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  • 301.
    Laine, Merit
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Drømmebilleder. Carl Gustaf Pilos portrætkunst2018Ingår i: Konsthistorisk Tidskrift, ISSN 0023-3609, E-ISSN 1651-2294, Vol. 87, nr 2, s. 115-118Artikel, recension (Övrigt vetenskapligt)
  • 302.
    Laine, Merit
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    "En Minerva för vår Nord": Lovisa Ulrika som samlare, uppdragsgivare och byggherre : [queen Lovisa Ulrika, her collections and commissions of art and architecture]1998Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    Lovisa Ulrika's activities within the fields of art and architecture comprised extensive collectingand interior decoration, buildings and gardens at the Royal Palaces of Drottningholm, Svartsjö andFredrikshov. These are described in some detail in this study, but the main purpose is to establishher intentions and how she perceived her role as a builder, collector and patron of the arts. TheRoyal Palaces, interiors and gardens as settings for the private and public life of the Royal Familyare also discussed, as are the realization of the various projects as a part of life at court.

    Though she never seems to have intended making her collections public, even in the eighteenth-century sense of the word, Lovisa Ulrika clearly had some sympathy with the contemporary idea that princely collections ought to be useful to a wider audience, and access was given to scholars and students.

    In 1744, the reigning King Fredrik I transferred the fief of Drottningholm on Lovisa Ulrika,and the estate remained the location for her and her husband's most ambitious building projects.As in other royal and princely palaces of the period, older interiors and objects were used to implylineage, traditions and continuity Most important of the additions Lovisa Ulrika made to the palaceare the museum rooms, which together with the collections they housed were meant to be monuments to her memory. In the hunting enclosure the Royal Couple built the ensemble of Chinese pavilions known as Kina slott, and not far away they founded the miniature town of Canton.

    Lovisa Ulrika saw neither experienced advisers nor professional architects as absolute authorities, but placed her own judgment above their expert opinions. This point of view is evidently typical of the absolute ruler. Her commissions show traits that can be traced to her personal taste, which was influenced by the buildings, interiors and gardens of the Prussian Royal Family. Nevertheless, she left little mark on the general trend of Swedish eighteenth-century architecture, which was shaped by the architects appointed by the estates.

    Leading politicians encouraged Lovisa Ulrika's interest in collecting and literature in the hope that they would divert her attention from the political sphere. These hopes proved to be vain.Indeed Lovisa Ulrika, like many rulers, used art and architecture as a means to a political end.

  • 303.
    Landstedt, Christopher
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    ”Vår verld är en maskerad”: Maskerader, divertissement och rollspel i Sverige 1772-17922013Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Purpose and aim

    The large interest in 18th century studies is wide, a lot thanks to the rich material and amount of documents remaining from the era. One subject, which rarely is described or studied on its own, is the masquerades and costume gatherings. The main aim is to study the masquerade from a point of view where the phenomena can be examined and described in terms of themes, cultural influences, interaction with other cultural expressions and art genres, dresses and fashion, development over time, but also more noticeable and quantitative measures such as where they were held and who participated. 

    Method and material

    Masquerades and costume gatherings during the late 18th century in Sweden has been approached from several different angles. They are described in terms of dress and mask, role-play and characters, organizer, illumination and decoration, and cultural expression. The material mainly consists of diaries, letters, notifications, descriptions, documents of various kinds, nonfictions and specialist literature in the subject matter, for instance studies regarding the history of theatre, fashion, mythology and European court life in general.

    Main results

    The frequency of masquerades and gatherings with dress themes were depending on the current situation in the country. During peace, and when the economy allowed, the parties became more lavish, whilst the opposite were the consequence in times of war and misery. The masquerades were inspired by the Venetian carnivals, French court life and European trends among the noble class. Influences can also be found in Commedia dell'Arte, the theatre, opera and ballet. Greek and Roman mythology is often visible in the themes of the events. Rather than to entirely disguise oneself, the aim was to attend to these festivities in fashionable dresses and masks. The mask was thrilling and tempting. Seen in a wider perspective, the masquerades were a mixture of many different cultural expressions. 

  • 304.
    Langwagen, Simon
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    Bjurfors bruk: Lämningar med guldkant2016Studentarbete andra termin, 180 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Under 1600-talet anlades en handfull mässingsbruk i Sverige, främst i mellersta Svealand, detta som svar på kungliga påbud. Trotts att det är en förhållandevis liten industri, så vägde den tungt för svensk handel, och den svenska mässingstråden var efterfrågad i hela Europa. Dokument från inrikestullen 1756 visar att skatten, eller det vi idag kallar momsen, var dubbelt så hög på en mässingsvara, i jämförelse med motsvarande vara tillverkad i koppar. I grova drag kan vi säga att mässingen drog in dubbelt så mycket intäkter som kopparen, sett till samma kvantitet.

    Trotts denna typ av bruks viktiga roll i svensk socioekonomi och industrihistoria, så är de många gånger dåligt dokumenterade. Bjurfors mässingsbruk är, trotts det rika arkivmaterialet, ett outforskat område. Ett forskningsområde som kan ge viktiga nycklar till att förstå mässingsmanufakturen under och efter den svenska storhetstiden.

    I dagsläge hotas de fornlämningsklassade ruinerna efter den stora trådhyttan av direkt passiva åtgärdsplaner. Naturen har sedan länge tagit tillbaka de områden som en gång var en livlig industri i hjärtat av bergslagen. Skogen utgör stor skada på de överlevande murverken, och i denna takt kommer detta historiska minnesmärke inom kort vara förlorat för all framtid.

  • 305.
    Larsson, Åsa Bharathi
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Andra kartor, andra kroppar: sekelskiftets kvinnliga konstnärers avbildningar av de andra2009Ingår i: Valör, ISSN 0283-751X, nr 01, s. 28-39Artikel i tidskrift (Övrigt vetenskapligt)
  • 306.
    Larsson, Åsa Bharathi
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Colonizing Fever: Race and Media Cultures in Late Nineteenth-Century Sweden2016Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    The dissertation focuses on visual representations of the colonial world in late nineteenth-century Sweden. Situated at the intersection between postcolonial studies, visual culture studies and cultural histories of media, the study has a threefold aim. Firstly, it aims to draw attention to the presence of a colonial discourse in empirical material, the majority of which has not received attention before. Secondly, it analyzes these visual representations of the colonial world, in an expanding media culture in late nineteenth century. Thirdly, it explores how a mutual vision of the European colonial project and its civilizing mission was created via visual strategies and descriptions. The material comprises a wide range of media, visual arts, ephemera and illustrated press.

