by a brief account of the artist's life. The main section of the book is devoted to a survey of his surviving oeuvre, consisting of about a hundred paintings. The works are presented in turn and in detail. Style and iconography are analysed, as well as various aspects of the artist’s technique. The provenance of the works, and the question of who commissioned them, are also discussed in this section. The analyses include comparative studies of the works of contemporary artists such as Bernard van Orley, Quentin Matsys and Pieter Coeck van Aelst. A large number of photographs to illustrate details of the paintings as well as infra-red photos and X-radiographs were made in connection with the technical analyses. This section is followed by a brief discussion of paintings now rejected from the catalogue of van Coninxlo's works and an account of the master's artistic development. The book concludes with a catalogue. This is the first comprehensive study to have been made of van Coninxlo as an artist worthy of attention in his own right. He emerges as one of the more noteworthy masters involved in the production of altarpieces in Brussels, who was at the peak of his artistic career in the years around 1520. Two more works comprising thirteen paintings have been attributed to the master in this book. They belong to the period just after the middle of the century, and thus throw new light on his later activities. Van Coninxlo appears to have worked in the local arena, his roots firmly in the established pictorial tradition but still open to new sources of inspiration.

  • 85.
    Englund, Lotta
    Stockholm University, Faculty of Humanities, Department of Art History.
    Striden om Figurationer2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    ”Striden om Figurationer” behandlar utställningen Figurationer på Edsviks Konsthall sommaren 2009, mottagandet och den efterföljande debatten. Utställningens och den tillhörande bokens syfte var att visa och lyfta fram bredden i det norska figurativa måleriet, men innebar också en kritik mot ”konstetablissemanget”. Mottagandet och debatten, som kom att röra sig kring vad som gör konst intressant och meningsfullt, kan ses som antagonism rörande betydelsen av konst. Syftet med uppsatsen är att med hjälp av diskursteori belysa och problematisera hur synen på konst kan se ut idag i praktiken. De frågeställningar som har använts är: Hur konstrueras konst i Figurationer, mottagandet och debatten? Vad strider de om och vad är de överens om, det vill säga vilka skillnader och likheter finns i deras konstruktioner och i utsagorna? Vad har detta för konsekvenser för synen på konst och vad får detta i sin tur för konsekvenser?

    Några diskursteoretiska begrepp har fungerat som metodologiska tillvägagångssätt i den kvalitativa undersökningen. Genom ett urval av signifikanta tecken, nodalpunkter, i artiklar och boken belyses hur de stridande diskurserna konstruerar konst. Uppsatsen tar upp den positiva diskursens respektive negativa diskursens konstruktioner av konst. Konstruktionerna jämförs sedan i en analys som avslutningsvis diskuteras. Framställningen pekar på begreppet konst som en social konstruktion, hur denna kan se ut och vad det kan få för sociala konsekvenser.

  • 86.
    Erik, Hamdahl
    Stockholm University, Faculty of Humanities, Department of Art History.
    Idealismen i Richard Berghs naturuppfattning2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I den här uppsatsen ägnar jag mig åt att synliggöra Richard Berghs idealistiska natur­uppfattning utifrån centrala delar av hans författarskap som rör naturskildringar i konsten. Medan tidigare forskning främst har undersökt de filosofiska influenser som står explicit utskrivna i hans artiklar pekar jag ut påverkningar som kan anas implicit. Uppsatsen drivs därför av frågeställningen: vilka idealistiska influenser går att spåra i Richard Berghs natur­uppfattning? Genom att jämföra delar av Berghs textproduktion med tysk idealism repre­sen­terad av Kant, Fichte och Schelling, samt med tidigare forskning visar jag på att hans naturuppfattning har flera beröringspunkter med idealismens natursyn. Jag poängterar hur de huvudsakliga skildringskriterierna för stämningsmåleriet delar idealismens upp­fattning att den subjektivt erfarna verkligheten ger den sanna bilden av naturen. Jag påvisar hur den starka förbindelsen mellan människa och natur som Bergh ser i bland annat Karl Nordströms stämningsbilder inte enbart kan hänföras till hans intresse för Spencer och Darwin, som man i tidigare forskning framhållit. Istället ringar jag in det idealistiska i Berghs beskrivning av andens framträdande i stämningsmåleriet genom att föreslå hur landskapskonsten kan vara ett medel för människans självreflektion i naturen. Jag påvisar också en möjlig syntes mellan darwinism och idealism genom att antyda hur den drivande kraften i evolutionen kan ersättas med det idealistiska andebegreppet. Där tidigare forskare har dragit slutsatsen att Berghs teoretisering av stämningsmåleriet syftar till att göra den svenska naturen till en nationell identitetsfaktor belyser jag hur en, med utgångspunkt i Kant, idealistisk verklighetsbeskrivning är en förutsättning för detta.

