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  • 1.
    Ackeby, Bina
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History. 1988.
    Fulheten i Patricia Piccininis posthumanistiska verk2021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This paper is about the artist Patricia Piccinini and the subject of perception of ugliness in art through time. I wanted to comparehow The perception about ugly subjects in art has changed over time from classical art to the posthuman category where Piccinini is active.

    There was no research about Piccinini that I could find, but I could work on the perspective from the posthuman and historical points as well as some interwievs and exhibition facts about Piccinini.

    The metod I am using in this paper is Panofskys iconografical analasys method. With this method I am allowed to analyse multiple works by Piccinini and compare them to each other and answer the question about ugliness. I also have the opportunity to analyse the works by themselves in depth to see in wich way they are ugly, in wich time period of future they can be in and so forth. 

    The works I am analysing in this paper are The couple, Teenage Metamorphosis and James (Sitting). The works appar to be in different stages of future and I analyse them I what I believe is in chronological order. 

    My conclusion is that the human reactions upon the unknown and the ugly is the same even if the ugly is a part of the nature or humanmade. But the perception of what can be seen as ugly or not has changed in The sense that we are more tolerable against The things that can be seen as horrific. 

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    Fulheten i Piccininis Posthumanistiska verk
  • 2.
    Adams, Jonathan
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Scandinavian Languages.
    Hanska, JussiDepartment of History, University of Tampere, Finland.
    The Jewish-Christian Encounter in Medieval Preaching2014Collection (editor) (Refereed)
    Abstract [en]

    This book explores the complexity of preaching as a phenomenon in the medieval Jewish-Christian encounter. This was not only an "encounter" as physical meeting or confrontation (such as the forced attendance of Jews at Christian sermons that took place across Europe), but also an "imaginary" or theological encounter in which Jews remained a figure from a distant constructed time and place who served only to underline and verify Christian teachings. Contributors also explore the Jewish response to Christian anti-Jewish preaching in their own preaching and religious instruction.

     

    Contents:

    1. Jonathan Adams and Jussi Hanska, Introduction: The Jewish-Christian Encounter in Medieval Preaching

     

    Part I: Regional Studies

    2. Raúl González Salinero, Preaching and Jews in Late Antique and Visigothic Iberia

    3. Regina D. Schiewer, Sub Iudaica Infirmitate — "Under the Jewish Weakness": Jews in Medieval German Sermons

    4. Jonathan Adams, Preaching about an Absent Minority: Medieval Danish Sermons and Jews

     

    Part II: Preachers and Occasions

    5. Kati Ihnat, "Our Sister Is Little and Has No Breasts": Mary and the Jews in the Sermons of Honorius Augustodunensis

    6. Filippo Sedda, The Anti-Jewish Sermons of John of Capistrano: Matters and Context

    7. Maria Giuseppina Muzzarelli, The Effects of Bernardino da Feltre’s Preaching on the Jews

    8. Jussi Hanska, Sermons on the Tenth Sunday After Holy Trinity: Another Occasion for Anti-Jewish Preaching

     

    Part III: Symbols and Images

    9. David I. Shyovitz, Beauty and the Bestiary: Animals, Wonder, and Polemic in Medieval Ashkenaz

    10. Giacomo Todeschini, The Origin of a Medieval Anti-Jewish Stereotype: The Jews as Receivers of Stolen Goods (Twelfth to Thirteenth Centuries)

    11. Pietro Delcorno, The Roles of Jews in the Florentine Sacre Rappresentazioni: Loyal Citizens, People to be Converted, Enemies of the Faith

    12. Nirit Ben-Aryeh Debby, Mendicants and Jews in Florence

    13. Martine Boiteux, Preaching to the Jews in Early Modern Rome: Words and Images

  • 3.
    Adelswärd, Rebecka Millhagen
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Monument, minne, museum: Stockholms slott under det långa 1900-talet2021Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This study examines how the Royal Palace of Stockholm gradually, from 1880–2000, became established as a monument in art and cultural history, as well as a site of national heritage. The musealisation process of the royal residence is described by analysing the origin of new museal and exhibition milieus, and changes in the palace’s State and Bernadotte Apartments. These measures were taken to enhance and manage this cultural heritage and to make it accessible by using art historical and antiquarian expertise. The thesis discusses the origins of the Palace Museum (1936), Gustav III’s Museum of Antiquities (1958, 1992), the Treasury (1970), the Royal Armoury (1978) and the Tre Kronor Museum (1999). Two periods of consolidation are discernible. First, the façade restoration of 1898–1902, during the reign of king Oskar II, and the completion of the sculpture programme make manifest the late 19th- century positioning of the Tessin palace as a national heritage site. With the appointment of the art historian John Böttiger as Surveyor of the Royal Collections, the king’s commitment to the royal collections led to both object-based scientific research and new conservation practices. Second, collection and exhibition activities evolved during the reign of king Gustaf VI Adolf, 1950–1973, with pronounced educational ambitions and democratic characteristics. The study illuminates the contributions of the palace architects, the role of the Office of the Governor of the Royal Palace and the relationship with the state-run Nationalmuseum and Royal Armoury, which have contributed to continuity in the presentation of historic collections. The thesis demonstrates the importance of art history writing for museal and restoration practices, particularly Stockholms slotts historia 1–3 (1940–1941), a publication decisive in the restoration work in the State and Bernadotte Apartments from the 1940s until the 1970s. The study examines the palace’s dual function as a national monument and royal residence, and how this has been a condition of the musealisation process. Important analytical concepts in the study are musealisation, institutionalisation, professionalisation and scientisation. 