    “Part One: Race and Scientific Media – The Vanadis Expedition 1883–1885” analyzes the scientific Vanadis expedition of 1883–1885. I show how the expedition established a mutual vision of the European colonial project and its civilizing mission through its ambitions in trade, diplomatic relations and sciences. It was established in numerous media such as the press, travel journals, photography, illustrated press, photo albums, ephemera and visual arts. The ethnographical survey conducted measurements of the Indigenous populations and a racial photo archive was established.

    “Part Two: Race and Popular Media – Shows, Exhibitions and Attractions” analyzes contemporary entertainments such as the Wild West performances, ethnological exhibitions and wax displays. These acts, I argue, created a mutual vision of the European colonial project and its civilizing mission. For example, in the Wild West performances a narrative of life on the “last frontier” was seen as a fight for life between the White settler and the American Indian. In the ethnological exhibitions a mutual vision of the European colonial project and the civilizing mission was construed in the specific performances of the Indigenous people, which displayed a population on the “lowest ladder of civilization”. The Oriental Maze Salons differed from the above since they aimed to evoke fantasies of the Orient.

    “Conclusion” discusses the main results of the dissertation and proposes further research. The last part “Coda” reflects on contemporary postcolonial issues as related to nineteenth-century media cultures.

  • 307.
    Larsson, Åsa Bharathi
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Felicia Tolentino, Porträtt av ett landskap: Vera Friséns gestaltning av naturen i Västerbotten2009Ingår i: Valör, ISSN 0283-751X, nr 02Artikel i tidskrift (Övrigt vetenskapligt)
  • 308.
    Laszczukowska, Karolina
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    A good collector never sells: En jämförelse mellan sekelskiftets och samtida konstsamlare2019Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This bachelor thesis evolves around the topic of art collectors as a phenomenon throughout different centuries. Ernest Thiel was a Swedish art collector at the turn of- and early 20th- century. Tom Böttiger is a contemporary art collector who acquired his first artwork during the 80’s. Both collectors are more like than alike, which points to and enforces certain common stereotypes as to whom could be a collector and what kinds of collectors exist. This thesis compares those two collectors from different times, from an art collectors perspective. The thesis concluded that collectors often bring upon themselves to act as patrons for the artists, both by promoting and purchasing their works, but also by aiding them financially.


  • 309.
    Legnér, Mattias
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    Behandlingen av kulturminnen under första världskriget: dokumentation, debatt, propaganda2016Ingår i: Gutilandorum Universitas Scholarium et Magistrorum: Tidskrift för Högskolan på Gotlands historiska förening / [ed] Gunilla Jonsson & Torsten Daun, Visby: Historiska föreningen på Gotland. Alumnerna , 2016, s. 9-48Kapitel i bok, del av antologi (Övrigt vetenskapligt)
    Abstract [en]

    The Treatment of Historical Monuments in World War I: Documentation, Debate, Propaganda

    Mattias Legnér

     

    The purpose of this article is to investigate why historical monuments such as churches, monasteries, libraries and museums were attacked and damaged in World War I. These kinds of buildings were targeted by both sides throughout the war despite their lack of strategic importance for the war, and despite a relative consensus among the European countries that cultural institutions should be protected from the ravages of war. Several blatant attacks on churches, museums and libraries were publicly criticised and debated both during the war and after its end. The theoretical basis of our days' conventions on the protection of cultural heritage developed during the war and later in the twentieth century. The article begins by explaining the development of laws on war in the later part of the nineteenth century. A review of previous interpretations and views on the destruction of cultural heritage in World War I follows. It becomes apparent that the view of older research, that historical monuments were targeted to a very limited extent needs to be modified. Empirical research of recent years has shown that destruction was more widespread and intentional than previously recognized. The article then goes on to treat the beginnings of the war and the German and Austrian invasion of Belgium and France. The infamous German attacks on the towns of Leuven and Rheims are analysed. These attacks were followed by vicious propaganda in France and the United Kingdom, and by counter-propaganda produced in Germany. War on the eastern front was more brutal than fighting in Belgium and France, with looting of churches and the persecution of ethnic minority groups conducted primarily by Russian troops. Cultural heritage was targeted for several reasons throughout the war on both fronts: to weaken the moral of the enemy, to take revenge by destroying visible traces of enemy culture, but also to loot for economic purposes. Even in the Versailles peace treaty national heritage became an asset as Germany had to surrender valuable works of art to Belgium.

  • 310.
    Legnér, Mattias
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    (In)Securing the past: On the connections between heritage interventions and security practices2017Konferensbidrag (Övrigt vetenskapligt)
  • 311.
    Legnér, Mattias
    Högskolan på Gotland, Institutionen för kultur, energi och miljö. Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    Konstruktionen av en minnesplats: Bruket av Burmeisterska huset i Visby2016Ingår i: Bebyggelsehistorisk tidskrift, ISSN 0349-2834, Vol. 71, nr 1, s. 22-41Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    The article deals with how a 17th-century building in Visby, the Burmeister House, has been used as a site of memory since the end of the 19th century. The theoretical starting point is the concept by the French historian Pierre Nora on how historians actively create sites of memory (les lieux de mémoire). We can regard the house as a site of memory to try and understand the historical significance previously ascribed to it and how the house is seen today. A site can be conserved or preserved through alteration, which emphasizes a selection of its characteristics that become tangible expressions of abstract

    narratives about the national or local community. This is the case with Burmeister House,

    which, after being bought by Visby council in 1904, went from being a private home to a public museum, tourist office, restaurant, and reading room, later becoming a listed building and a visitor centre for the World Heritage Site. Hand in hand with the house becoming a place that provided experiences by way of guided tours, and where various kinds of merchandise were sold, the building underwent a number of major renovations. These were designed to reinforce the impression of a well-preserved merchant’s home from the early period of Swedish control on Gotland. Reminders of the post-18th-century history of the house can be seen in various places. The building has an almost 90-year history as a tourist centre and travel agency, yet we can glimpse this narrative only by way of various “forgotten” objects. An increasingly respectful attitude to the building’s 17th-century wall paintings, viewed through the lens of cultural history, led to the tourist centre moving out in around 1993. At the beginning of the 21st century the building became a visitor centre for the newly designated World Heritage Site of the Hanseatic town of Visby. This led to a shift in focus for this site of memory, away from the building itself towards the conceptualization of the World Heritage Site and notions of Visby’s unique nature. At the end of the article the author discusses problems and possibilities if the building were to be used more actively again. The article draws on records held by the Antiquarian-Topographical Archive, Gotland Tourist Association, Military Archives in Stockholm, Gotlands fornvänner, Museum of Gotland and Region Gotland.

