DOCSLIB.ORG

Skiascope-4.Pdf

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Skiascope-4.Pdf GÖTE BORG S KONSTMUSEUMS SKRIFTSERIE GÖTE BORG S KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET FJÄRDE NUMRET AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope Namnet är hämtat från ett instrument som den inflytelserike museimannen Benjamin Ives Gilman utvecklade i början av 1900-talet för att ge betraktaren möjlighet att fokusera på konsten i de, enligt upphovsmannen, ofta alltför ISBN 91-87968-73-8 stora och tätt hängda museisalarna. Ett finns på Göteborgs konstmuseum, KONSTPEDAGOGIK sannolikt inköpt av Axel Romdahl. REDAKTÖRER / EDITORS 1970 Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en KRISTOFFER ARVIDSSON & JEFF WERNER glesare hängningsideologi vann mark under mellankrigstiden. Ändå kan nog LLERIES, , A T många museibesökare känna igen sig i det som Gilman beskriver som ett av E G EN M ag museiväsendets grundproblemen: den museitrötthet som infinner sig redan T E efter ett par salar. Redan vid sekelskiftet stod det klart att museernas själva : Gothenburg: Museum ofArt. essens – att samla och ställa ut – hotade att göra dem alltför omfattande och omöjliga för besökarna att ta till sig. Sovring blir med tiden lika viktigt som Photo RT SECTION, A DEMONSTRATION AV ETT SKIASCOPE DEMONSTRATION OF A SKIASCOPE USEUM OF ART. samlande. M RY COLOUR, TONE, MOVE G UR BENjaMIN IVES GILMANS FROM BENjaMIN IVES GILMAN’s A OR Museum Ideals of Purpose and Methods Museum Ideals of Purpose and Methods P Denna skriftseries ledstjärna är just fokusering. Liksom Gilmans instrument CaMBRIdgE CaMBRIdgE ENBUR ESSON L H vill vi bidra till att rama in, lyfta fram och intensivt studera frågor som vi ser 1918 1918 E ONTEM Th C S. 238 P. 238 GOT som betydelsefulla. Det kan vara enskilda verk, konstnärskap eller tidsperioder. THIS IS THE FOURTH ISSUE OF Skiascope, GOTHENBURG MUSEUM OF ART PUBLIC ATION SERIES 1970 Skiascope takes its name from a contraption invented in the early twentieth cen- tury by the influential museum curator, Benjamin Ives Gilman. Concerned that art was hung too close together in over-large galleries, he designed the , A skiascope to help visitors focus on individual works of art. The Gothenburg , ERN Museum of Art owns one, probably bought by Axel Romdahl. ag : Göteborgs: konstmuseum. Foto EN, ET The skiascope was never much of a success. Obsolescence was certain once G ON, RÖRELSE T the idea gained ground in the inter-war period that galleries should be more ELNIN sparsely hung. Still, many today will recognize what Gilman saw as a funda- D FÄRG, V S KONSTMUSEUM. A G mental problem: the museum fatigue that sets in after only a couple of rooms. A Even in his day it was clear that the museums’ identity – their mission to ERN D O EKTIONEN collect and exhibit – threatened to make them too comprehensive, and over- L M GÖTEBOR whelming for visitors. In time, selection would become almost as important as collection. Like Gilman’s device, the guiding principle of Skiascope is focus. We will bring select topics to public attention and study each issue in depth, be it a single work of art, an artist’s oeuvre, or an entire period. ART EDUCATION GOTH ENBURG M USEUM OF ART PUBLICATION S ERIES GOTH ENBURG M USEUM OF ART PUBLICATION S ERIES SKIASCOPE 4 SKIASCOPE Konstpedagogik Art Education 2011 2011 SKIASCOPE 4 4 ISBN 91-87968-73-8 TRYCK / PRINT: BILLES, GÖTEBORG 2011 DESIGN: PLAQUETTE GÖTE BORG S KONSTMUSEUMS SKRIFTSERIE GOTH ENBURG M US E U M OF ART PUBLICATION S ERIES REDAKTÖRER / EDITORS KRISTOFFER ARVIDSSON & JEFF WERNER KONSTPEDAGOGIK ART EDUCATION SKIASCOPE 4 SKIASCOPE 4 Innehåll Table of Contents ISABELLA NILSSON ISABELLA NILSSON FÖRORD 8 FOREWORD 9 JEFF WERNER JEFF WERNER INLEDNING 12 INTRODUCTION 13 KRISTOFFER ARVIDSSON KRISTOFFER ARVIDSSON NÄR KONSTEN INTE TALAR FÖR SIG SJÄLV WHEN ART DOES NOT SPEAK FOR ITSELF KONSTMUSEER OCH PEDAGOGIK 24 ART MUSEUMS AND EdUCATION 25 FIG. 1–28 118–173 FIG. 1–28 118–173 PHILIPPA NANFELDT PHILIPPA NANFELDT VAD, HUR OCH FÖR VEM ? WHAT, HOW AND FOR whOM ? KONSTPEDAGOGIKENS HISTORIA PÅ GÖTEBORGS KONSTMUSEUM 174 THE