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  • 4.
    af Klinteberg, Kristina
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Diadem och identitet: En studie kring identiteter i kejsarinnan Josephines pärl- och kamédiadem2020Student paper second term, 5 credits / 7,5 HE creditsStudent thesis
    Abstract [en]

    This paper, on the identities shown in one of the cameos in Empress Josephine’s pearl and cameo diadem, has first of all focused on the mythological characters, and thereafter raised the question if these are to be seen as an allegory for people from the time. The process of identi-fication has followed the three levels in Panofsky’s method for analysing art, where the first and second levels consist of already known material from the Bernadotte Library, Royal Palace in Stockholm and the jeweller house of Chaumet (former Nitot et Fils) in Paris.                     

    To decipher both the mythological individuals and the possible allegories, that is the third level, the iconology itself, the thoughts and methods of  Göran Hermerén on the rise and fall of allegories along with Leora Auslander’s solutions using visuals comparisons, when no written material is available, have provided the academic framework for the study.                               

    When comparing the cameo with pieces of art from the time, the subject fits the description of the Roman mythology’s love goddess Venus and her son Cupid, the lovechild fathered by Mars. Moving on to allegories, well-known material shows that Emperor Napoleon was keen to be portrayed as the god of war Mars and Empress Josephine as Venus.  A portrait of special interest to the study, a rather private painting by Parent from 1807, which is probably still unknown to most people, shows how Josephine is depicted with a recently deceased grandchild, a young boy how was also the nephew of Napoleon’s, a close relative to them both, and in the line of  succession to the throne, while Napoleon still was Emperor. This picture has an expression which is close to the one of Venus and Cupid, and it is also made to look like a cameo. These portraits were known at the time when Napoleon gave the diadem to Josephine in 1809.                                                      

    Among portraits from the Napoleonic era, there has earlier only been one known painting, even if in two examples, where the diadem is shown. It is a miniature of Empress Josephine, a work from her final period at Malmaison, 1814. However, another miniature picturing the daughter Hortense in the very same piece of jewellery, from 1812, has now become known. In both these examples, the depicted cameo has a hight measuring only millimetres, why a discussion on the execution and the rendering has to be done with restraint. But in the daughter´s portrait there is a certain attempt to show the outlines of the central cameo that differs from the later painting of the Empress. This may be an indication of how much more important it was for the daughter to relay the picture of her mother and the memory of her son, in 1812, than it was for Josephine in 1814, after the divorce, probably after the fall of Napoleon too, when she was no longer his Venus, and there was no longer a throne for any of her grandsons to inherit.        

    Therefore, in short, the chosen methods give the answer that the mythology depicted is a scene of Venus and her son Cupid, and the allegorical interpretation of Venus is the Empress herself. The child in shape of Cupid here, may well be read as one of her daughter’s sons, at the time a much longed-for heir to the throne of Napoleon I.

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  • 5.
    af Klinteberg, Kristina
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Ett diadem och dess ikonografi: En studie av kejsarinnan Josephines pärl- och kamédiadem i porträtt mellan 1812 och 20102021Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The main purpose of this study of a pearl and cameo diadem, given by Napoleon to his first wife Josephine in 1809, is to follow its representation in portraiture from Paris in 1812 to Stockholm in 2010, and explore how the iconography develops during these 200 years. From the earlier years, the diadem is found only in miniatures, then after coming to the new royal family in Sweden, the Bernadottes, it is given a role of an heirloom representing history and families in grand paintings, arriving to the present well-known wedding hairpiece, covered by modern media, where the diadem is more of a crown than the open, forehead-covering piece of fashion jewellery it was during the Napoleonic era in France. The portraits from 1812, 1814, 1836, 1837, 1877, 1976, 2000/2003 and 2010 also portray a development of the female role model of its time. Just like the hair piece attains an iconography which comprises not only the highest dress codes but also a possibility of status transformation for the people involved in ceremony, the role of the country’s First Lady is about to change into a higher, more egalitarian position of present days.

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  • 6.
    Agrell, Carina
    Gotland University, Department of Art History.
    Formträdgården – befriad från politisk skuld och kognitiv skam: Ikonologisk analys av rehabträdgården i Alnarp2008Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Föreliggande uppsats studerar rehabiliteringsträdgården i Alnarp via Erwin Panofskysikonologiska metod. Rehabiliteringsträdgården är skapad utifrån undersökningar av människorsföreställningar om natur- och kulturupplevelser som de anser positiva för hälsa och välbefinnande.Trädgården är uppdelad i åtta olika kategorier som är kopplade till graden av informell respektiveformell design, det finns också mellan dem gränsland som har en mer flytande stil. Uppsatsen harbegränsats till att avhandla två av de åtta kategorierna, skogsträdgården som är mer naturlik, ochentréträdgården som är formell. Syftet med uppsatsen är koppla samman de båda delträdgårdarnamed stilhistoriska förebilder inom trädgårdskonsten genom att valet av former och materialjämförs med varandra och med historiska trädgårdar, liksom att jämföra de båda delträdgårdarnamed andra konstnärliga manifestationer, t ex måleri och arkitektur. Slutligen är syftet att i denikonologiska intuitiva syntesen undersöka trädgårdarnas idémässiga ursprung. Resultatet visar attträdgårdarna har tydliga referenser till sina respektive genrer, den italienska formträdgården ochden engelska landskapsparken. Skillnaderna finns även representerade i andra konstnärligaverksamheter. Den syntetiska intuitionen som vilar på författarens kunskaper och erfarenheter,länkar de olika trädgårdsidealen till politiska ideologier och kognitiva strukturer.