  • 312.
    Legnér, Mattias
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Looters: How the nazis stole Europe's art treasures2015Ingår i: Historisk Tidskrift (S), ISSN 0345-469X, Vol. 135, nr 1, s. 174-175Artikel, recension (Övrigt vetenskapligt)
  • 313.
    Legnér, Mattias
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    Museerna och första världskriget2018Ingår i: Militärhistorisk Tidskrift, ISSN 0283-8400, s. 114-118Artikel, recension (Övrigt vetenskapligt)
    Abstract [sv]

    Recension av Christina Kott och Bénédicte Savoy (Hg.), Mars & Museum: Europäische Museum im Erste Weltkrieg, Köln m fl, Böhlau Verlag 2016. 

  • 314.
    Legnér, Mattias
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    Not Just a Summer Temple: The Development of Conservation and Indoor Climate in Nationalmuseum, Sweden2019Ingår i: Addressing the Climate in Modern Age's Construction History: Between Architecture and Building Services Engineering / [ed] Carlo Manfredi, Springer, 2019, 1, s. 147-169Kapitel i bok, del av antologi (Refereegranskat)
    Abstract [en]

    Introduction

    This essay examines the building and management of Nationalmuseum in Stockholm. Today the building has just recently been reopened after years of renovation and fitting of a new system that will control the indoor climate. This means deep interventions in a nineteenth-century building that was not designed to be airtight or to be heated all year around. The renovation gives a reason to ponder on how the building originally was designed and constructed, but also how it was managed over time. The climate of the house has been an issue ever since the building was constructed in the early years of the 1860s. It was fitted with a central heating system already then, but the building proved difficult to heat in winter and to ventilate in summer. There were continuous problems with dehydration of organic materials in the art collections in winter-time, and with too much sunlight exposing fragile art in the warmer season. Curiously, the introduction of artificial humidification first around 1930 and then again in the 1950s did not solve the problem of dehydration. On the contrary climate problems became ever more complex around the mid-20thcentury because of the introduction of motor traffic with its exhausts, and increasing demands on a stable indoor climate in art museums. 

    How did museums balance the needs of their collections, against the needs of staff and visitors? What considerations where made when choosing heating and ventilation for a museum at this time? In order to illuminate these questions, archival sources from Nationalmuseum, Riksarkivet (National State Archives) and the engineering and architectural company SWECO have been used. Överintendentsämbetet (Board of Public Works and Buildings, abbreviated ÖIÄ) was the custodian of government buildings, followed by Kungliga Byggnadsstyrelsen (Board of Building and Planning, abbreviated KBS) after an organizational shift in 1918. The museum was thus responsible for the management of its collections but not of its building. Until 1939 there was also a second museum housed in the bottom floor: Statens Historiska Museum, the National Historical Museum.  

    If the museum had a complaint on the performance of the building or the heating system, it would have to notify ÖIÄ (or KBS after 1918), which then would decide how to act. Judging by archive sources, it becomes evident that ÖIÄ had small means to make more demanding interventions in existing buildings, and often complaints seem to have been more or less ignored because of lack of resources. By studying the correspondence it is possible to gain a better understanding of how museum management perceived indoor climate and how ÖIÄ responded. 

    The purpose of the essay is to explore how the construction and management of the indoor climate was shaped by technological development and how views on the running of a museum building shifted. Nationalmuseum was fitted with a hot water central heating system. In the early 1860s this was something hardly heard of in Sweden at this time. In general, the central heating systems used at that time were caloriphers, furnaces that heated the air that was then circulated through the building.  

    There were firms in Stockholm installing piping, but none of them was considered competent enough to do the installations in Nationalmuseum. Most entrepreneurs in Stockholm worked with gas piping, not with water or sewer piping.[1]In the early 1860s it was still not evident that a public building should be equipped with this kind of heating, despite the relatively long and cold winters in Stockholm. Public buildings in general were heated with local fireplaces, most often tile stoves produced in the city.  

    Today it is well known that control of indoor climate is key to the management of collections. Too much heat makes the air dry, which may cause damage to fragile objects such as paintings on panels or wooden furniture with veneer. Too little heat makes the air very humid, which promotes mold, vermin, corrosion and rot. What is considered "too little" or "too much", however, has changed since the nineteenth century.[2]The essay explores why central heating was installed in the museum, what the expectations on its functioning were, and how building and museum management (they were – and are – separate from each other) continuously commented on its performance in the decades following the opening of the museum, up until the 1970s when air pollution had become a serious problem demanding a technical solution.

    [1]G. Stålbom, Varmt och vädrat. VVS-teknik i äldre byggnader, Sveriges VVS Museum – SBUF – VVS Företagen, Stockholm 2010, 15. In 1861 Stockholm opened its first waterworks with 30 km of piping. 

    [2]M. Legnér, "Conservation versus thermal comfort – conflicting interests?: The issue of church heating, Sweden c. 1918–1975",Konsthistorisk Tidskrift 2014 (e-publication ahead of print).

  • 315.
    Legnér, Mattias
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    När krig raderar ­historiens spår2016Ingår i: Svenska DagbladetArtikel, recension (Övrig (populärvetenskap, debatt, mm))
    Abstract [sv]

    I krig som syftar till etnisk rensning utplånas samtidigt ofta byggnader och andra kulturarv som vittnar om ett multikulturellt förflutet. En ny bok kartlägger den systematiska förstörelsen av moskéer och ­monument ­under Balkankrigen på 1990-talet.

  • 316.
    Legnér, Mattias
    Högskolan på Gotland, Institutionen för kultur, energi och miljö. Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    The Conservation of Medieval Swedish Churches since the Nineteenth Century, with regard to the Indoor Climate2015Konferensbidrag (Övrigt vetenskapligt)
    Abstract [en]

    The Conservation of Medieval Swedish Churches since the Nineteenth Century, with regard to the Indoor Climate

    PhD, Professor Mattias Legnér

     

    I will present some of the results of a recently finished research project funded by the Swedish Research Council in the years 2010–2015. The aim of the project was to investigate how the introduction and use of heating and ventilation technology have influenced conservation, design and comfort in public heritage buildings, among them churches. This talk will focus Swedish medieval churches: how their indoor climate has been viewed as a problem historically as well as today, and how wishes to improve air quality, temperature, humidity and air movement have affected conservation of the buildings and valuable inventories. In short, a misbegotten adoption of technology primarily designed for industrial, office and residential facilities resulted in serious damage to cultural heritage in the 1960s and 1970s. Only in more recent years have some efforts been made to adapt technology for the purpose of controlling the climate of particularly old churches. The talk will concentrate on an interpretation of why heating and ventilation technology was introduced and what the circumstances were.  

     

    Mattias Legnér is PhD in History and Professor in Conservation at Department of Art History, Uppsala University Campus Gotland. He has published in international journals on the subject of the history of comfort and indoor climate. Together with Mia Geijer he published the monograph "Kulturarvet och komforten. Inomhusklimatet och förvaltningen av kulturhistoriska byggnader och samlingar 1850–1985" earlier this year. 

