Pub Date : 1995-01-01DOI: 10.1080/00233609508604380
Mikael Åhlund
Summary Vienna‐rococo in Sweden. Two paintings by Johann Georg Plazer at Skokloster Sweden's artistic contacts with Austria in the first half of the 18th century constitute a neglected field in the Swedish history of art. Most historians dealing with this period have focused their interest upon the dominating influences from French art and culture. Without questioning the importance of this overwhelming French impact, the general ambition of this article is to point out the non‐negligible role Austria played in forming Swedish art in the early 18th century. Although Sweden's general and political contact with Austria was limited at this time, important artistic influences were felt between the two countries. This article deals with these influences and presents a survey over Swedish artists, architects and patrons who visited Vienna during the first half of the 18th century. The article then focuses on two paintings by the Austrian artist Johann Georg Plazer (1704–61), which were brought to Sweden already...
{"title":"Wienerrokoko i Sverige","authors":"Mikael Åhlund","doi":"10.1080/00233609508604380","DOIUrl":"https://doi.org/10.1080/00233609508604380","url":null,"abstract":"Summary Vienna‐rococo in Sweden. Two paintings by Johann Georg Plazer at Skokloster Sweden's artistic contacts with Austria in the first half of the 18th century constitute a neglected field in the Swedish history of art. Most historians dealing with this period have focused their interest upon the dominating influences from French art and culture. Without questioning the importance of this overwhelming French impact, the general ambition of this article is to point out the non‐negligible role Austria played in forming Swedish art in the early 18th century. Although Sweden's general and political contact with Austria was limited at this time, important artistic influences were felt between the two countries. This article deals with these influences and presents a survey over Swedish artists, architects and patrons who visited Vienna during the first half of the 18th century. The article then focuses on two paintings by the Austrian artist Johann Georg Plazer (1704–61), which were brought to Sweden already...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1995-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89632584","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1995-01-01DOI: 10.1080/00233609508604381
Britta Martensen‐Larsen
Summary In the autumn of 1947 the Board of Danish Culture Film (Managing Director Ib Koch‐Olsen) agreed to a proposal by Carl Th. Dreyer to produce a shortfilm on Bertel Thorvaldsen. Supervised by the counsellor of the Thorvaldsen Museum, Sigurd Schultz, Dreyer worked out a manuscript as well: The Art of Thorvaldsen as an instruction for the filming. In the Dreyer Archives of the Danish Film Museum we can find his preliminary, meticulous texts on the artists most wellknown works in the Thorvaldsen Museum: the statues of Christ and the apostles for the Cathedral Vor Frue Kirke in Copenhagen. During the months of August and September 1948 the filming took place at the Thorvaldsen Museum. The statues of Venus (Fig. 7), Merkur (Fig. 9), Hebe (Fig. 5) and Amor and Psyche (Fig. 6) were moved out into the great hall, where they were placed on a turntable plinth with a grey drapery as a background, and floodlighted (Fig. 3). In this way they were surrounded by open air, which increased the plastic effect. Just li...
1947年秋，丹麦文化电影委员会(董事总经理伊布·科赫奥尔森)同意了卡尔·斯特恩的提议。德雷尔制作了一部关于伯特尔·桑弗森的短片。在桑弗森博物馆顾问西格德·舒尔茨(Sigurd Schultz)的指导下，德雷尔还写了一份手稿:《桑弗森的艺术》(the Art of Thorvaldsen)，作为拍摄指导。在丹麦电影博物馆的德雷尔档案中，我们可以找到他对Thorvaldsen博物馆中最著名的艺术家作品的初步，细致的文本:哥本哈根大教堂的基督雕像和使徒雕像。1948年8月和9月，电影在桑弗森博物馆拍摄。维纳斯(图7)、默库尔(图9)、希比(图5)、阿莫尔和普赛克(图6)的雕像被移出大厅，放在一个转盘基座上，背景是灰色的帷幔，并被泛光照亮(图3)。这样，它们被露天包围，增加了塑料效果。只是李…
{"title":"Om Carl Th. Dreyer's Thorvaldsens kunst","authors":"Britta Martensen‐Larsen","doi":"10.1080/00233609508604381","DOIUrl":"https://doi.org/10.1080/00233609508604381","url":null,"abstract":"Summary In the autumn of 1947 the Board of Danish Culture Film (Managing Director Ib Koch‐Olsen) agreed to a proposal by Carl Th. Dreyer to produce a shortfilm on Bertel Thorvaldsen. Supervised by the counsellor of the Thorvaldsen Museum, Sigurd Schultz, Dreyer worked out a manuscript as well: The Art of Thorvaldsen as an instruction for the filming. In the Dreyer Archives of the Danish Film Museum we can find his preliminary, meticulous texts on the artists most wellknown works in the Thorvaldsen Museum: the statues of Christ and the apostles for the Cathedral Vor Frue Kirke in Copenhagen. During the months of August and September 1948 the filming took place at the Thorvaldsen Museum. The statues of Venus (Fig. 7), Merkur (Fig. 9), Hebe (Fig. 5) and Amor and Psyche (Fig. 6) were moved out into the great hall, where they were placed on a turntable plinth with a grey drapery as a background, and floodlighted (Fig. 3). In this way they were surrounded by open air, which increased the plastic effect. Just li...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1995-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77531933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1995-01-01DOI: 10.1080/00233609508604373
D. Kahn
{"title":"Lettre à l'éditeur à propos de l'article de James Elkins","authors":"D. Kahn","doi":"10.1080/00233609508604373","DOIUrl":"https://doi.org/10.1080/00233609508604373","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1995-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76721774","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1994-01-01DOI: 10.1080/00233609408604363
Christine Refflinghaus