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  • 7.
    Agrell, Carina
    Gotland University, School of the Humanities and Social Science.
    Hundertwassers arkitektur: att vara eller inte vara2010Independent thesis Advanced level (degree of Master (One Year)), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Föreliggande uppsats studerar Friedensreich Hundertwassers (1928-2000) organiska/vegetativaarkitektur, begränsad till utvalda signifikativa arkitekturelement på fyra olika bildnivåer, frånöversiktsbild till en avgränsad del av ett mindre utrymme. Den byggnad som avses är kvarteretDie Grüne Zitadelle i Magdeburg, Tyskland. Uppsatsen är tudelad i den meningen att den utgårifrån nämnd arkitektur och analyseras/syntetiseras enligt Erwin Panofskys ikonologiska metod. Urdenna första analys framvaskas relevanta dikotomier, en metod som i sin ursprungliga form ärHeinrich Wölfflins komparativa. Dock jämförs inte Hundertwassers verk genom epokskiljandestilfaktorer, utan genom jämförande med en konstnär som enligt tidigare forskning anses varanärliggande Hundertwasser. Denne arkitekt är Antoni Gaudí (1852-1926), verket för analysen ärCasa Milá i Barcelona i Spanien. Syftet med uppsatsen är att genom dikotomierna experimentelltjämföra arkitekterna och deras verk, och forskningsinriktningen ligger i att urröna omdikotomierna kan blottlägga insikter om skillnader och/eller likheter som annars kunde varit svåraatt identifiera. Resultatet visar att arkitekterna tolkat filosofin på delvis lika och delvis olika sätt.Sammanfattande har Hundertwasser ett betydligt mer individualiserat formspråk avseende designifikativa arkitekturelementen. Oavsett om den dubbla metoden tillför nya kunskaper eller inte,torde dikotomierna kunna fungera som stöd för arkitekturanalyser och som hjälp vidkonstreflektion.

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  • 8.
    Agrell, Carina
    Gotland University, Department of Art History.
    Vad är det för skillnad på en pinne?: Ikonologisk analys av rondellkonstverket "Vridning" av Anders Lönn2007Independent thesis Basic level (university diploma), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Uppsatsen beskriver konstverket ”Vridning” av Kalmarkonstnären Anders Lönn. På den pre-ikonografiskanivån beskrivs verket i avseende på vad som är möjligt att konkret uppfatta med ögat, både gällande material och form på den plats där det står. På samma nivå beskrivs också vad som finns i konstverkets omedelbara närhet geografiskt, samt Kalmars lokalisering i förhållande till konstverket och regionen. Verket är placerat i den så kallade Karlsrorondellen strax söder om Kalmar. Rondellen är en punkt där tre huvudvägar och en lokal väg sammanstrålar. Konstverket reser sig 17 meter över marken och har verkat provokativt på vissa individer. ”Vridning” är välkänt i Kalmar och går i folkmun under beteckningen ”pinnen”. Materialet är trä och även marken i rondellen runt konstverket ingår i konstverkets idé.

    På den ikonografiska nivån går analysen djupare och avser att besvara frågor som: Vad i Kalmar eller andra platser kan ha inspirerat konstnären. I generell mening; vad i traktens natur och kultur kan verka inspirerande för vilken som helst konstnär. Vår perception orsakar att vi drar till oss idéer i vår omgivning som sedan blandas och omtolkas. För en konstnär manifesteras resultatet av denna process genom olika konstverk. Uppsatsens ambition för denna nivå är således att knyta konstverket till konstnärens medvetna och omedvetna inspirationskällor i den lokala/regionala kulturen, vilken har stora delar gemensam med den nationella. Rubriken Material & Dimensioner relaterar till trämaterialet och de dimensioner som är förknippade med lokala/regionala/nationella byggnadsverk och skepp. Rubriken Form& Idé relaterar till formen i universell mening, d v s vilka andra konstverk runt om i världen som inspirerat både tidigare och senare konstnärer. Detta knyts till idén om hur formen påverkar betraktaren att uppfatta en rörelse i konstverket.

    Den ikonologiska nivån ligger än djupare i den tidigare. Med hjälp av abstraktioner som beskriver individuella, mellanmänskliga och kollektiva skeenden och föreställningar avseendeklass, genus, kommunikation, möten, kopplade till material, form, idé och plats föreslås olika objekt som inspirationskällor. Förförståelsen jämförs med texter om t ex konstruktivism, den betydelsebärande skillnaden, gruppdynamik osv. Rubriken Material & Form relaterar tillmaterialet som klassbärare och varaktighet, formen som genusbetydande och avantgardistiska referenser. Rubriken Plats & Idé behandlar vägarnas och vägskälens betydelse för människors möten och kommunikation, liksom hur en plats kan bära individers identitet och meningsföreställningar.

