Pub Date : 1997-01-01DOI: 10.1080/00233609708604429
Steven N. Orso
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Pub Date : 1997-01-01DOI: 10.1080/00233609708604439
Per Bjurström
Summary in English The problems of connoisseurship — original — imitation ‐ fake The article deals with the problem of connoisseurship as a scholarly discipline with some drawings by or attributed to Raphael in the Nationalmuseum in Stockholm as staring point. In the early 19th century a drawing representing St George and the dragon was considered the masterpiece of the Raphael collection, lavishly illustrated in the catalogue (Figs. 1 and 2). Osvald Siren, who was the first in Stockholm to study the Italian drawings in a scholarly way reduced its importance radically and catalogued the drawing as “Surrounding of Giovanni Francesco Penni”. Siren was on the whole very critical and did not accept but one of the Stockholm drawings as an original, The adoration of the Magi (Detail fig. 6). As late as in 1990 Sylvia Ferino Pagden discovered a new original drawing by Raphael in the museum, The Lord appearing to Noa. Siren had obviously studied the drawing but rejecting it, considering a copy by the calligraphic...
{"title":"Konnässörskapets problematik: Original ‐ imitation ‐ förfalskning","authors":"Per Bjurström","doi":"10.1080/00233609708604439","DOIUrl":"https://doi.org/10.1080/00233609708604439","url":null,"abstract":"Summary in English The problems of connoisseurship — original — imitation ‐ fake The article deals with the problem of connoisseurship as a scholarly discipline with some drawings by or attributed to Raphael in the Nationalmuseum in Stockholm as staring point. In the early 19th century a drawing representing St George and the dragon was considered the masterpiece of the Raphael collection, lavishly illustrated in the catalogue (Figs. 1 and 2). Osvald Siren, who was the first in Stockholm to study the Italian drawings in a scholarly way reduced its importance radically and catalogued the drawing as “Surrounding of Giovanni Francesco Penni”. Siren was on the whole very critical and did not accept but one of the Stockholm drawings as an original, The adoration of the Magi (Detail fig. 6). As late as in 1990 Sylvia Ferino Pagden discovered a new original drawing by Raphael in the museum, The Lord appearing to Noa. Siren had obviously studied the drawing but rejecting it, considering a copy by the calligraphic...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1997-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85709459","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 : 1996-01-01DOI: 10.1080/00233609608604415
Hans-Olof Boström
Summary Henrik Lilljebjorn (1797–1875) is well‐known for his memoirs of his youth in the province of Varmland in western Sweden. He was an officer in the Varmland Rifles and also trained as a military surveyor. Among his many talents was painting. As a painter he was one of many gifted dilettantes in Swedish military circles of the first half of the 19th century. Hitherto his paintings have hardly received any attention from art historians, even though his works are of great cultural‐historical interest and by no means lacking in artistic value. His motifs were taken from the manorial milieu of western Varmland, where he was brought up, and from the province capital, Karlstad, where he lived as an officer. He was most productive as a portraitist, but his portraits are often difficult to distinguish from the early work by his younger cousin Uno Troili (1815–75), whose first art teacher he was, and who was to become the foremost portrait painter of his generation in Sweden. This article, however, is entirel...
