Pub Date : 2021-02-25DOI: 10.4324/9780367823672-20
Ulla Angkjær Jørgensen
The female nude as painted by modern women artists has been a topic of interest for feminist scholars of art history since the 1980s. This chapter analyzes how Klindt Sorensen uses painting as a medium to evoke the sense of touch in the viewer, rather than to visually describe the body as beautiful when observed from a distance. Klindt Sarensen belongs to a group of young women artists who in the 1920s fled the notorious Kunstakademiets Kunstskole for Kvinder in Copenhagen and travelled to Paris. In 1945, Klindt Sorensen painted a monumental picture of her colleague, the painter Holger J. Jensen. Klindt Sorensen is more interested in provoking the sense of touch in the viewer, and thereby leading the way for affects and sensations, than she is in describing the body.
自20世纪80年代以来，现代女性艺术家所画的女性裸体一直是女性主义艺术史学者感兴趣的话题。这一章分析了克林特·索伦森如何使用绘画作为媒介来唤起观众的触觉，而不是从远处观察时视觉上描述身体是美丽的。克林特·萨伦森(Klindt Sarensen)属于一群年轻女性艺术家，她们在20世纪20年代逃离臭名昭著的艺术学院，来到哥本哈根的Kvinder，并前往巴黎。1945年，克林特·索伦森(Klindt Sorensen)为她的同事、画家霍尔格·j·詹森(Holger J. Jensen)画了一幅不朽的画。克林特·索伦森更感兴趣的是激发观众的触觉，从而引导情感和感觉的方式，而不是描述身体。
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Pub Date : 2021-02-25DOI: 10.4324/9780367823672-10
Hanna-Reetta Schreck
{"title":"Modern Corporeality","authors":"Hanna-Reetta Schreck","doi":"10.4324/9780367823672-10","DOIUrl":"https://doi.org/10.4324/9780367823672-10","url":null,"abstract":"","PeriodicalId":175412,"journal":{"name":"Modern Women Artists in the Nordic Countries, 1900–1960","volume":"17 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133112577","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-25DOI: 10.4324/9780367823672-22
Emil Leth Meilvang
{"title":"Soft Bones","authors":"Emil Leth Meilvang","doi":"10.4324/9780367823672-22","DOIUrl":"https://doi.org/10.4324/9780367823672-22","url":null,"abstract":"","PeriodicalId":175412,"journal":{"name":"Modern Women Artists in the Nordic Countries, 1900–1960","volume":"68 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130106993","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-02-25DOI: 10.4324/9780367823672-25
Martin Sundberg
Since the late 1970s, the Swedish artist Greta Knutson has been acknowledged because of her marriage to Tristan Tzara. Knutson never signed any manifestos and the group exhibitions in which she participated around 1930 were loosely aligned rather than focused. Even though an editor, Brigitte Classen, was involved in the publication of Bestien and contributed a brief introduction, Greta Knutson was in charge of selecting images and texts. Bestien is comprised mainly of Knutson’s short stories and a few poems. La Surprise belongs to the late paintings Knutson called oneiric. Knutson works with contrasts between light and dark, but the overall impression can easily be described as uncanny.
{"title":"Surrealist Beasts","authors":"Martin Sundberg","doi":"10.4324/9780367823672-25","DOIUrl":"https://doi.org/10.4324/9780367823672-25","url":null,"abstract":"Since the late 1970s, the Swedish artist Greta Knutson has been acknowledged because of her marriage to Tristan Tzara. Knutson never signed any manifestos and the group exhibitions in which she participated around 1930 were loosely aligned rather than focused. Even though an editor, Brigitte Classen, was involved in the publication of Bestien and contributed a brief introduction, Greta Knutson was in charge of selecting images and texts. Bestien is comprised mainly of Knutson’s short stories and a few poems. La Surprise belongs to the late paintings Knutson called oneiric. Knutson works with contrasts between light and dark, but the overall impression can easily be described as uncanny.","PeriodicalId":175412,"journal":{"name":"Modern Women Artists in the Nordic Countries, 1900–1960","volume":"81 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122043724","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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