    Diskussionen landar i att ett konstverk som visar upp sig offentligt, utan att människor aktivtbehöver välja om de vill ta del av det inte, uppenbarligen kan verka mer provocerande än institutionell konst. Det kan också sammanbinda en lokalbefolkning, utgöra en del av dess identitet. En handfull skulle kanske fortfarande lättat andas ut om det plockades ned, men de flesta skulle nog ändå sörja ett förlorat sjö- och landmärke som tillhör kollektivet.

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  • 9.
    Ahl Engholm, Emma
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Illustrerade berättelser: En undersökning av Bim Erikssons tecknade serier2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study explores what is characteristic of Bim Eriksson's cartoons in her two published books Det kändes lugnt när mina känslor dog (It felt calm when my feelings died) and Baby Blue. Additionally, it explores the function of her drawing style, the interaction between text and image, as well as the differences between the two works. This has been accomplished through a semiotic and hermeneutic analysis, where the smaller elements of the comics have been divided and interpreted individually and in relation to each other. To gain a deeper understanding of the mixed and changing medium of comics, a background on the comic definition and history of comics has provided the foundation for the analysis and orientation in the subject. 

    Eriksson's cartoons convey a visual emotional representation through stylized drawings both with and without accompanying text. Her comics tell stories filled with emotions through attributes, symbols, and text. Her drawings feature unique and innovative characters that are characteristic of her style. Eriksson's comics progress visually with a limited color palette and stylistic approach. The interaction between text and image differs between the comics, and the sequential storytelling plays a significant role in leading the reader through the story. However, Eriksson's single-panel comics have the ability to tell a type of emotional story. The accompanying text makes it easier for the reader to understand what the sender, in this case Eriksson, wants to convey, but they can also be interpreted without the accompanying text. The illustrated images, therefore, stand better on their own than the text does. 

  • 10.
    Ahlberg, Sofia
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of English.
    Goodbye Crude World: The Aesthetics of Environmental Catastrophe in Michel Faber's The Book of Strange New Things and Edward Burtynsky's Oil Photographs2017In: The Comparatist: Journal of the Southern Comparative Literature Association, ISSN 0195-7678, E-ISSN 1559-0887, Vol. 41, p. 78-92Article in journal (Refereed)
  • 11.
    Ahlund, Mikael
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Landskapets röster: Studier i Elias Martins bildvärld2011Doctoral thesis, monograph (Other academic)
    Abstract [en]

    This thesis is about the Swedish landscape painter Elias Martin (1739-1818). The main interest is in his depictions of nature, landscape images and topographical views. Chronologically, it covers the period 1760 to 1810. The first part puts Martin's artistic achievement in a historiographic perspective and presents an overview of his artistic career - from his birthplace Stockholm to Paris and from there to London, where he successfully established himself on the English art scene in the 1770s. Returning to his native Sweden in 1780, he soon emerged as the country's leading landscapist of the period.

    In the second part of the thesis, a study is presented of Martin's relationship to the art markets of England and Sweden, and in the third an attempt is made, through the medium of a specific genre of Swedish eighteenth-century literature - travel writings - to gain a deeper insight into the attitudes and values of the period. Here, the focus of interest is on different ways of viewing nature and landscape art in Sweden in the late eighteenth century. On the basis of this discussion, an attempt is made to reconstruct a Swedish 'period eye', specific to the upper-class culture of the Gustavian age.

    These discussions of the importance of the market and of a Swedish period eye form the basis for an answer to the overarching question of this thesis, concerning the relationship between Martin's images and contemporary perceptions of nature. From the conclusions drawn, it becomes clear that different ways of relating to landscape existed side by side. The attitudes discernible in the artist's pictures, as in the travel writings of the period, are diverse and contradictory, complicating an understanding of the eighteenth century's view of nature as something uniform. Elias Martin's art thus illuminates the many vantage points and variations in the Gustavian era's feeling for nature.

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  • 12.
    Akmaev, Pavel
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    "Och ljuset lyser i mörkret, och mörkret har icke fått makt därmed": En studie av hesykastiska influenser på Bysans sakrala konst i slutet av 1300- och början av 1400-talet2020Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [en]

    This paper examines the influence of Hesychasm as an integral part of Orthodox theology on the art of the Orthodox Church in Byzantium in the late 14th and early 15th centuries. The main research question is how and for what reason the hesychasm doctrine projects its ideas in sacred art. 

    On the example of several sacred images that belong to the school of painting in Constantinople, the iconographic and stylistic features inherent in the art of hesychast are analyzed. 

    As a result of the study, the close connection between the theology of the Hesychast light and Byzantine art of the indicated period is demonstrated. Byzantine masters through emphasizing the role of the uncreated Tabor light in the life of a Christian and using whitewashing strokes and dryness of forms create theology in colors. 

    The source of this theology comes from the patristic tradition of the Orthodox Church, in particular from St. Gregory Palamas, who initiated disputes around the uncreated divine light. 

    The Orthodox icon in this context can be perceived as a kind of manifesto that expresses the faith of the church through artistic sacred images. 