  • 317.
    Legnér, Mattias
    Högskolan på Gotland, Institutionen för kultur, energi och miljö. Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Våld mot monument ett ideologiskt vapen2015Ingår i: Svenska DagbladetArtikel, recension (Övrigt vetenskapligt)
    Abstract [sv]

    Kulturarv blir ofta ideologiskt laddade symboler och därmed tacksamma måltavlor för den som vill föra krig mot rådande värderingar. Ett flertal nya böcker om förstörelsen av konst och kulturarv genom historien är dessvärre skrämmande aktuella.

    Under strecket i Svenska Dagbladet 22 augusti 2015.

  • 318.
    Legnér, Mattias
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Kulturvård.
    Stengård, Malin
    Post-conflict reconstruction of cultural heritage2019Övrigt (Övrigt vetenskapligt)
  • 319.
    Lehtonen, Jonna
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Hans Holbein den yngre och dödsdansen: en ikonologisk analys av tre träsnitt2014Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Something happened in the minds of man after the Black Death ravished through most of Europe in the 14th century. Images depicting Death in the guise of a skeleton interacting and having dialogues with living people whom would become his victims start showing up, the earliest we know of is the mural in the cemetary of Les Saints Innocentsin Paris, created between 1424 and 1425. These images are called Danse Macabre and they are an allegory of the universality of death and that death unites us all, no matter what social status you have.

    Hans Holbein the younger is arguably the artist who is most known for his Danse Macabre woodcuts, which were created between 1523 and 1526 in Basel with the help of woodcutter Hans Lutzelbürger. My purpose with this essay has been to present three of Holbeins woodcuts which I have then examined thoroughly with the help of Erwin Panofskys method of iconographic and iconologic analysis. My study has shown that Holbeins woodcuts differ from its predecessors, the reason for this is among other things that the dialogue between Death and his (or her) victims is no where to be found, instead I am suggesting that these woodcuts should be called Danse Macabre Nouveau.

  • 320.
    Lidman, Charlotte
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Konstes fria studie: En undersökning av förändringarna i avgångselevernas examensutställningar vid Kungliga Konsthögskolan 1962-20112013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of the essay is to examine how the student exhibitions of the Royal University college of Fine Arts in Stockholm has changed between 1962-2011, and what these changes can depend on. The questions are: What are the changes in the choice of examination work for the students of the Royal University college of Fine Arts, and what can they depend on? Is the school adjusting their education to the surrounding art world, and in what way is that noticeable? By studying the catalogs from the exhibitions, newspaper reviews and other literature, a shorter conclusion is given concerning the art world, the study situation and the student’s choices of examination works the affected years. The works has gone from being a submission of the study fields during the year, to becoming free projects where stories about important subjects are told. Pressures on the school from students and teachers to be able to keep up with the surrounding view of art in the society that is constantly changing, together with reforms and investigation has led to these changes.

  • 321.
    Lidman, Charlotte
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Litografiskt Allehanda 1859-1865: Konsten att skapa ett album för svensk konst2016Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of my thesis is to study the release and the project of Litografiskt Allehanda, an art magazine covering contemporary Swedish art and artists, published from 1859 to 1865. My purpose is to look at the choice of the published material for Litografiskt Allehanda, the influence the contributing artists, how the work with advertisement and subscriptions was made and if it fulfilled its own purpose. Through a social and communicative perspective I am studying the relations between the different actors like the publicists, the artists, the subscribers and also the interaction between the lithographs and the texts. 

    Litografiskt Allehanda was the first successful lithographic work produced in Sweden, and the release lasted for six years. The printer and lithographer Axel Jacob Salmson, who was the founder of the magazine, led the printing work for two years before Sigfrid Flodin, a bookseller, took over and continued the work for another four years. The idea with Litografiskt Allehanda was to reach out to people all over Sweden and give everyone an opportunity to enjoy art, something that usually was exclusively for the upper class in the big cities. The analysis shows that there were people in smaller cities that subscribed to the magazine and also that the amount increased every year. Every volume contained 48 lithographic posters with a diversity of genres, from portraits and landscapes to some with more ethnographic character and ancient Nordic motives. The content became more Swedish with every year and letters show that the participating artists had quite a big influence over the published material. Every poster was accompanied by a text, which didn’t necessary had anything to do with the image, but was meant to create some entertainment for the reader. Some of these essays were written by special authors, while some were written by the artists themselves. Even if Litografiskt Allehanda is mentioned in almost every reference as being of great importance for the development of lithography and its proliferation in Sweden, there is nothing written that is just about the magazine.

  • 322.
    Lindblad, Jakob
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    470 nya kyrkor: Bidrag till Sveriges arkitekturhistoria 1850-18902009Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    The present study critically examines the zealous building of 470 new parish churches in Sweden in 1850–1890; mainly replacing older churches in Västergötland, Småland and Scania; mainly new sites in Norrland. The primary source material is the church itself, meticulously examined in the fi eld and from archives, comparative analysis, the systemati-sation of formal elements and interpretation of architectural expression, characterisation of locations, plans, interiors and exteriors. The roles of initiators, architects, state/church authorities and building entrepreneurs are scrutinized as also liturgical demands, practical matters and the effects of growing populations and increased industrialisation leading to larger congregations, innovative building materials and new fashions. The results are extensively substantiated by analytical drawings, photographs, maps and tables of collated data, all new and by the author; fully availing of his training as architect, art-historian and Sockenkyrkoprojektet researcher. 18 churches are detailed in a representative sample. The parish church is its own art-historical genre. Each church is the sum of its parts interacting with its environs. When formal elements reoccur this refl ects practical solutions not always apparent from the written sources. A divergence between theory and practice is emphasised. Conforming rules, offi cial vetting and reuse of old drawings by the architects of Överintendentsämbetet were countered by master builders who deviated from approved designs, inspired by neighbouring churches. A spirit of architectural freedom fl ourished, encouraging creativity and novel architectural motifs. Traditional stylistic terminology is not applicable to these parish churches. Historical associations may have been sought, but were subsidiary to other demands of the building process. Individual architects and joint building ventures are identifi ed. Three ideals are isolated, variously utilizing form, light and height with a fashionable emphasis on spaciousness, the sacral and propriety. Today, increased secularisation and falling rural populations make these over-large churches an endangered cultural heritage.