  • 87.
    Erik, Rosshagen
    Stockholm University, Faculty of Humanities, Department of Art History.
    Counterspaces: On power in slum upgrading from a Thirdspace perspective. A case study from Kambi Moto.2007Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The study takes its point of departure in the urgent problem of slums that follow on the rapid urbanisation worldwide. Focusing on the small informal settlement of Kambi Moto in Nairobi, Kenya, the study tries to answer the question of how power can be worked out in slum upgrading – a way to change the physical environment of a slum without demolishing and rebuilding the whole settlement. The theoretical tool to answer this question is taken from Edward Soja’s reading of Henry Lefebvre in the concept Thirdspace – an extended and politicised way to look at space, where space is not only seen as a stage for historical and social processes, but as something that is shaping our thoughts and actions; a social space that includes and goes beyond the material Firstspace and the mental Secondspace. From a spatialized reading of history today’s situation – where 60 % of the population of Nairobi live in informal settlements – is traced back to the ideological structuring of space in the colonial cityplans. The informal settlements are established as a Thirdspace: both a negative outcome of the dominating Secondspace of the colonial administration and as a counterspace, where traditional ways of life could live on and where revolutionary movements could grow. The study then focus on how the two scales to view the city, the macro and the micro, are resolved in the Shack/Slum Dwellers International (SDI), a global network of local federations that organizes slum dwellers. The network empowers the individual slum dweller in making him/her an actor in a peer to peer exchange, and also creates a social space for political struggle. This is manifested in Muungano wa Wanavijiji, a citywide movement for a collective struggle for spatial rights, empowering the slum dwellers in taking charge of the social production of human spatiality. In a case study of a slum upgrading effort in Kambi Moto the shifting of power from the government, international organisations and professionals to the lived Thirdspace of the habitants, as well as the internal power relations within the community, are looked at in a concrete situation.

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  • 88.
    Eriksson, Johan
    Stockholm University, Faculty of Humanities, Department of Art History.
    Kondottiärfurstarnas visuella retorik: Leonello dÉste, Sigismondo Malatesta, Alessandro Sforza, Federico da Montefeltro2002Doctoral thesis, monograph (Other academic)
  • 89.
    Eskevik, Aase H.
    Stockholm University, Faculty of Humanities, Department of Art History.
    The Stave Church as a medium for the intangible cultural heritage: How to implement and safeguard the traditional handcraft through architectural conservation2014Independent thesis Advanced level (degree of Master (Two Years)), 20 credits / 30 HE creditsStudent thesis
    Abstract [en]

    This thesis examines the Stave Church Preservation Programme initiated by the Norwegian Directorate for Cultural Heritage and its inclusion of the intangible cultural heritage of the traditional handcraft during conservation. Based on the case study of the Nore Stave Church, this thesis further highlights the various conservation trends manifested in the stave churches over time and the following interventions consequences on the constructions. Changing from pragmatic to principled, the interventions are today visible as annual rings on the monument. The most prominent annual ring of the current conservation programme is however the inclusion of the traditional handcraft and the craftsman. By illuminating the complexity of restoring a stave church and the conflict in safeguarding a cultural heritage where both materiality and intangibility are central, this thesis aim to contribute to a more nuanced view of the stave church.

    Through ethnographic interviews, this thesis further investigates the craftsmen’s ambivalent attitude towards the two leading models of safeguarding the traditional handcraft, that of academising the handcraft and implementing the master-apprentice model. By acknowledging the materiality as a source of knowledge, the stave church can serve as an arena for interdisciplinary discussions, broadened research and deepened understanding. This thesis propose that by focus attention to the three dimension of the cultural heritage, the materiality of the stave church, the intangible traditional skills and the craftsman, a more holistic understanding of the historic monument and its construction methods will be obtained.

  • 90.
    Feher, Marianna
    Stockholm University, Faculty of Humanities, Department of Art History.
    Flyktlinjer från verkligheten: En analys av Philippe Parrenos utställning Anywhere, Anywhere Out of the World2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    I denna studie analyseras Philippe Parrenos utställning Anywhere, Anywhere Out of the World (23 oktober 2013 – 12 januari 2014). I studien undersöks hur Parrenos utställningspraktik kan kopplas till Gilles Deleuze och Félix Guattaris begrepp rhizom. Den ingående analysen undersöker utställningen utifrån ett dramaturgiskt analysperspektiv i kombinations med en performativitetsteori. Teori och metod appliceras dels på utställningen som helhet och dels på ett tre urval verk i utställningen.