HISTORY OF ART EDUCATION AT THE GOTHENBURG MUSEUM OF ART 175 KONSTPEDAGOGIK ART EDUCATION FÖRORD FOREWORD In 2010 Philippa Nanfeldt, curator with special responsibility for pedagogy at the Gothenburg Museum of Art, was released from her normal duties to write on the history of art education at the museum, taking as her start- ing point the questions: What, How, and for Whom? This assignment was made possible through the grant of research resources from the Sten Under 2010 har intendenten för pedagogik vid Göteborgs konst- A Olsson Foundation for Research and Culture, a body that also finances museum, Philippa Nanfeldt, friställts från sitt ordinarie arbete för publication of Skiascope, a series of research reports from the Gothenburg att skriva om konstpedagogikens historia vid museet med utgångs- Museum of Art and where the present issue is entirely devoted to the punkt i frågorna Vad, hur och för vem? Detta arbete har möjliggjorts history of art museum education, its role and ambitions. I would like to express my warmest thanks to the contributors: Jeff genom forskningsmedel från Sten A Olssons Stiftelse för Forskning Werner, research director, Kristoffer Arvidsson and Philippa Nanfeldt, re- och Kultur som också finansierar utgivningen av Skiascope, en serie searcher and curator respectively, and to all others involved in the project. forskningsrapporter från Göteborgs konstmuseum där detta num- Particular thanks are due to the Sten A Olsson Foundation for Research mer helt ägnas konstpedagogikens historia, roll och syften. and Culture for the resources which have, for three years, financed the Jag vill rikta ett stort tack till skribenterna: forskningsledare Jeff work of the research unit at the Gothenburg Museum of Art and which Werner, forskare Kristoffer Arvidsson och intendent Philippa ­Nanfeldt have strongly contributed to the museum’s now possessing a permanent samt övriga medarbetare som involverats i projektet för deras arbete. unit devoted to research. Ett särskilt tack riktas till Sten A Olssons Stiftelse för Forskning och Art education is an area of high priority at the the Gothenburg Kultur för de medel som under tre år finansierat forskningsenheten Museum of Art. In Gothenburg, as in the rest of Sweden, political empha- vid Göteborgs konstmuseum och som varit ett starkt incitament till att sis is attached to the importance of activity in what is often referred to as knowledge provision. But the answers to the questions What, How, and museet numera har en permanent enhet för forskning. for Whom? have varied throughout history. Seen in a global perspective Konstpedagogiken är ett för Göteborgs konstmuseum prioriterat there are today various differing parallel approaches. The museum is a område. I Göteborg liksom i övriga Sverige betonas i politiken generator of knowledge, and as such one of its main duties is the posing betydelsen av en stark verksamhet inom det som ofta kallas kunskaps- of relevant questions regarding the material available in the form of the 8 förmedling. Men svaren på frågorna Vad, hur och för vem? har skiftat genom historien. Ur ett globalt perspektiv förekommer idag parallellt skilda förhållningssätt inom fältet. Museet är en kunskapsproducent och som sådan är en av dess främsta uppgifter att ställa relevanta frågor till det material som finns att hantera i form av samlingen, collections, the building and the history of the institution. In its role as a byggnaden och institutionens historia. Som kunskapsinstitution vill knowledge-related institution the Gothenburg Museum of Art is keen to expand curiosity into and awareness of varying structures and appraisals Göteborgs konstmuseum öka nyfikenheten och medvetenheten om both past and present, and also to examine in that context the role of the skilda strukturer och värderingar igår och idag och i det arbetet även museum as conveyor of norms. granska museets roll som bärare av normer. Pedagogical activities are, along with critical and analytical approaches, Det pedagogiska arbetet utgör tillsammans med det kritiska och the very cornerstones of the museum’s work. It is our conviction