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Tor Hedbergs konstkritik i Svenska Dagbladet 1897-1907: Positionering och konstsyn
Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
2016 (Swedish)Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
Abstract [en]

The purpose of this thesis is to examine the art critic Tor Hedberg’s position and aesthetic atti-tudes during the period 1897-1907, by analyzing a number of his articles and reviews. The theoretical and methodological framework is mainly based on Pierre Bourdieu’s understanding of the art field and the art critic’s role within that specific field. By analyzing Hedberg’s articles about the World’s Fair in Stockholm 1897, it has been revealed that he held the modern land-scape art in high esteem. The schism between the two competing artist associations, Konstnärs-förbundet and Svenska konstnärernas förening is also examined. Hedberg supported Konstnärs-förbundet, arguing that they represented the modern movement in the Swedish art field, while criticizing the other association for its academic aesthetic attitude.It is also argued that Hedberg’s preference for Konstnärsförbundet and disagreements with the Svenska konstnärernas förening are demonstrated in his reviews of the spring exhibitions arranged by the two artist associations in 1901-1903. It has been revealed that the reviews dif-fer; the reviews of Konstnärsförbundet are in general positive, while the reviews of Svenska konstnärernas förening are in general negative. The thesis also shows that in paintings consid-ered as masterpieces by Hedberg, the technical aspects interact with the expression and the presence of the artist. Hedberg’s criticism of the art purchases to Nationalmuseum also indicates his support of Konstnärsförbundet as they were disadvantaged. His aesthetic attitude is similar to those of Richard Bergh, Ellen Key and Carl G. Laurin who were involved in the aesthetic movement, which emphasized aesthetic values, the modern Swedish landscape art, education and public access to art. It is also stressed that Hedberg influenced the banker Ernest Thiel, who was a generous patron of modern Swedish art, in his art purchases. In his articles, Hedberg emphasized Thiel’s efforts as an art collector and patron, underlining that his collection of con-temporary art was the most distinguished in the country.

Place, publisher, year, edition, pages
2016. , 102 p.
Keyword [en]
Art Criticism, Pierre Bourdieu, Art Field, Aesthetic Movement, Swedish Nineteenth-Century Art, World’s Fair, Ernest Thiel, The Thiel Art Collection
Keyword [sv]
Tor Hedberg, Pierre Bourdieu, Konstnärsförbundet, Svenska konstnärernas förening, Ernest Thiel
National Category
Art History
Identifiers
URN: urn:nbn:se:uu:diva-302867OAI: oai:DiVA.org:uu-302867DiVA: diva2:968108
Subject / course
Art History
Supervisors
Available from: 2017-05-08 Created: 2016-09-12 Last updated: 2017-05-10Bibliographically approved

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