  • 323.
    Lindblad, Jakob
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Kyrkorna 1860-1950: med exkurs över kyrkobyggandet efter 19502008Ingår i: Sockenkyrkorna: Kulturarv och bebyggelsehistoria / [ed] Markus Dahlberg & Kristina Franzén, Stockholm: Riksantikvarieämbetet , 2008, s. 291-324Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 324.
    Lindblad, Jakob
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Kyrkorna 1860-1950: nybyggnader och ombyggnader2004Ingår i: Uppland: Landskapets kyrkor / [ed] Ingrid Sjöström & Ulf Sporrong, Stockholm: Riksantikvarieämbetet , 2004, s. 103-120Kapitel i bok, del av antologi (Övrigt vetenskapligt)
  • 325.
    Lindeberg, Lena
    Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap.
    Skuggor och ljus: Anna Ankarcrona : ett konstnärsliv i början av 1900-talet2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Den kvinnliga konstnären och hennes förutsättningar till utbildning och arbete beskrivs och utgör den fond mot vilken Anna Ankarcronas liv och konstnärskap speglas. Tiden är det sena 1800-talet och det tidiga 1900-talet i Sverige, alltså den tidsperiod som utgör Annas levnad. Sociala mönster och samhällsstrukturers påverkan på konstlivet och kvinnornas rum där belyses. Uppsatsen beskriver också ett glömt konsthantverk, hyllningsadressen, som var en del av Anna Ankarcronas arbete.

  • 326.
    Lindegren, Josefin
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Tre äkta par: Svenska pendangporträtts syfte och funktion hos adeln ca 1590–16202019Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    Pendant portraits are a gateway into early modern material and visual culture, specifically marital virtues and genealogical values. This paper will examine the functions of Swedish marital pendant portraits from the late 16th and the early 17th century. These portraits were usually commissioned to commemorate a certain stage in married life such as the marriage, the birth of an heir or the inheritance of a title, thus being used for its mnemonic function. Furthermore, the portraits symbolize marital conjunctions and family alignments. Research on pendant portraits has been scarce, even more so regarding Swedish ones from this period.

    This thesis will focus on six Swedish pendant portraits from 1590–1620, depicting noble husband and wives. The function of the portraits will be discussed in relation to the format and the ways of display, the notion of marriage and the importance of ancestry, the meaning of virtue, and the ideal images of the nobility. Using formal analysis as a descriptive tool, the models’ attire, attributes and gestures are illuminated. This also accentuates the formats’ impact of the portraits communication of meaning as well as how the pendants interact with each other visually, thematically and compositionally.

    The analysis of the pendant portraits will show how the Swedish nobility used them as a way to manifest power, identity and pedigree. On a more general level, it will provide profound knowledge of the Swedish nobility’s usage of visual culture in the transitional period between the renaissance and the baroque. It can also be an important contribution to pendant history and the functions of pendants in general, not least in Sweden.

  • 327.
    Linden, Berit
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    De högg i sten - och gjöt liv i cementerad sorg: Om den svenska gravskulpturens kvinnor och män2014Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
  • 328.
    Linden, Berit
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Sorgen gestaltad: Om den svenska gravskulpturens konstnärer och beställare2018Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This study Shaped grief. On Swedish Tomb Sculpture’s Artists and Commissioners begins by contextualizing the field in question, the field of the tomb sculpture and the tomb sculptor, the burial sites and representations of death, the sculpture of that period, and especially the iconography of the sepulcher art, and the situation of the female sculptors.

    In the analysis chapter the bourgeois Gothenburg and Stockholm, and their relation to the arts, are contextualized. The analysis of the material is made by using the history of sepulchral art, gender theory and semiotics elaborated in art science, supplemented with critical discourse analysis, Bourdieu’s field theories, Veblen's consumption theory, intersectional and mentality-historical theories.

    The study addresses four questions. The first is about who the commissioners of tomb sculpture of the four chosen sculptors - Sigrid Blomberg, Charles Friberg, Carl Fagerberg and Alice Nordin - were. It is generally a wealthy, bourgeois ordering group and the commission is often made in the later part of life. With regard to a division in western and eastern Sweden, it is not surprising that the largest tomb monuments and their commissioners are located in bourgeois and liberal Gothenburg, a city with an international perspective. The court and nobility culture that existed in Stockholm and Mälardalen rested on the ancestors and their tomb monuments, including chapels.

    The second question is whether any of the involved clients are more prominent in the commission situation. In the few examples the study includes, wives, sometimes in widowhood, are prominent commissioners.

    The third question concerns whether the incentives for the commission of a tomb monument are documented. One family wishes to contribute to the "fine arts" finding a place at the Swedish cemeteries and to create an environment equal to cemeteries in southern Europe. Another family wants the tomb sculpture to be an adornment to the cemetery.

    The fourth question is about whether tomb sculptures are dealt within contemporary newspapers and journals, to indirectly reflect the position of the tomb sculpture in the artistic field. This sepulcher sculpture is noted in the contemporary press. But it should be seen against the background that public sculpture generally did not occur in the early 20th century and that a lively debate about cemeteries and tomb art is on the period’s agenda. It is usually in short terms that the tomb monuments are mentioned in the daily press. Especially the study's two male artists are described as not being followers of contemporary avant-garde art. All in all, the impression is that the tomb sculpture, despite the attention of the press, has a lower status.

    What concerns the gender perspective of the study, there are only two male commissioners who say they have an intention beyond the primary - to adorn the family tomb. In some cases, the possibility appears that when husbands pass away, widows take an active order position. With regard to preserved documentation about the commission process, there are more available information around the two female sculptors. Did the two male sculptors not correspond with their commissioners? Or have they for some reason not wanted to hand it down to posterity?

  • 329.
    Lindfors, Anna
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Repatrieringspolicy gällande samiskt kulturarv: En undersökning angående repatrieringsfrågan inom Västerbottens museum2015Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Repatriering av samiska föremål, mänskliga kvarlevor samt immateriellt kulturarv är en fråga som inte har något enkelt svar.Samtidigt är det en fråga som gång på gång uppkommer inom museisammanhang. Västerbottens museum är ett länsmuseumsom har utarbetat en repatrieringspolicy av samiskt kulturarv för att kunna bemöta denna fråga.Syftet med detta examensarbete är att undersöka hur diskursen ser ut kring repatrieringspolicyn inom museet, problem ochmöjligheter. Undersökningen baseras på en djupintervju med anställda på Västerbottens museum och en representant ur museetssamiska referensgrupp.Under intervjun kommer ett antal teman fram som handlar om kontext samt identitet. Både från museets sida och från densamiska representanten anses det positivt med en repatrieringspolicy. Det handlar om en önskan om samverkan och attinvolvera samer vars kulturarv har samlats in och tolkats utifrån ett västerländskt sätt att se på kulturarv.