Summary Contrary to Paxis Germany was visited only by a small number of Danish women artists completing their artistic training in the years 1870 to 1914. It is important to question the role of Germany for Danish women artists at a time when in Denmark as well as in Germany no possibility exsisted for women to gain the same artistic training as their male colleagues at the academies. The familiar connections of the women artists to male colleagues were important for their artistic training. An alternative to the ateliers which were run by male artists were schools founded by women artists. The “Verein der Kunstlerinnen und Kunstfreundinnen” the first school of drawing and painting for women in Germany was founded in Berlin in 1868. It was followed by a department for the education of female drawing teachers at the “Konigliche Kunstgewerbeschule” in Munich in 1872. 1882 a club of female artists was organized in Munich to which two years later a ladies’ academy was attached. A second ladies’ academy was op...
{"title":"Dänische Künstlerinnen in Deutschland ‐ unter besonderer berücksichtigung der Ausbildungsmöglichkeiten","authors":"Christine Refflinghaus","doi":"10.1080/00233609408604363","DOIUrl":"https://doi.org/10.1080/00233609408604363","url":null,"abstract":"Summary Contrary to Paxis Germany was visited only by a small number of Danish women artists completing their artistic training in the years 1870 to 1914. It is important to question the role of Germany for Danish women artists at a time when in Denmark as well as in Germany no possibility exsisted for women to gain the same artistic training as their male colleagues at the academies. The familiar connections of the women artists to male colleagues were important for their artistic training. An alternative to the ateliers which were run by male artists were schools founded by women artists. The “Verein der Kunstlerinnen und Kunstfreundinnen” the first school of drawing and painting for women in Germany was founded in Berlin in 1868. It was followed by a department for the education of female drawing teachers at the “Konigliche Kunstgewerbeschule” in Munich in 1872. 1882 a club of female artists was organized in Munich to which two years later a ladies’ academy was attached. A second ladies’ academy was op...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1994-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84453694","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1994-01-01DOI: 10.1080/00233609408604360
C. Lengefeld
Summary When Alfred Lichtwark (1852–1914) was appointed director of the Hamburg Kunsthalle in 1886 he set about reorganising the museum's art collections in order to create a modern museum and pave the way for a cautious approach to impressionism. He invited to Hamburg for this purpose many avant‐guarde artists from Germany and elsewhere such as Max Liebermann, Leopold von Kalckreuth, Pierre Bonnard, Edouard Vuillard and others, to paint local motifs. The Swedish painter Anders Zorn (1860–1920) was one of the first guests, being expected to give a model for modern colourism. His watercolour, The Port of Hamburg was signed in 1891. Strangely enough, it was not integrated into the museum's collection until 1901. The first part of the present paper deals with the question of why Zorn's picture “disappeared” for a ten year period. Comparisons with other paintings that suffered a similar fate throughout the 1890's backed up by a study of archive material give an indication that Zorn's watercolour did not confo...
{"title":"Ett föredöme för modern konst","authors":"C. Lengefeld","doi":"10.1080/00233609408604360","DOIUrl":"https://doi.org/10.1080/00233609408604360","url":null,"abstract":"Summary When Alfred Lichtwark (1852–1914) was appointed director of the Hamburg Kunsthalle in 1886 he set about reorganising the museum's art collections in order to create a modern museum and pave the way for a cautious approach to impressionism. He invited to Hamburg for this purpose many avant‐guarde artists from Germany and elsewhere such as Max Liebermann, Leopold von Kalckreuth, Pierre Bonnard, Edouard Vuillard and others, to paint local motifs. The Swedish painter Anders Zorn (1860–1920) was one of the first guests, being expected to give a model for modern colourism. His watercolour, The Port of Hamburg was signed in 1891. Strangely enough, it was not integrated into the museum's collection until 1901. The first part of the present paper deals with the question of why Zorn's picture “disappeared” for a ten year period. Comparisons with other paintings that suffered a similar fate throughout the 1890's backed up by a study of archive material give an indication that Zorn's watercolour did not confo...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1994-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76271195","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1994-01-01DOI: 10.1080/00233609408604359
K. Kaisla
Summary Foreign contacts and a trip to Berlin for staging an exhibition were of great importance for Gallen's artistic output, which had long been in a state of crisis. Although Berlin marks the end of his purely symbolist paintings, the themes of the period came forth particularly in Gallen's original prints, on which he concentrated in late 1895. In the spring of 1895 Gallen undertook a brief study trip to England, after which his varied experiments in applied arts flourished, their goalbeinga"totalworkofart” (Gesamtkunstwerk). In Gallen's paintings, the so‐called Kalela‐period, following his stay in Berlin, strove towards the decorativeness typical of the spirit of the times. In all its stages, the interest generated by Gallen in Germany followed from his exhibition in 1895. In this respect, it is correct to speak of Gallen's international breakthrough. His success in Germany for a period of over ten years was also noted throughout the German‐speaking countries, and made Gallen known also in Hungary, P...
