Pub Date : 1998-01-01DOI: 10.1080/00233609808604455
Rolf Lundén
Summary In the summer of 1915 the Swedish‐American sculptor David Edstrom (1873–1938) returned to the United States after twenty‐one years in Europe. He thereby contributed to his own marginalization. Having succeeded in assuming a prominent position in the European art world in the years after the turn of the century, he removed himself so much from the scene of action that he eventually was more or less forgotten. His trajectory thus moves from a poor childhood in Smaland and Iowa to considerable fame for a decade and a half— he was, for instance, repeatedly compared by well‐known critics to Rodin, Meunier, and Rosso ‐to an increasingly obscure position in Los Angeles. The article traces the marginalization process in the case of David Edstrom, investigating the factors that cause his gradual exclusion from the canon, and it argues that his art, even if never fulfilled its promises, still is of such significance that it should again receive the attention that it deserves. A list of his exhibitions and s...
{"title":"Att välja glömskan eller att bli bortglömd: David Edströms uppgång och fall","authors":"Rolf Lundén","doi":"10.1080/00233609808604455","DOIUrl":"https://doi.org/10.1080/00233609808604455","url":null,"abstract":"Summary In the summer of 1915 the Swedish‐American sculptor David Edstrom (1873–1938) returned to the United States after twenty‐one years in Europe. He thereby contributed to his own marginalization. Having succeeded in assuming a prominent position in the European art world in the years after the turn of the century, he removed himself so much from the scene of action that he eventually was more or less forgotten. His trajectory thus moves from a poor childhood in Smaland and Iowa to considerable fame for a decade and a half— he was, for instance, repeatedly compared by well‐known critics to Rodin, Meunier, and Rosso ‐to an increasingly obscure position in Los Angeles. The article traces the marginalization process in the case of David Edstrom, investigating the factors that cause his gradual exclusion from the canon, and it argues that his art, even if never fulfilled its promises, still is of such significance that it should again receive the attention that it deserves. A list of his exhibitions and s...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74929080","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 : 1998-01-01DOI: 10.1080/00233609808604473
Hans-Olof Boström
Summary The Representation of Self and the World in Scandinavian Painting Around 1900 While landscape painting in Scandinavian Realism and Symbolism has been widely discussed, paintings depicting human beings in the decades around the year 1900 have not received the same attention, although the differences in perception of life between the two periods are more clearly revealed in this kind of painting. In order to get a grip of the vast material and investigate the transition from Realist to Symbolist art, several strategies could be followed. One is to look at how man is depicted in relation to the elements, fire, air, water, earth. This study concentrates, to begin with, on how fire is represented during the two periods. In realistic paintings fire is almost always domesticated in the hearth, especially in cast iron fireplaces, i.e. represented as a utility and commodity. In Symbolism the fire is usually a log‐fire, functioning as a catalyst of emotions, of inward, melancholic moods. Another strategy wh...