  • 330.
    Lindkvist, Anders
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Anna Nordgren – En kosmopolit på sekelskiftets konstscen2011Självständigt arbete på avancerad nivå (masterexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 331.
    Lindmark, Anna
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Linnelinjen och den moderna handduken2018Självständigt arbete på avancerad nivå (masterexamen), 30 poäng / 45 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This thesis focuses on a group of towels from the textile design program Linnelinjen (''the Linen-line'') from 1955. Linnelinjen was a collaboration between the department store Nordiska Kompaniet and the textile manufacturer Almedahl-Dalsjöfors. The first collection, renowned as a modern version of the traditional stock of linen, was created by textile designers Astrid Sampe and Marianne Nilson.

    The thesis is divided into three main parts. Firstly, through archive studies, the towel collection of Linnelinjen 1955 is mapped and described. This basic research throws new light on Linnelinjen, by emphasizing less known products in the collection. Secondly, the towel design is analysed to reveal in what aspects it can be considered modern. Through this analysis, the modern traits of the towel design are found to be connected to the towels' transformation from anonymous household articles to unique design products. Finally, the symbolic function of the towels in the modern home and household is analysed. The line of argument in this last part is based on the concept of myth, as used in the design theory of Adrian Forty. It illustrates how the modern Linnelinjen towels, thanks to their specific field of application, may reconcile the vision of the home as a haven of rest with the conflicting reality of household work.

  • 332.
    Lindqvist Sandgren, Eva
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Ett "väl utsmyckat skrin" för Katarina av Vadstena?: En omtolkning av det broderade relikvariet i Linköpings domkyrkomuseum.2018Ingår i: Iconographisk post: Nordisk tidskrift för ikonografi, ISSN 0106-1348, E-ISSN 2323-5586, nr 1-2, s. 40-54Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article discusses an embroided skull reliquary, kept in the Diocesan Museum of the Linköping Cathedral in Sweden. It is one of four still extant similar reliquaries from Vadstena Abbey. The reliquary has previously been examined by Agnes Branting & Andreas Lindblom (Medeltida vävnader och broderier i Sverige 1928) and later discussed by Axel L. Romdahl in Fornvännen (1929) and by Carl R. af Ugglas (1935). In 2001, Inger Estham described it in a publication on textile objects in the Linköping Cathedral and suggested that it was made for the feast of the translation of Bishop Nils Hermansson in 1515. A renewed analysis of the reliquary, which takes the embroidery techniques, the loss of ornaments and the iconography into consideration, supports the assumed provenance from Vadstena Abbey. The hitherto unnoticed decoration on the lid, shaped as a typical Birgittine nun’s crown, suggests that the relics belonged to someone in the Birgittine context. Based on this observation, together with an iconographical and stilistic analysis, this article argues for a rejection of the connection between the reliquary and the translation of the Bishop Nils Hermansson. It is further suggested that the dating of the reliquary must be adjusted to a time not later than the translation feast of Katarina of Vadstena in 1489, and that it might even have originally been made to encase her skull.

  • 333.
    Lindqvist Sandgren, Eva
    et al.
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Wahlberg, Ingela
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen, Textilvetenskap.
    Det broderade relikvariet i Linköpings domkyrka2018Ingår i: Fornvännen, ISSN 0015-7813, E-ISSN 1404-9430, Vol. 113, nr 4, s. 184-195Artikel i tidskrift (Refereegranskat)
    Abstract [en]

    This article discusses the embroidered skull reliquary on foot, kept in the Linkoping Castle and Cathedral Museum (SHM 3920:6). The reliquary was examined by Agnes Branting and Andreas Lindblom in 1928 and discussed in this journal by Axel Romdahl in 1929. Inger Estham describes the object in the 2001 publication on Linkoping Cathedral and suggests that it was a gift from Vadstena Abbey to the cathedral for the translation of Bishop Nils Hermansson's relics in 1515. Our analysis of the textiles, the embroidery, the traces of lost ornaments and the iconography has led us to believe that the assumed provenance from the hands of the nuns of Vadstena Abbey is correct. However, the decoration on top of the lid, forming a typical Birgittine crown, would not be correct for a bishop: it would instead be most appropriate for a Birgittine nun. Furthermore, the decoration and the execution of the embroidery correspond to textile production in Vadstena Abbey in the mid-15th century, not the early 16th. Finally, a description of the skull reliquary used at the translation of St. Catherine of Vadstena in 1489 fits rather well with what the Linkoping reliquary is likely to have looked like originally. We therefore dismiss the reliquary's association with the translation of Bishop Nils Hermansson in 1515 and instead suggest a date no later than 1489.

  • 334.
    Lindström, Jill
    Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap.
    Förberedande konstutbildning: i ett internationellt perspektiv2011Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Uppsatsen beskriver hur fyra olika utbildningar i Europa definierar och förmedlar konstnärlig kunskap. Uppsatsen tar sitt avstamp på Dômen Konstskola i Göteborg där författaren undervisar. Utifrån denna erfarenhet undersöker sedan hon utbildningar på en högskoleförberedande nivå på Chelsea School of Art (CSA) i London, Universidad de Castilla-La Mancha  (UCLM)  i Cuenca, Kungliga Konsthögskolan (KABK) i Haag. Undersökningen utgår från intervjuer gjorda med lärare och elever på respektive skola, observationer gjorda på plats av författaren mellan 2007 och 2011 samt texter från hemsidor och kataloger som skolorna själva gett ut.

    I jämförelsen hittade författaren likheter beträffande feedback, självreflektion och utgångspunkter men även många olikheter. Olikheterna handlade om vilka delar av innehållet i utbildningen som prioriterades. Ingen av konstskolorna definierade den konstnärliga kunskap de sades förmedla. KABK och CSA hade den mest sammanhållna pedagogiken medan utbildningen på UCLM berodde på läraren och den på DK berodde både på lärare och år. Samtliga skolors konstsyn relaterades till N. Carolls definition av konstbegreppet. Här visade sig skolorna ligga relativt nära varandra.

  • 335.
    Ljungberg, Ulf
    Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap.
    Göteborgs stadsteater: en arkitekturhistorisk undersökning2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Uppsatsen handlar om den historiska debatten hur Göteborgs stadsteater kom till. Med stadsteaterns placering vid Götaplatsen med konstmuseum, konsthall och konserthus innebär det en mycket central och betydelsefull plats i Göteborg. Uppsatsen behandlar svårigheten att anpassa teatern till denna kulturella plats. Därför ingår en kort historik om Götaplatsen. Undersökningen tar upp arkitekten Carl Bergsten som ritade teatern i samarbete med regissören och scenteknikern Knut Ström. En kort beskrivning av teaterns exteriör och interiör samt scenteknik tas upp för att belysa avsikterna med teatern och dess samspel med omkringliggande byggnader. Uppsatsen behandlar vidare debatten mellan Göteborgs teaterförening, donatorer, Lorensbergsteaterns ledning och Göteborgs stadsfullmäktige samt dagspress och fackpress. Slutligen har en mindre enkät och personliga intervjuer gjorts med olika personer som berörs av teatern.