that more analytiska museets grundvalar. Det är vår övertygelse att mer forsk- research is needed to develop this field. With publication ofSkiascope 4 the ning behövs för att utveckla fältet. Med Skiascope 4 tar Göteborgs Gothenburg Museum of Art takes the initiative towards further research konstmuseum initiativ till fortsatt forskning och fördjupande samtal and an enriching discussion on the subject of art museum education. om konstpedagogik. ISABELLA NILSSON ISABELLA NILSSON / MUSEICHEF MUSEUM DIRECTOR TRANSLATED FROM SWEDISH BY DAVID ISITT JEFF WERNER JEFF WERNER INTRODUCTION INLEDNING Museums are popular attractions. Museums of art especially so. Sweden’s museums attract some fifteen million visitors every year – ten times more than Allsvenskan, the Swedish premier league in football. Even in Gothenburg, which likes to think itself the capital of Swedish football, it is the museums that pull in the largest numbers. The Gothenburg Museum of Art alone has more visitors than IFK Göteborg has on its grandstands.1 Det är populärt att gå på museum. Inte minst konstmuseum. De There is no question that, like football, the more you know about art svenska museerna räknar in runt femton miljoner besök årligen. the more enjoyable it becomes – when you not only notice what happens Det är tio gånger fler än den allsvenska fotbollen. Till och med i on the surface but also see the more profound patterns, when you know the rules and something of the people involved, and a bit of its history. Sadly, Göteborg, som gärna vill vara den svenska fotbollens huvudstad, most Swedes are less well equipped to experience art than to experience är det museerna som drar störst publik. Enbart Göteborgs konst- football. Art history as a subject in primary and secondary schools is 1 museum drar betydligt fler besökare än IFK Göteborg. almost non-existent.
Load more

Recommended publications
  • Portraits of Sculptors in Modernism
    Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction .......................................................................................................................
    [Show full text]
  • Art for All the Swedish Experience in Mid-America Art for All the Swedish Experience in Mid-America
    Art for All The Swedish Experience in Mid-America Art for All The Swedish Experience in Mid-America by Cori Sherman North, Birger Sandzén Memorial Gallery Curator with an essay contributed by Donald Myers, Director of the Hillstrom Museum of Art at Gustavus Adolphus College in St. Peter, Minnesota, and introduction and acknowledgements by Ron Michael, Sandzén Gallery Director August 25 through October 20, 2019 2021: Dates to be Determined 2021/22: Dates to be Determined Hillstrom Museum of Art Introduction and Acknowledgements The inclination for the Birger Sandzén Memorial appreciate Director Karin Abercrombie’s assistance to Gallery to develop an ambitious, though certainly not make it happen. comprehensive, exhibition of early Swedish-American artwork has been brewing since the Gallery’s Conservation of several paintings from the Sandzén inception in 1957. Jonas Olof Grafström was one of Gallery’s permanent collection was made possible the true pioneers in this field and his history helped by a generous grant from the Swedish Council of spark the idea for this show. Additionally, there have America, a national non-profit organization dedicated been many instances of these artists making their to preserving and promoting Swedish heritage. way into exhibitions here, but none as far-reaching They also provided support for the printing of this as Art for All. Our namesake, Birger Sandzén, had catalogue. We are deeply grateful to them and hope ties to nearly all of the painters, printmakers, and the organization’s members will be proud of the sculptors represented, showing his amazing ability to exhibition. network. Therefore, it’s fitting that we finally tackle this incredible association of artists and their work, which We are also grateful to those who loaned works from was so important in building an appreciation for art in their collections to help add depth.