  • 13.
    Alfredsson, Teresia
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Jag går omkring i mitt Pompeji bland ruiner: En uppsats om Pompejis inverkan på nutida konst2014Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [sv]

    Har vi alla ett eget Pompeji att relatera till? Vi omger oss dagligen med metaforer som länkar till Pompejis öde, trots att katastrofen ägde rum för nästan 2000 år sedan. Denna uppsats undersöker hur Pompejikatastrofen tar sig i uttryck i visuell gestaltning, med fokus på skulpturala verk av Gerhard Nordströms, Emma Göranssons och Antony Gormley, och ger en bild av varför Pompeji fortsätter att fascinera idag.

  • 14. Alm, Göran
    I tidens smak. Om kungliga miljöer i Danmark, Norge och Sverige under empiren1989In: Bebyggelsehistorisk tidskrift, ISSN 0349-2834, E-ISSN 2002-3812, no 17–18, p. 91-102Article in journal (Refereed)
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  • 15.
    Alm, Mikael
    et al.
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Johansson, Britt-IngerUppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Scripts of Kingship: Essays on Bernadotte and Dynastic Formation in an Age of Revolution2008Collection (editor) (Other academic)
    Abstract [en]

    When French Marshal Jean Baptiste Bernadotte was elected heir to the Swedish Throne in 1810, a dramatic dynastic venture commenced. In an age of revolutions, marked by political as well as cultural upheavals, the commoner from Pau was transformed into King Charles XIV John and the head of a new royal dynasty in Sweden and Norway. Although fraught with challenges, the venture proved successful. As restoration set in, and the Napoleonides of Europe fell one after the other, Bernadotte held fast, and today the dynasty is approaching its bicentennial on the throne.

    In nine illustrated essays, the formation of a dynasty is explored as it unfolded in media such as ceremonies, spatial arrangements, opera performances, publicity and panegyrics.

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  • 16.
    Almer, Judit
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Ingmar Bergman och bildkonsten: Bildmotiv i Det sjunde inseglet och Viskningar och rop.2013Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
  • 17.
    Almgren, Anders
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts.
    Die umgekehrte Perspektive und die Fluchtachsenperspektive: eine Untersuchung der Zeichen für Raum und Körper in Kinderzeichnungen und anderen Bildern1971Doctoral thesis, monograph (Other academic)
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  • 18.
    Almström, Anna
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Dolt under ytan: En studie om vattnets betydelse i samtida offentlig konst2022Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This study investigates how water is depicted in contemporary public art in Sweden, a country surrounded and built by water, and how it reflects in the art. The essay is based on Rosalind Krauss’ sculpture theory and examines how a mythical and vital substance like water is depicted and what its underlaying meaning is in three contemporary public sculptures; Till minnet av en älv (2020) by Anja Örn, Passage (2011) by Katarina Löfström and Hiljainen vesi /Tyst vatten (2019) by Laura Könönen. The study investigates if any mutual patterns can be seen and if so which, and how the relationship between the sculptures and their spatial context can be described based on Rosalyn Deutsches notion assimilative and divisive. Through analyses and comparison of the three sculptures it has emerged that water in all three public artworks stands as a metaphor for something else, here in form of the consequences of hydropower, the impermanence of time and minorities’ feeling of exclusion and community. Over these serious topics lies too a sense of melancholia. A common interest for the nature also appears and mainly because the artists have chosen to depict water even when it symbolizes something else. But the interest in nature also appears when two of the sculptures is made from natural rock and its characteristics. Furthermore, the study indicates that, despite the complexity in defining a public artwork as place-specific or placeless, all three of the sculptures have a connection with the place. The sculptures can therefore perceive as assimilative although to varying degrees and with element of divisive tendencies. 

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  • 19.
    Anchér, Anna
    Gotland University, School of the Humanities and Social Science.
    Modern, Intim, Beskrivande2011Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
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    Modern, Intim, Beskrivande
  • 20.
    Anderberg, Thomas
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Philosophy.
    Utanför ramarna: några rader om formen2007In: Konstkatalogen, ISSN 1650-4534 , no 2, p. 76-89Article in journal (Other (popular science, discussion, etc.))
  • 21.
    Andersson, Emelie
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Kleopatra genom tiderna: Visuella avbilder av Kleopatra under renässansen, revolutionernas tid och modern tid.2021Independent thesis Advanced level (degree of Master (Two Years)), 30 credits / 45 HE creditsStudent thesis
    Abstract [sv]

    Bilden av Kleopatra har förändrats med tiden, från den fanatiska grekiska/romerska avbilderna av hennes död under renässansen till de moderna skildringarna av en stolt drottning som utmanade romerska kejsare. Hon var oftast avbildad under renässansen som underdånig de romerska förebilderna som Augustus och Caesar. En skildring som med stor risk existerade då det mest var italienare som målade drottningen under renässansen.

    Efter renässansen så spred sig bilden av Kleopatra och hennes bild fångade västvärldens fantasi till att skapa en mani för Egypten och dess drottning. Med det kom ny kunskap från orientalister och detta kom att påverka hur man såg på den egyptiska drottningen. Hon blev mäktigare, mer sensuell men också mer sexuell och farlig. Hon var någon man skulle beundra och erövra. 