  • 336.
    Ljungström, Linus
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Rubber Johnny: Chris Cunningham - Skräcken, Metoden och Reaktionen2013Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of the study is to explore the reasons behind the emotions that occur when watching horror movies that mainly include body- and venereal horror. To do this I have chosen the short film Rubber Johnny by English director Chris Cunningham as a starting point for my analysis. The theories proceed from Mikhail Bakhtin’s perspective of the carnival with focus on the concept of the grotesque and the world upside-down. I will also apply Holly Willis theories on digital cinema. The main questions are: Why is it hard to watch Rubber Johnny and which methods does Cunningham use to obtain these feelings? Furthermore I will also try to explore the reason behind what it is that makes us want to watch the repulsive and frightening – our fascination for pain when others get hurt and for the morbid and repulsive. 

  • 337.
    Lundberg, Mabel
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Humanistiska fakulteten.
    Sigtunastiftelsens tillkomst: idéer och byggnader1977Doktorsavhandling, monografi (Övrigt vetenskapligt)
  • 338.
    Lundberg, Mabel
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Humanistiska fakulteten.
    Studier i änglabildens utformning och funktion under den kristna kyrkans första årtusende1981Bok (Övrigt vetenskapligt)
  • 339.
    Lundberg, Magnus
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Teologiska fakulteten, Teologiska institutionen, Kyrko- och missionsstudier, Kyrkohistoria. Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Teologiska fakulteten, Teologiska institutionen, Kyrko- och missionsstudier, Missionsvetenskap.
    Laurens van der Plas: En nederländsk konstnär vid Gustav II Adolf hov2017Rapport (Övrigt vetenskapligt)
  • 340.
    Lundgren, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Estetik, som uttryck för en världsbild2016Självständigt arbete på grundnivå (högskoleexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
  • 341.
    Lundgren, Helena
    Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap.
    Omslag till böcker och DVD-filmer: en jämförande studie av visuell kommunikation i omslagen till Män som hatar kvinnor och Niceville2012Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    This thesis is about covers of books and DVD movies. I have tried to find out if the visual communication of the covers differs between the book and movie with the same story. Do they appeal to different target groups? I have also been trying to find out what designers can do to increase the visibility of covers among others. Are there certain rules to follow for making a cover visible?

    To reach a conclusion I have been studying components in advertising pictures, since covers work as a kind of advertiser for the product. I have also been studying visual communication and how designers use advertising pictures to communicate with the observer. Semiotics, advertising and comparisons between the covers have been my method for analyze.

    I have come to the colclusion that covers of books and DVD movies do communicate in different ways and partly to different target groups. There are certain rules to follow if you want to increase the visibility of a picture among others. The results indicate that the book covers have an older target group than the DVD covers.

  • 342.
    Lundin, Sofia
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Av mig är du kommen och konstnär varde ditt namn: En studie om Mathilde Wigert-Österlund och psykisk ohälsa i konsten2017Självständigt arbete på avancerad nivå (magisterexamen), 20 poäng / 30 hpStudentuppsats (Examensarbete)
    Abstract [en]

    The aim of this study was to investigate the connection between an artists mental illness and his or her art and this was made with the artist Mathilde Wigert-Österlund (1873-1943) as an example. Wigert-Österlund was an artist who suffered from mental illness and was a patient at a mental institution during two periods throughout her life. After she became ill, she made textile artworks that have been considered to be products of her illness. To investigate if this is true or not and to understand Wigert-Österlunds means of expression, the study was based on the purpose that with Wigert-Österlund as example investigate the connection between mental illness and creative production and study the artist and the artists role as a social and cultural construction.

    This was done with the following questions: How did Mathilde Wigert-Österlunds artistic expression change when she became ill? What role did Wigert-Österlund take och recieve in the artistic field? And; what resemblances and differences were there between Wigert-Österlunds artworks and her contemporary textile art? The questions were answered with studies of literature and objects as material, together with a method of material culture. Theory of practice and a theory of the artist role were applied on the material and the results. The analysis shows that Wigert-Österlunds artistic expression primarily changed with her use of other techniques and materials than before and secondarily that she had a slight change in the choice of motif and especially symbols in her work. The works shows that Wigert-Österlund is to be considered as having the role of a melancholic artist due to the theory of the artists role. Her work had no distinct recemblances with the contemporary textile art but shows that she is considered to share habitus and expression with the artist group that were defined as painters. Wigert-Österlund and her textile artcan be considered as unique in the time they were made.

    The study also reveals that the groups within the field were changeable and that Wigert-Österlund and her variated expression made her belong to separate groups but that she might have identified herself with the one with highest social and cultural status. The study showed that there is a slight connection between mental illness and an artists expression and that an artist can correlate to an artistic role and at the same time be a production of and a construction of the society and its expectations connected to that construction.

  • 343.
    Lundström, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Militärer i Konstakademien1996Ingår i: Ulrika Pasch och hennes samtid. Kungliga Akademien för de fria Konsterna, Stockholm, , s. 4Övrigt (Övrigt vetenskapligt)
  • 344.
    Lundström, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Officeren som arkitekt och konstnär i det svenska 1800-talet1999Doktorsavhandling, monografi (Övrigt vetenskapligt)
    Abstract [en]

    In the study of 19th century, Swedish art history, military artists are repeatedly discovered, often as sketch-artists or painters, but also in their capacity as directors of the Board of Public Building or architects. Within picture art, these so-called "military painters" areconsidered to be typical representatives of the widespread amateurism of the century.

    The aim of this study, is to describe and illustrate the background to military contributions to 19th century architecture and picture art, and, using several case-studies, show the depth and variation in character, wich was a hallmark of their building and artistic activities.

    The position of the Army in society and its education in architecture and drawing arepresented, together with four officers as architects and town-planner, and the four military directors of the Board of Public Building, who attained the highest position in the hierarchy of Swedish art. Six artistically-active officers are also presented, who, though they often occur in surveys of Swedish art history, have never, together, been the object of any closer examination. The role of drawing in educational aims and the position of amateurism, is discussed in the final chapter, while a shorter international perspective concludes the presentation.