    [Show full text]
  • Birger Sandzén: a Painter and His Two Worlds
    University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Great Plains Quarterly Great Plains Studies, Center for Winter 1985 Birger Sandzén: A Painter And His Two Worlds Emory Lindquist Bethany College - Lindsborg Follow this and additional works at: https://digitalcommons.unl.edu/greatplainsquarterly Part of the Other International and Area Studies Commons Lindquist, Emory, "Birger Sandzén: A Painter And His Two Worlds" (1985). Great Plains Quarterly. 1823. https://digitalcommons.unl.edu/greatplainsquarterly/1823 This Article is brought to you for free and open access by the Great Plains Studies, Center for at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Great Plains Quarterly by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. BIRGER SANDZEN A PAINTER AND HIS TWO WORLDS EMORY LINDQUIST Birger Sandzt'!n, Swedish-born painter and lith­ west to paint.... He says there is more ographer, achieved a national reputation during color than light. He defies the Colorado Can­ the more than half a century that he was asso­ yon to do its worst, knowing that he has ciated with Bethany College in Lindsborg, more vermillion in his color box than nature Kansas. His place in the mainstream of Amer­ herself can afford to spend on sunsets .... It ican landscape painting is readily apparent if is all very vehement, splendid and very west- one considers the vast number of exhibitions of ern. 1 his paintings, which ranged from hand-carried portfolios in a school or church to one-man Sandzen's national recogmtIOn following this shows in major galleries in the United States show was enhanced over the years as his work and Europe.
    [Show full text]
  • Plastellina -Bevarande Av Skulpturskisser
    Plastellina -Bevarande av skulpturskisser Erika Andersson Uppsats för avläggande av filosofie kandidatexamen i Kulturvård, Konservatorprogrammet 15 hp Institutionen för kulturvård Göteborgs universitet 2012:19 Plastellina - Bevarande av skulpturskisser Erika Andersson Handledare: Elizabeth E. Peacock Kandidatuppsats, 15 hp Konservatorprogram Lå 2011/12 GÖTEBORGS UNIVERSITET ISSN 1101-3303 Institutionen för kulturvård ISRN GU/KUV—12/19—SE UNIVERSITY OF GOTHENBURG www.conservation.gu.se Department of Conservation Ph +46 31 786 4700 P.O. Box 130 Fax +46 31 786 4703 SE-405 30 Goteborg, Sweden Program in Integrated Conservation of Cultural Property Graduating thesis, BA/Sc, 2012 By: Erika Andersson Mentor: Elizabeth E. Peacock Plasticine – the conservation of sculpture models ABSTRACT The aim of this thesis is to investigate the material plasticine from a conservation perspective. The idea came from an existing problem with numerous sculpture models made of plasticine. These are Per Hasselberg's pieces at Gothenburg Museum of Art and Julius ronberg's collection in his studio at !kansen# !tockholm. A literature surve$ and a case stud$ which includes an examination of the two collections were carried out. %limate and storage conditions for the objects were different. !ome are placed in a museum with controlled relative humidit$ and temperature# while others are still in their original location in a late '())*s building. %ommon damages are cracking# crazing# loss of material and changes in shape and dimensions. Plasticine was developed in the '(,)*s as an oil-based modelling clay. !ince then# there have been a wide variet$ of plasticine-like products on the market# with different material compositions. %ommon for all of them are the three components wax# oil and fillers.
    [Show full text]
  • Curriculum Vitae
    Karin Hansson Johannesgatan 5, 111 38 Stockholm, Sweden +46 (0)708 737813 [email protected] Karin Hansson Curriculum Vitae Docent in Computer and Systems Sciences Born 1967 in Gothenburg, Sweden. Lives in Stockholm. CURRENT Researcher at Stockholm University (DSV) leading a research project about the digitalisation of the cultural heritage in Sweden financed by the Swedish Research Council (2019 – 2022). Researcher at Stockholm University (IKI) in a project about #metoo activism in Sweden financed by the Swedish Research Council (2019 – 2022). Researcher at Stockholm University (ERG) in a data gathering project about #metoo activism in Sweden financed by FORMAS (2018 – 2019). Researcher at the Royal Institute of Art in Stockholm leading a research project about changing work relations financed by the Swedish Research Council (2017 – 2019. WORK EXPERIENCE 2017 – 2018 Lecturer in Media Technology and Interaction Design at the School of Electrical Engineering and Computer Science at the Royal institute for technology (KTH). 2017 – 2018 Postdoc at the Department of Computer and Systems Sciences, DSV, Stockholm University, Sweden. 2015 – 2016 Researcher at the Department of Computer and Systems Sciences, DSV, Stockholm University, Sweden. 2012 Project leader for the art and research project “Performing the Common”, at Moderna Museet and Husby Art Hall in Stockholm, financed with grants from The Swedish Research Council FORMAS and Strategic Funds from the Swedish Government within ICT – The Next Generation. 2009 – 2014 PhD student at the Department of Computer and Systems Sciences, Stockholm University. 2006 – 2014 Senior lecturer in Media Arts, the Department of Communication and Information, University of Skövde, part time (Leave of absence for parental leave and PhD studies).