    När vi stiger in i den moderna eran så börjar hennes bild att ifrågasättas av feminister. Filmer börjar skildra henne I ett nytt ljus och när ett nytt årtusende sätter in så har Cleopatra gått från en översexualiserad kvinna till en stolt drottning som utmanade män under hennes tid och inspirerar konstnärer även idag. Med hjälp av symboler och analyser av scenerna som visas så kommer tre lika tidsperioder att studeras för att kartlägga hur bilden av Kleopatra förändrades och varför. De teorier som spelar störst roll i uppsatsen är orientalism och feminism då de spelade en stor roll i hur denna orientaliska drottning kom att skildras.

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  • 22.
    Andersson, Inger
    Gotland University, School of the Humanities and Social Science.
    I Hyalta gastars sällskap: om konstvetenskapens diskriminering av kvinnliga målare ur den arbetande klassen på 1700- och 1800-talen2011Independent thesis Advanced level (degree of Master (One Year)), 20 credits / 30 HE creditsStudent thesis
    Abstract [sv]

    I uppsatsen läggs ett intersektionellt perspektiv på konsthistorien. Det sker genom en belysning av det sydsvenska bonadsmåleriets undanskymda plats i allmänhet och de kvinnliga bonadsmålarnas osynliga roll i synnerhet.

    Uppsatsen består av fyra kapitel. I det första studerar jag den svenska konsthistorieskrivningen i tre historiografiska undersökningar: först en narrativ, sedan en kvantitativ och sist en komparativ diskussion av några historiografiska verk. Min huvudsakliga slutsats är att klassanalys lyser med sin frånvaro, ordet klass och framför allt arbetarklass nämns förhållandevis sällan. Genusstrukturer analyseras i varierande grad och på olika sätt medan etnicitet mest omnämns som en kanoniserad uteslutning.

    I det andra kapitlet introduceras först den sydsvenska bonadstraditionen. Därpå presenteras Bengta Persdotter i Hyhult som ett exempel ur den kvinnliga skaran målare. I samband med det görs en möjlig attribuering av en bonad till henne. En historiografisk undersökning av folkkonstbegreppet påvisar hur det skapats av forskare för att särskilja folket från den kulturella eliten. Först betecknade folkkonst det förindustriella bondesamhällets konstnärliga föremål och den lyftes fram i en strävan att profilera en nationell identitet under senare 1800-tal. Under tidigt 1900-tal kom forskarnas attityder att bli nedlåtande. Teorier om ”gesunkenes Kulturgut” och stilretardation myntades för att leva kvar mot seklets slut. Ett begrepp som fortfarande används är ”horror vacui” vilket jag analyserar kritiskt och ger ersättningsförslaget ytmässig bildförtätning. En annan utveckling av begreppet är att det efterhand vidgats till att omfatta konsumtionssamhällets vardagsyttringar i en väldigt bred förståelse. Det får till följd att värderingen relativiseras. Undersökningen visar därtill att folkkonsten försummats av konstvetenskapen. Exempel på forskningens växlande värdering av sydsvenskt bonadsmåleri redogörs.

    I det tredje kapitlet diskuterar jag först resultatet från första kapitlet i relation till olika texter om konsten i termer av hur kultur och institutioner förhåller sig till främst klass men också kön och etnicitet. Några resultat från rapporter på fältet belyser situationen och tydliggör behovet av att inkludera de sociala kategorierna klass, kön och etnicitet i analyser av ojämlika maktförhållanden i konstvärlden.

    I det fjärde kapitlet jämför jag några bilder på bönder och adelsmän med avsändare från de olika klasserna adel, borgarklass och allmoge för att föra en diskussion om betydelsen av avsändarperspektiv och identifikation.

    I min diskussion drar jag några slutsatser om den diskursiva tystnaden kring framförallt klass. I uppsatsen dras linjer mellan olika skeenden i historien och våra dagar för att åskådliggöra samband mellan odlade attityder och dominerande norm i det fält som utgörs av konsten och konstvetenskapen.

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    I Hyalta gastars sällskap
  • 23.
    Andersson, Jakob
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Languages, Department of Linguistics and Philology.
    Review of: Charvát, Petr & Maříková Vlčková, Petra (eds.): Who Was King? Who Was Not King?: The Rulers and the Ruled in the Ancient Near East. Prague: Institute of Archaeology of the Academy of Sciences of the Czech Republic, 20102013In: Wiener Zeitschrift für die Kunde des Morgenlandes, ISSN 0084-0076, Vol. 103, p. 412-414Article, book review (Refereed)
    Abstract [en]

    Review of a volume collecting papers presented at the conference "Who was king? Who was not king? The rulers and the ruled in the Ancient Near East", Prague, Apr 14-16, 2010.

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  • 24.
    Andersson, Karin
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Anna Odell bland belackare och beundrare: Den offentliga debatten - en konsthändelse framställd i massmedia2011Independent thesis Advanced level (degree of Master (Two Years)), 10 credits / 15 HE creditsStudent thesis
  • 25.
    Andersson, Katarina
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Gränslösa drömmar: En muralmålnings uppkomst2023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    The essay is about how municipalities work with public art in order to live up to the cultural policy goals adopted by the government in Politik för gestaltad livsmiljö. The purpose is to analyze the process for a public artwork, based on the perspective of the municipality and the artist, and to discuss the relationship between the artwork and the place. The artwork that was selected is Gränslösa drömmar, a mural that was inaugurated in the summer of 2021. With Eskilstuna municipality as an example, I hope that the essay can provide inspiration and knowledge about the process both to citizens and other municipalities. 