{"title":"Jaget och världen speglade i förra sekelskiftets nordiska måleri: Bildkonstens människoskildring i en övergångsperiod","authors":"Hans-Olof Boström","doi":"10.1080/00233609808604473","DOIUrl":"https://doi.org/10.1080/00233609808604473","url":null,"abstract":"Summary The Representation of Self and the World in Scandinavian Painting Around 1900 While landscape painting in Scandinavian Realism and Symbolism has been widely discussed, paintings depicting human beings in the decades around the year 1900 have not received the same attention, although the differences in perception of life between the two periods are more clearly revealed in this kind of painting. In order to get a grip of the vast material and investigate the transition from Realist to Symbolist art, several strategies could be followed. One is to look at how man is depicted in relation to the elements, fire, air, water, earth. This study concentrates, to begin with, on how fire is represented during the two periods. In realistic paintings fire is almost always domesticated in the hearth, especially in cast iron fireplaces, i.e. represented as a utility and commodity. In Symbolism the fire is usually a log‐fire, functioning as a catalyst of emotions, of inward, melancholic moods. Another strategy wh...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82792161","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 : 1998-01-01DOI: 10.1080/00233609808604459
C. Igra
{"title":"Imagery of destruction and reconstruction: Giuseppe de nittis’ forthright approach to post‐commune Paris","authors":"C. Igra","doi":"10.1080/00233609808604459","DOIUrl":"https://doi.org/10.1080/00233609808604459","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85792101","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 : 1998-01-01DOI: 10.1080/00233609808604472
Göran Kåring
{"title":"Skilda tiders barn och mästare. Sidoblickar på Viollet‐le‐Duc","authors":"Göran Kåring","doi":"10.1080/00233609808604472","DOIUrl":"https://doi.org/10.1080/00233609808604472","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86347929","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 : 1998-01-01DOI: 10.1080/00233609808604460
Margareta Tillberg
Georgy and Vladimir Stenberg, central participants of the Russian avant-garde and the first to use the term "constructivist", were Swedish. Thanks to the first international 'two-person' museum exhibition on the Stenberg brothers, in the summer of 1997 at the Museum of Modern Art in New York, interest in their work has been renewed. The focus of the MoMA exhibition was on the film posters. In addition to the Stenbergs' work as constructivists and theatre scenographers, this is the part of their work that has brought them most international fame. There is, however, one aspect which, if mentioned at all, is mentioned only in passing: the Stenbergs were chief designers for the Red Square in Moscow. In addition to a brief presentation of the Swedish heritage of Vladimir Augustovich (1899 - 1982) and Georgy Augustovich Stenberg (1900 - 1933), the aim of this article is to introduce the Stenbergs as designers for the celebrations in the Red Square. Other key places along the parade route in central Moscow were the Palace of the Soviets and Gorky Park. The Stenberg brothers participated in all three projects. In order to get an idea of what proportions these mass stagings had, I will discuss them in the context of the reconstruction of Moscow into a parade centre, the first five-year plan, and the cultural revolution, all of which took place at the same time as the Stenbergs established themselves as designers for street festivities. First of all, however, I shall give a short background of Georgy and Vladimir Stenberg and their aesthetical standpoints in art.
格奥尔基和弗拉基米尔·斯坦伯格是俄罗斯先锋派的核心参与者，也是第一个使用“建构主义”一词的人，他们是瑞典人。由于1997年夏天在纽约现代艺术博物馆(museum of Modern Art)举办了第一次关于斯坦伯格兄弟的国际双人展览，人们对他们的作品重新产生了兴趣。现代艺术博物馆展览的重点是电影海报。除了作为建构主义者和戏剧编导的工作外，这是他们工作的一部分，为他们带来了最大的国际声誉。然而，有一个方面，如果提到的话，只是顺便提到:斯坦伯格夫妇是莫斯科红场的首席设计师。除了简要介绍弗拉基米尔·奥古斯托维奇(1899 - 1982)和格奥尔基·奥古斯托维奇·斯坦伯格(1900 - 1933)的瑞典遗产外，本文的目的是介绍斯坦伯格作为红场庆祝活动的设计师。莫斯科市中心游行路线上的其他重要地点是苏维埃宫和高尔基公园。斯坦伯格兄弟参与了这三个项目。为了了解这些大型舞台的比例，我将在莫斯科重建为游行中心，第一个五年计划和文化大革命的背景下讨论它们，所有这些都发生在stenberg成为街头庆祝活动设计师的同时。不过，首先我要简单介绍一下格奥尔基和弗拉基米尔·斯坦伯格的背景，以及他们在艺术上的美学立场。