    Studien är en tolkning av en modern utställningspraktik och syftar till att ge en inblick i hur det går att avläsa en rhizomatisk struktur i utställningen Anywhere, Anywhere Out of the World utifrån dess dramaturgiska och performativa egenskaper.

    Sökord: utställningspraktik, rhizom, Anywhere Anywhere Out of the World, Philippe Parreno, Gilles Deleuze, Félix Guattari, dramaturgi, performativitet, samtidskonst, kollisionsdrama

  • 91.
    Frost, Ulla
    Stockholm University, Faculty of Humanities, Department of Art History.
    Förlagor och teckningsläror: ett bidrag till den svenska teckningsundervisningens historia särskilt avseende 1800-talet1988Doctoral thesis, monograph (Other academic)
  • 92.
    Gavel, Jonas
    Stockholm University, Faculty of Humanities, Department of Art History.
    Colour: a study of its position in the art theory of the Quattro- & Cinquecento1979Doctoral thesis, monograph (Other academic)
  • 93.
    Gejrot, Claes
    et al.
    Stockholm University, Faculty of Humanities, Centre for Medieval Studies.
    Risberg, SaraStockholm University, Faculty of Humanities, Department of History.Åkestam, MiaStockholm University, Faculty of Humanities, Department of Art History.
    Saint Birgitta, Syon and Vadstena: papers from a symposium in Stockholm 4–6 October 20072010Conference proceedings (editor) (Other academic)
  • 94. Gejrot, Claes
    et al.
    Åkestam, MiaStockholm University, Faculty of Humanities, Department of Art History.Andersson, RogerStockholm University, Faculty of Humanities, Centre for Medieval Studies.
    The Birgittine Experience: Papers from the Birgitta conference in Stockholm 20112013Collection (editor) (Refereed)
    Abstract [en]

    The Birgittine Experience contains a broad overview of recent scholarship on Saint Birgitta and the Birgittine Order. The nineteen papers were originally presented at an international conference in Stockholm in October 2011.The conference and the book are interdisciplinary, gathering scholars that specialise in various fields, for instance Art History, Literature, Scandinavian Languages and History. The authors represent ten countries – Sweden, Denmark, Norway, Finland, Germany, England, Poland, Estonia, the United States and Israel. Three major themes were envisaged for the conference: Birgittine art and culture, vernacular texts and literature, and Birgittine activities outside Vadstena. Although a few papers could easily have been placed in more than one group, these themes also form the structure of the printed book.

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  • 95.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of Art History.
    By the Tomb of Genesius2012In: Performativity and Performance in Baroque Rome, Ashgate , 2012Chapter in book (Refereed)
  • 96.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of Art History.
    Den fängslade furstinnan: Katarina Jagellonicas gravkor i Uppsala domkyrka2013In: Kyrkornas hemligheter / [ed] Ann Catherine Bonnier, Ingrid Sjöström, Stockholm: Medström , 2013, p. 130-131Chapter in book (Refereed)
  • 97.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of Art History.
    En samlingsplats för dygder: Det Kaggska gravkoret i Floda kyrka2013In: Kyrkornas hemligheter, Stockholm: Medström , 2013, p. 163-165Chapter in book (Refereed)
  • 98.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of Art History.
    Hela familjen tillsammans: Familjen Körners epitafium i Västerås domkyrka2013In: Kyrkornas hemligheter / [ed] Ann Catherine Bonnier, Ingrid Sjöström, Stockholm: Medström , 2013, p. 132-133Chapter in book (Refereed)
  • 99.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of the History of Art.
    Holländsk guldålder: Nationalmuseum, Stockholm, 22 september-8 januari 20062006In: Konsthistorisk tidskrift, Vol. 74, no 4, p. 269-276Article, book review (Other (popular science, discussion, etc.))
  • 100.
    Gillgren, Peter
    Stockholm University, Faculty of Humanities, Department of Art History.
    Judith Walker Mann, Babette Bohn, and Carol Plazzotta, eds. Federico Barocci: Renaissance Master of Color and Line2013In: Renaissance quarterly, ISSN 0034-4338, E-ISSN 1935-0236, Vol. 66, no 4, p. 1370-1372Article, book review (Other academic)
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