    By using phenomenological site analysis and semiotic image analysis, the relationship between the work of art and the site is investigated. Interviews with different actors within the project are used to discuss how the different actors describe the process and a comparison between Eskilstuna municipality's process and the state's methodological support Offentlig konst – handbok för statliga beställare is made to put Eskilstuna municipality in a national context. 

    The result shows that the artwork contributes to the character of the place in a positive way, among other things through the harmonious coloring and the playful motif. The artwork contributes to giving the place an identity that people can feel proud of. The actors in the project are satisfied with the collaboration and artists describe the process as easy because there is a clear mission statement to follow. The state's methodological support addresses, among other things, the importance of early creating a working group with different skills and developing a mission statement. These are examples that the municipality is already working after. Therefore, it could be said that Eskilstuna municipality can be a role model for other municipalities and the state when it comes to work with public art and the one percent rule.

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  • 26.
    Andersson, Lars M
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of History.
    Express-zionisten Isaac och den svenska nationen2022In: Issac Grünewald - konst och teater / [ed] Karin Sidén, Carina Rech, Stockholm: Prins Eugenes Waldemarsudde , 2022Chapter in book (Other academic)
  • 27.
    Andersson, Linn
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Hjertén i Dagstidningarna: En kritisk diskursanalys av artiklar i dagstidningar gällande Sigrid Hjertén 1910-19402023Independent thesis Basic level (degree of Bachelor), 10 credits / 15 HE creditsStudent thesis
    Abstract [en]

    This thesis focuses on swedish modernist painter Sigrid Hjertén. The purpose of the thesis was to research how Hjerténs art and craftsmanship was depicted in daily newspapers from the year 1910 to 1940. The method and theory was mainly critical discourse analysis for the research of the articles in daily newspapers for the set time. The analysis is divided in three parts, one for each decade with an introductory part where a short analysis of how Hjertén was depicted in a variation of litterature. In the discussion the results from the analysis is presented and discussed, and different research paths are presented. The result from the analysis is that the general depiction of Hjerténs craftsmanship in daily newspapers from 1910 to 1940 was positive, with emphasis on the 1930’s decade. The analysis portrays partial inequality between different social groups.

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  • 28.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Allmogemålaren Anders Ädel2000Doctoral thesis, monograph (Other academic)
    Abstract [en]

    The aim of this dissertation is to investigate the Swedish painter and infantry soldier AndersÄdel (1809-1888), who has hitherto only been known from oral tradition. He lived in a preindustrial, rural society. He practised and developed an old and distinctive interior-decoration tradition in the farmsteads of the province of Hälsingland, in the north of Sweden. Contemporary descriptions convey a picture of a wealthy rural population, where the dominating social class were the owners of large farms, impressive in size, neatness, and the quality of the carpentry. So-called Ädel-paintings, though concentrated to the parish of Ljusdal, are also found in neighbouring parishes, and are a Gustaviann-style floral decoration painted on walls, furniture, and artefacts in especially light-blue, white, and red hues.

    Anders Ädel's biography can be reconstructed from parish records and military archives.Socially, he belonged to the landless rural labourers, who had a more independent positionin northern Sweden than in the south. They embraced the norms and aesthetics of the free-holding farmers, whose farms were the cultural centres of the countryside. The farmers andthe craftsmen of the parish were the style setters of domestic interior design and building. Astyle adopted in one parish confirmed an identity in relation to other parishes and social classes. The integrity and self-awareness which is expressed in the architecture can also be seen in the decorated farmstead interiors.

  • 29.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Bild på bondevägg: Ädelt måleri i nordvästra Hälsingland1993In: Hälsingerunor, p. 46-52Article in journal (Other (popular science, discussion, etc.))
  • 30.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of Art History.
    Caravaggio och Rom i Uppsala: om målaren och myten2012In: Signum : katolsk orientering om kyrka, kultur, samhälle, ISSN 0347-0423, no 2, p. 27-33Article in journal (Refereed)
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  • 31.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Det medeltida Siena och det sienesiska måleriet.1992In: Valör, ISSN 0283-751X, no 4Article in journal (Refereed)
  • 32.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Djärv dekorationsmålning i bröllopsstuga i Ljusdal1995In: Hälsingerunor 1995, Hälsinglands hembygdskrets , 1995, Vol. 1995Chapter in book (Other scientific)
    Abstract [en]

    Inredningsmåleri av den indelte soldaten Anders Ädel (1809-1888) i Ljusdal

  • 33.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Elisabeth Berglin: En bonadsmålare och hans värld. Johannes Nilsson i Breared.2002Article, book review (Other academic)
  • 34.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Glasmålningen från 1200-talet i Sienas domkyrka och Duccio1996In: Valör 1996/4, no 4Article in journal (Other scientific)
    Abstract [en]

    Målaren Duccio di Buoninsegna i Siena på 1200-talet och hans glasmålning i Sienas domkyrka. Duccio di Buoninsegna etablerade den sienesiska stilen i det medeltida måleriet i Toscana.