{"title":"2 Stenberg 2 : Constructivists and Designers for the Revolutionary Mass Stagings at the Red Square","authors":"Margareta Tillberg","doi":"10.1080/00233609808604460","DOIUrl":"https://doi.org/10.1080/00233609808604460","url":null,"abstract":"Georgy and Vladimir Stenberg, central participants of the Russian avant-garde and the first to use the term \"constructivist\", were Swedish. Thanks to the first international 'two-person' museum exhibition on the Stenberg brothers, in the summer of 1997 at the Museum of Modern Art in New York, interest in their work has been renewed. The focus of the MoMA exhibition was on the film posters. In addition to the Stenbergs' work as constructivists and theatre scenographers, this is the part of their work that has brought them most international fame. There is, however, one aspect which, if mentioned at all, is mentioned only in passing: the Stenbergs were chief designers for the Red Square in Moscow. In addition to a brief presentation of the Swedish heritage of Vladimir Augustovich (1899 - 1982) and Georgy Augustovich Stenberg (1900 - 1933), the aim of this article is to introduce the Stenbergs as designers for the celebrations in the Red Square. Other key places along the parade route in central Moscow were the Palace of the Soviets and Gorky Park. The Stenberg brothers participated in all three projects. In order to get an idea of what proportions these mass stagings had, I will discuss them in the context of the reconstruction of Moscow into a parade centre, the first five-year plan, and the cultural revolution, all of which took place at the same time as the Stenbergs established themselves as designers for street festivities. First of all, however, I shall give a short background of Georgy and Vladimir Stenberg and their aesthetical standpoints in art.","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82970817","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 : 1998-01-01DOI: 10.1080/00233609808604468
Ingrid Sjöström
{"title":"Johan Adolf Hawermans passager mellan nyantik och medeltidsromantik","authors":"Ingrid Sjöström","doi":"10.1080/00233609808604468","DOIUrl":"https://doi.org/10.1080/00233609808604468","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89166977","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 : 1998-01-01DOI: 10.1080/00233609808604454
Lennart Pettersson
Summary Johan Niklas Bystrom and Bengt Erland Fogelberg: Two Swedish Sculptors in Rome The present article concerns the Swedish sculptors Johan Niklas Bystrom and Bengt Erland Fogelberg, both of whom worked in Rome during the first half of the 19th century: Bystrom from 1810 to 1848 and Fogelberg from 1821 to 1854. Research in art history has characterized the relationship between the two sculptors as marked by conflict, both on the artistic level and, above all, on the personal level. In this essay I have shown that while this may have been the case in the initial stages of their acquaintance, any conflict between the two of them eventually dissapated. Instead, Bystrom and Fogelberg helped one another in different ways. The conflict which indeed existed had its basis in competition over important commissions, certain personal antagonisms, and artistic differences in an age characterized by the choice between Classicism and Romanticism. Furthermore, it is interesting to note that both sculptors took on th...
{"title":"Johan Niklas Byström och Bengt Erland Fogelberg : samtidiga svenska skulptörer i rom","authors":"Lennart Pettersson","doi":"10.1080/00233609808604454","DOIUrl":"https://doi.org/10.1080/00233609808604454","url":null,"abstract":"Summary Johan Niklas Bystrom and Bengt Erland Fogelberg: Two Swedish Sculptors in Rome The present article concerns the Swedish sculptors Johan Niklas Bystrom and Bengt Erland Fogelberg, both of whom worked in Rome during the first half of the 19th century: Bystrom from 1810 to 1848 and Fogelberg from 1821 to 1854. Research in art history has characterized the relationship between the two sculptors as marked by conflict, both on the artistic level and, above all, on the personal level. In this essay I have shown that while this may have been the case in the initial stages of their acquaintance, any conflict between the two of them eventually dissapated. Instead, Bystrom and Fogelberg helped one another in different ways. The conflict which indeed existed had its basis in competition over important commissions, certain personal antagonisms, and artistic differences in an age characterized by the choice between Classicism and Romanticism. Furthermore, it is interesting to note that both sculptors took on th...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74908685","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 : 1998-01-01DOI: 10.1080/00233609808604453
A. Simonson
{"title":"Pieter Bruegel's Magpie on the Gallows","authors":"A. Simonson","doi":"10.1080/00233609808604453","DOIUrl":"https://doi.org/10.1080/00233609808604453","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76753577","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 : 1998-01-01DOI: 10.1080/00233609808604448
A. Lindberg
{"title":"One and onlies’ Capsia, pasch & k⊘lle and the artist profession in early modern Northern Europe","authors":"A. Lindberg","doi":"10.1080/00233609808604448","DOIUrl":"https://doi.org/10.1080/00233609808604448","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1998-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79166410","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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