Henrik Lilljebjorn(1797-1875)以他在瑞典西部的Varmland省的青年回忆录而闻名。他是瓦姆兰步枪队的一名军官，也是一名军事测量员。他有许多才能，其中之一就是绘画。作为一名画家，他是19世纪上半叶瑞典军事圈子里许多有天赋的业余画家之一。迄今为止，他的作品几乎没有受到艺术史学家的关注，尽管他的作品具有巨大的文化历史价值，而且绝不缺乏艺术价值。他的设计灵感来自瓦姆兰西部的庄园环境，他在那里长大，也来自该省首府卡尔斯塔德，他在那里当过军官。他是最多产的肖像画家，但他的肖像往往很难与他的表弟乌诺·特罗利(1815-75)的早期作品区分开来，乌诺·特罗利是他的第一个艺术老师，他将成为瑞典同时代最重要的肖像画家。然而，这篇文章完全是……
{"title":"Henrik Lilljebjörn som landskapsmålare","authors":"Hans-Olof Boström","doi":"10.1080/00233609608604415","DOIUrl":"https://doi.org/10.1080/00233609608604415","url":null,"abstract":"Summary Henrik Lilljebjorn (1797–1875) is well‐known for his memoirs of his youth in the province of Varmland in western Sweden. He was an officer in the Varmland Rifles and also trained as a military surveyor. Among his many talents was painting. As a painter he was one of many gifted dilettantes in Swedish military circles of the first half of the 19th century. Hitherto his paintings have hardly received any attention from art historians, even though his works are of great cultural‐historical interest and by no means lacking in artistic value. His motifs were taken from the manorial milieu of western Varmland, where he was brought up, and from the province capital, Karlstad, where he lived as an officer. He was most productive as a portraitist, but his portraits are often difficult to distinguish from the early work by his younger cousin Uno Troili (1815–75), whose first art teacher he was, and who was to become the foremost portrait painter of his generation in Sweden. This article, however, is entirel...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74812146","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 : 1996-01-01DOI: 10.1080/00233609608604403
Peter Cherry
{"title":"The hungry eye: The still lifes of Juan Sánchez Cotán","authors":"Peter Cherry","doi":"10.1080/00233609608604403","DOIUrl":"https://doi.org/10.1080/00233609608604403","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85811517","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 : 1996-01-01DOI: 10.1080/00233609608604414
Patrik Reuterswärd
Summary During his last years, Nils Jakob Blommer (1816–53) devoted himself passionately to themes within the realm of Nordic saga. He died in Rome, where he had been sent by the Royal Academy in Stockholm with the express recommendation to refine his style by studying Raphael and the great masters of the Renaissance. The method may seem questionable for a painter who aimed at expressing a national Nordic sentiment. Most critics will agree that his mission had been fulfilled already in 1850 in Paris, where he created such works as the large Fairy Dance which is widely regarded as his master‐piece (Fig. 1). Surely proceeding from some reproduction of Moritz von Schwind's Elfentanz im Erlenhain (1843— 44, Frankfurt a.m.), Blommer offers here a version which is totally different: where the former may seem noisy and restless, Blommer's alternative is inaudible and serene. Landscape and fairies are interwoven, yet clearly distinguished, and instead of action the viewer perceives the very state of being. At the...
{"title":"Två fullödiga verk av Nils Jakob Blommér: Angsälvor och ett makalöst porträtt","authors":"Patrik Reuterswärd","doi":"10.1080/00233609608604414","DOIUrl":"https://doi.org/10.1080/00233609608604414","url":null,"abstract":"Summary During his last years, Nils Jakob Blommer (1816–53) devoted himself passionately to themes within the realm of Nordic saga. He died in Rome, where he had been sent by the Royal Academy in Stockholm with the express recommendation to refine his style by studying Raphael and the great masters of the Renaissance. The method may seem questionable for a painter who aimed at expressing a national Nordic sentiment. Most critics will agree that his mission had been fulfilled already in 1850 in Paris, where he created such works as the large Fairy Dance which is widely regarded as his master‐piece (Fig. 1). Surely proceeding from some reproduction of Moritz von Schwind's Elfentanz im Erlenhain (1843— 44, Frankfurt a.m.), Blommer offers here a version which is totally different: where the former may seem noisy and restless, Blommer's alternative is inaudible and serene. Landscape and fairies are interwoven, yet clearly distinguished, and instead of action the viewer perceives the very state of being. At the...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81852167","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 : 1996-01-01DOI: 10.1080/00233609608604411
Cristin Lind
{"title":"They heard her singing her last song","authors":"Cristin Lind","doi":"10.1080/00233609608604411","DOIUrl":"https://doi.org/10.1080/00233609608604411","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78529408","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 : 1996-01-01DOI: 10.1080/00233609608604399
Marianne Nyström
{"title":"Ferdinand Boberg, Liljevalchs konsthall och Sveriges paviljong i Venedig","authors":"Marianne Nyström","doi":"10.1080/00233609608604399","DOIUrl":"https://doi.org/10.1080/00233609608604399","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83186439","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 : 1996-01-01DOI: 10.1080/00233609608604405
Fabrice Faré
(1996). Les Vanites en France au XVIIeme siecle et ses particularites. Konsthistorisk tidskrift/Journal of Art History: Vol. 65, Gorel Cavalli‐Bjorkman Nationalmuseum, pp. 104-114.
{"title":"Les Vanites en France au XVIIème siècle et ses particularités","authors":"Fabrice Faré","doi":"10.1080/00233609608604405","DOIUrl":"https://doi.org/10.1080/00233609608604405","url":null,"abstract":"(1996). Les Vanites en France au XVIIeme siecle et ses particularites. Konsthistorisk tidskrift/Journal of Art History: Vol. 65, Gorel Cavalli‐Bjorkman Nationalmuseum, pp. 104-114.","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81464943","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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