  • 345.
    Lundström, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Recension av Eva Londos: Uppåt väggarna i svenska hem. En etnologisk studie av bildbruk1995Ingår i: Valör, nr 3, s. 3-Artikel, recension (Övrigt vetenskapligt)
  • 346.
    Lundström, Bo
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Recension av Maj Odelman: Med portfölj och ritstift. Olof Hermelin en fornforskningens tjänare1995Ingår i: Valör, nr 1, s. 2-Artikel, recension (Övrigt vetenskapligt)
  • 347.
    Lundén, Rolf
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Språkvetenskapliga fakulteten, Engelska institutionen.
    Man Triumphant.: The Divided Life of David Edstrom2014Bok (Övrigt vetenskapligt)
    Abstract [en]

    A hundred years ago regarded, together with Carl Milles, as the hope of Swedish sculpture, David Edstrom is today more or less forgotten. Man Triumphant. The Divided Life of David Edstrom tells the fascinating rags-to-riches-and-back-to-rags story of the young boy who grew up in Småland, Sweden, emigrated to Iowa, U.S.A., and hoboed his way back in 1894 to get his education at the Royal Academy of Fine Arts in Stockholm. After twenty-one years in Europe—in Stockholm, Florence, Paris, and Berlin—he returned to the United States and settled in Hollywood. As a person of two cultures he found himself betwixt and between, divided in his allegiance equally to his mother country and his adopted one.

    A stubborn, uncompromising man Edstrom managed to produce sculpture qualitatively well above what the average artist of the time could accomplish. He received acclaim from the best of the contemporary critics of Italy, Great Britain, Germany, the Netherlands, France, and Sweden. And yet, gradually he was disregarded and finally ousted from the canon of art. Over the years he came to know a number of the key figures of the period—Giovanni Papini (and some of the Italian Futurists-to-be), Gertrude Stein, who wrote two portraits of him, and her brother Leo, Henri Matisse, Frederik van Eeden, Crown Prince Gustaf Adolf and his wife Margaret, Ellen Key, Ernest Thiel, Harry Chandler, Robert A. Millikan, Gloria Swanson, and Charlie Chaplin of Los Angeles. This book thus presents, from Edstrom’s point of view, the turbulent period of early modernism in Europe and the vibrancy of  Southern California culture of the 1920s.

    Rolf Lundén is professor emeritus of American literature at Uppsala University, Sweden. He has written extensively on not only American literature but also other aspects of American Studies, such as the American influence in Sweden, literature and film, and business and religion in the United States.

  • 348.
    Lång, Kristin
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Historisk-filosofiska fakulteten, Konstvetenskapliga institutionen.
    Det fokliga midsommarfirandet: En komparativ studie av fyra folklivsmålningar från 1800-talets Sverige2018Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [en]

    In this essay four paintings illustrating the Swedish midsummer celebration among common people are examined. The selected paintings are Midsommardans på Säfstaholm (1825) by Johan Gustaf Sandberg, Midsommardans i Rättvik (1855) by Kilian Zoll, Midsommarleken på Norsbron i Floda (1858) by Joseph Wilhelm Wallander and Midsommardans (1897) by Anders Zorn. The paintings and their motifs are examined individually, but also in a comparative manner through an extensive and detailed analysis. The composition of the paintings and how the motifs are represented are central themes in the examination but also how the paintings can be perceived in a nationalistic point of view, since nationalism was one of the current themes in Sweden during the 19th Century.

    Among other things, the results connected to the composition of the paintings show that a change over time seem to be discernible, for example when it comes to movement and a sense of a physical closeness to the motifs and the paintings themselves.

    Discernable nationalistic expressions found in the paintings are that the people and their folk costumes became a symbol for Sweden and what’s perceived as typical Swedish. Also the chosen motifs by the painters turned out to be of nationalistic importance. 

  • 349.
    Löfberg, Staffan
    Högskolan på Gotland, Institutionen för humaniora och samhällsvetenskap.
    Svaneholms slott: tillkomst och förändring under dansk senmedeltid och renässans2010Självständigt arbete på grundnivå (kandidatexamen), 10 poäng / 15 hpStudentuppsats (Examensarbete)
    Abstract [sv]

    Tidigare kringgärdad av vallgrav ligger Svaneholms slott vid en liten sjö i Skåne. Tre av defyra längorna är kvar från danskt 1500-tal. Den fjärde tillkom vid sekelskiftet 1700, efter atten äldre på samma plats nedrivits till grunden. Mitt arbete har till stor del gått ut på att genomegna analyser revidera tidigare uppfattningar om slottets historia.

    Svaneholm byggdes i en period vilken präglades av oroligheter, en stark adel och en oerhördbyggnadsverksamhet i denna samhällsklass. Utifrån historiska källor verkar Svaneholm hatillkommit under 1530-talets första hälft. Vid denna tid torde man ännu inte ha börjat byggafyrlängade borgar i Skåne. Denna borgform introduceras troligen med bygget av Malmöhusslott, påbörjat 1537.

    Istället byggde man vad som brukar kallas fasta hus, vilka brukar anses ha varit obefästa, meninte helt säkert alltid var det. I viss kontrast mot det fasta huset och mera likt kungamaktenskastell i Malmö från 1400-talet och kanske även Glimmingehus, från 1499, uppfördesSvaneholm som två sammansittande byggnader, dagens syd- och östlänga, med skytteloft,trapptorn, porttorn och kanske även en ringmur. Att byggnaderna är samtida har jag belagtgenom murverksanalys. Muren motiverar jag bl a med att ett par byggnader som inte har murinte heller behöver befäst port.

    Till synes efter 1537, men före 1548, då vi vet att fyra ”byggningar” fanns, har Svaneholmutbyggts till en fyrlängad borg. Trots att byggandet kanske bara låg nere ett decenniumlyckades man pricka den epokskiljande övergången mellan murförbanden munk- ochrenässansförband, mellan medeltid och renässans om man så vill.

    Utifrån stil går det inte att datera längorna. Däremot finns det en gammal teckning utförd aven Burman 1680 där jag menar att den senare rivna längan genom likhet kanske kan kopplastill Danmarks praktarkitekturstil vid 1500-talets slut, Christian IV-stilen, rik på dekor. Avflera skäl tror jag inte att längan på bilden kan vara slottets första östlänga, utan en senare. Detmärkliga är också att man senare valde att riva hela denna östlänga, kanske på grund avdekoren. Vi kan dock inte helt förlita sig på Burmans bild. En annan möjlighet är att den rivnalängan inte låg i liv med den intilliggande längans gavel, och att man valde att riva den för attjämna till väggen. På detta sätt ser det ännu ut på två andra av slottets ytterhörn. Dettastämmer dock inte med Burmans gamla avbildning.

    Vid sidan av murningstekniken markerar Svaneholms slotts behandlade byggnadsetapper påflera andra områden skiljelinjen mellan medeltiden och renässansen, såsom en förändrad synpå boende och försvar och konsthistoriskt, genom förändrad planform och kanske senare ävengenom förändrad arkitekturstil.

  • 350.
    Lövgren, Sven
    Uppsala universitet, Humanistisk-samhällsvetenskapliga vetenskapsområdet, Humanistiska fakulteten.
    The genesis of modernism: Seurat, Gauguin, van Gogh and French symbolism in the 1880's1959Doktorsavhandling, monografi (Övrigt vetenskapligt)
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