The purpose of this essay is to study the ideals of early functionalism in Sweden by examining two buidldings from the 1930s on Södermalm i Stockholm, the quarter Marmorn and Vetegatan in Eriksdal, and how these buildnings are expressed in Torsten Jovinge's depiction in the two paitings Kvarteret Marmorn (1932) and Från Eriksdal (w.y.). Both the buildnings and the paintings are described and analysed from a Semiotic perspective.
The early functionalism in Sweden was not only an architectural form, but also a part of the modern construction of the society. The two buildnings in the study have two distinct expressions. Marmorn is a functionalist identity marker high up on Skinnarviksberget and the building at Vetegatan in Eriksdal, exhibits a low-key functionalism. In order to successfully realize and implement the ideals of functionalism, both where needed.
Torsten Jovinge stays close to his subjects and the paintings reflects the breadth of early functionalist architecture. Both paintings are performed in a purist spririt similar to the French form of purism from the early 1920s. A conclusion is that Jovinges's architectural paintings could constitute motifs for public art in line with purism's ideas about art as part of the architecture.The painting Från Eriksdal also shows some similarities to the Italian metaphysical painting from the 1910s represented by the Italian artist Giorgio de Chirico.
Jovinge's painting is compared with some other artists contemporary with him, also with motifs of Stockholm, but it is only Jovinge who puts the architecture at the center with his characteristic expression.