{"title":"Akseli Gallen‐Kallela and Germany","authors":"K. Kaisla","doi":"10.1080/00233609408604359","DOIUrl":"https://doi.org/10.1080/00233609408604359","url":null,"abstract":"Summary Foreign contacts and a trip to Berlin for staging an exhibition were of great importance for Gallen's artistic output, which had long been in a state of crisis. Although Berlin marks the end of his purely symbolist paintings, the themes of the period came forth particularly in Gallen's original prints, on which he concentrated in late 1895. In the spring of 1895 Gallen undertook a brief study trip to England, after which his varied experiments in applied arts flourished, their goalbeinga\"totalworkofart” (Gesamtkunstwerk). In Gallen's paintings, the so‐called Kalela‐period, following his stay in Berlin, strove towards the decorativeness typical of the spirit of the times. In all its stages, the interest generated by Gallen in Germany followed from his exhibition in 1895. In this respect, it is correct to speak of Gallen's international breakthrough. His success in Germany for a period of over ten years was also noted throughout the German‐speaking countries, and made Gallen known also in Hungary, P...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1994-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76355619","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 1994-01-01DOI: 10.1080/00233609408604364
V. Petersen
Summary During the years 1903–05. when Willumsen was once again living in Paris, he was contacted by the German art critic and writer, Julius Meier‐Graefe. The background for this contact was Willumsens's numerous exhibitions in Paris and Germany around the turn of the century. Meier‐Graefe needed information about Willumsens's art for his book Entwicklungsgeschichte der modernen Kunst which appeared in 1904. Meier‐Graefe was very critical of Willumsen's art. He considered that Willumsen's strength lay in ceramics. However, as for Willumsen's experiments with movement and geometrical structures, Meier‐Graefe compared his painting with that of the Swiss painter, Ferdinand Hodler, and this was certainly not meant as a compliment. On the contrary, to Meier‐Graefe this implied a lack of artistic ambition. To Meier‐Graefe it was modern French art which had made the necessary break with fossilized art, which to him was synonymous with German art. Nevertheless, this first contact between Willumsen and Meier‐Grae...
从1903年到1905年。当Willumsen再次住在巴黎时，德国艺术评论家和作家Julius Meier‐Graefe联系了他。这次接触的背景是世纪之交，威廉森斯在巴黎和德国举办的众多展览。Meier - Graefe在他1904年出版的《现代艺术》(Entwicklungsgeschichte der modern Kunst)一书中需要有关威廉森斯艺术的信息。Meier‐Graefe对Willumsen的艺术非常挑剔。他认为威鲁姆森的优势在于陶瓷。然而，对于Willumsen对运动和几何结构的实验，Meier‐Graefe将他的画与瑞士画家Ferdinand Hodler的画进行了比较，这当然不是恭维。相反，对于Meier - Graefe来说，这意味着缺乏艺术野心。对于Meier - Graefe来说，是现代法国艺术与化石艺术进行了必要的决裂，对他来说，化石艺术是德国艺术的代名词。然而，Willumsen和Meier - Grae之间的第一次接触……
{"title":"J. F Willumsen og Tyskland omkring århundredskiftet","authors":"V. Petersen","doi":"10.1080/00233609408604364","DOIUrl":"https://doi.org/10.1080/00233609408604364","url":null,"abstract":"Summary During the years 1903–05. when Willumsen was once again living in Paris, he was contacted by the German art critic and writer, Julius Meier‐Graefe. The background for this contact was Willumsens's numerous exhibitions in Paris and Germany around the turn of the century. Meier‐Graefe needed information about Willumsens's art for his book Entwicklungsgeschichte der modernen Kunst which appeared in 1904. Meier‐Graefe was very critical of Willumsen's art. He considered that Willumsen's strength lay in ceramics. However, as for Willumsen's experiments with movement and geometrical structures, Meier‐Graefe compared his painting with that of the Swiss painter, Ferdinand Hodler, and this was certainly not meant as a compliment. On the contrary, to Meier‐Graefe this implied a lack of artistic ambition. To Meier‐Graefe it was modern French art which had made the necessary break with fossilized art, which to him was synonymous with German art. Nevertheless, this first contact between Willumsen and Meier‐Grae...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1994-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83928340","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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