  • 35.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Gårdarna utanvedes: presentation av ett nytt forskningsfält.2003In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, Vol. 86, no 3, p. 174-177Article in journal (Refereed)
  • 36.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Hudiksvalls rokoko eller Delsbos barock?: Om stilpreferenser i en hälsingesocken på 1700-talet.2005In: Formgivare: folket. / [ed] Christina Westergren, Stockholm: Nordiska museet , 2005, p. 179-197Chapter in book (Other (popular science, discussion, etc.))
  • 37.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Husbibeln1998Book (Other scientific)
    Abstract [en]

    Arkitektur, inredningar, konst- och kulturhistoria samt berättelser

  • 38.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Il Sodoma1993In: Valör, ISSN 0283-751X, no 1, p. 25-32Article in journal (Refereed)
  • 39.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Jonas Åkerström: allmogemålaren som blev nyklassisk målare i Rom.1992In: Valör, ISSN 0283-751X, no 4, p. 8-10Article, book review (Other (popular science, discussion, etc.))
  • 40.
    Andersson, Maj-Britt
    Uppsala University.
    Jonas Åkerström i Rom1995In: Enkel resa Rogsta-RomArticle in journal (Other scientific)
    Abstract [en]

    Jonas Åkerström (1756-1795)och hans verksamhet i Rom.

  • 41.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Machiavelli utmanar Foucault med renässansmålaren Sebastiano del Piombo som vapendragare.2009In: Lambda Nordica, ISSN 1100-2573, E-ISSN 2001-7286, Vol. 14, no 1, p. 25-41Article in journal (Refereed)
    Abstract [en]

    In Spring 2008 Sebastiano del Piombo (1485-1547) was dedicated an exhibition in Rome, where he was introduced from Venice by the banker Agostino Chigi in Villa Farnesina 1511. The painting L´uomo in armi (1511-1512) was the poster for the exhibition and most probably a self-portrait. It is similar to the unidentified portrait Testa di giovane by Peruzzi in grisaille in the Villa Farnesina. With a queer perspective it proposes Sebastiano del Piombo as a lover of Agostino Chigi parallell with the young spouse Francesca Ordeaschi portrayed as Dorotea (1511-1512). After the death of Rafael in 1520 Sebastiano del Piombo was considered the most skilful painter in Rome. His many majestic homoerotic portraits with virtù correspond to the results of Guido Ruggiero in Machiavelli in love, sex, self and society in he Italian Renaissance (2007) about sexual identities and selfrepresentation in different consensusrealities. Ruggiero is inspired by Foucault and discusses masculinity rereading private letters by the Florentine politician Niccolò Machiavelli and contemporary literature. The exhibition of Sebastiano del Piombo was esthetically impressive but did not answer questions from a modern visitor. The catalogue is imposing but fatally prim avoiding the sex, self and society in Renaissance Rome and Venice so obvious in the art of Sebastaino del Piombo.

  • 42.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Michelangelo Merisi da Caravaggio.: Så föds mästerverken. Om en utställning i Palazzo Pitti.1992In: Valör, no 2Article in journal (Refereed)
  • 43.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Nedlagd skola nytt museum för Madonna del Parto av Piero della Francesca1995In: Valör, Vol. 1995/4Article in journal (Other scientific)
    Abstract [en]

    Fresken Madonna del Parto från 1400-talet av Piero della Francesca i nytt museum. Redogörelse för freskens historia och kontext. och restaurering.

  • 44.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Nya rön om Piero della Francesca.: En ytterst personlig tolkning av yttersta domen.1997Other (Other (popular science, discussion, etc.))
  • 45.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Något om teoribildningarna kring Hälsinglands förstukvistar1996In: Valör 1996/1, Vol. 1Article in journal (Other scientific)
    Abstract [en]

    Redogörelse för konstvetenskapliga teorier kring hälsingegårdarnas förstukvistar

  • 46.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Om hur kejsar Augustus kom till Hälsingland1998In: Romhorisont, no 35Article in journal (Other scientific)
    Abstract [en]

    Allmogemålaren Jonas Hertman (1755-1804) och hans avbildning av kejsar Augustus i en gård i Alfta socken, Hälsingland

  • 47.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Om Kristoffers och Anders Ädel1996In: Hälsingerunor 1996, Hälsinglands hembygdskrets , 1996Chapter in book (Other scientific)
    Abstract [en]

    Gården Kristofers i Järvsö med inredningar dekorerade av allmogemålaren Anders Ädel (1809-1888).

  • 48.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts, Department of ALM.
    Roland Andersson m fl, Dalmåleri: Dalmålarna-deras liv och verk.2008In: RIG: Kulturhistorisk tidskrift, ISSN 0035-5267, E-ISSN 2002-3863, no 4Article, book review (Other (popular science, discussion, etc.))
  • 49.
    Andersson, Maj-Britt
    Uppsala University, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Faculty of Arts, Department of Art History.
    Santa Maria della Scala i Siena. Sjukhus blir museum1995In: Valör 1995/4, Vol. 4Article in journal (Other scientific)
    Abstract [en]

    Sjukhuset Santa Maria della Scala från 1200-talet i Siena, Toscana, ombyggt och restaurerat.

  • 50.
    Andersson, Maj-Britt
    Uppsala University, Disciplinary Domain of Humanities and Social Sciences, Faculty of Arts.
    Simone Martini´s Maestà nylyft.1994In: Valör, no 3Article in journal (Refereed)
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