    [Show full text]
  • Biographical Dictionary of Kansas Artists (Active Before 1945)
    Biographical Dictionary of Kansas Artists (active before 1945) Compiled by Susan V. Craig, Art & Architecture Librarian Univ. of Kansas August 2006 1 This book began with a 1981 reference question about John Noble, a name I did not recognize despite having studied art history and worked as an art librarian for more than 10 years. Learning that John Noble was a Kansas artist, I went looking for the best available book on Kansas art only to learn the resources were few. As a new faculty member at the Univ. of Kansas, I needed to establish a research project so I decided to prepare a dictionary of Kansas artists thus fulfilling both the research requirement and educating myself about the history of the visual arts in my native state; I just didn't intend the project to take 25 years or realize that I would have more than 1750 entries in the dictionary. I began by defining the scope of the work: • "Kansas artist" was loosely defined as artists who were both born in the state as well as artists who were born elsewhere but were artistically active in Kansas. Under this latter definition, I included artists who produced significant artworks such as the murals installed in Kansas post offices. Occasionally, artists who lived or worked primarily in Kansas City, MO may be included. I did not deliberately include all Kansas City artists but neither did I exclude them if the name came from a Kansas source such as the Kansas State Gazetteer. • Another choice I made was to look for artists who were artistically active before 1945.
    [Show full text]
  • The Canon Perspectives on Swedish Art Historiography Kanon
    PETER DAHL, EPISTEL NR 23, UR PORTFÖLJEN FREDMANS EPISTLAR, ISBN 978-91-984601-5-5 GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE DETTA ÄR DET TIONDE NUMRET GÖTEBORGS KONSTMUSEUM, FOTO: HOSSEIN SEHATLOU, © PETER DAHL/BILDUPPHOVSRÄTT 2021. AV GÖTEBORGS KONSTMUSEUMS SKRIFTSERIE Skiascope PETER DAHL, EPISTEL NO. 23, FROM THE PORTFOLIO FREDMAN’S EPISTLES, GOTHENBURG MUSEUM OF ART, PHOTO: HOSSEIN SEHATLOU, © PETER DAHL/BILDUPPHOVSRÄTT 2021. Namnet är hämtat från ett instrument som den inflytelserike museimannen Benjamin Ives Gilman utvecklade i början av 1900-talet för att ge betraktaren möjlighet att fokusera på konsten i de, enligt upphovsmannen, ofta alltför Kanon stora och tätt hängda museisalarna. Ett finns på Göteborgs konstmuseum, Konsthistorien, som den presenteras i översiktsverk och musei- sannolikt inköpt av Axel L. Romdahl. hängningar, uppfattades länge som ett självklart urval av de främsta Skiascopet blev aldrig någon succé. Det blev kanske obsolet genom att en och mest förebildliga konstverken. Under senare decennier har inte Perspektiv på svensk glesare hängningsideologi vann mark under mellankrigstiden. Ändå kan nog bara frågan om vilka konstnärer och konstverk som ska inklud- många museibesökare känna igen sig i det som Gilman beskriver som ett av eras, utan också själva den konsthistoriska berättelsen utmanats. konsthistorieskrivning museiväsendets grundproblemen: den museitrötthet som infinner sig redan Kanon. Perspektiv på svensk konsthistorieskrivning undersöker kanoniser- efter ett par salar. Redan vid sekelskiftet stod det klart att museernas själva ingsprocesser i svensk konsthistoria med utgångspunkt i Göte- essens – att samla och ställa ut – hotade att göra dem alltför omfattande och borgs konstmuseums och Norrköpings Konstmuseums samlingar omöjliga för besökarna att ta till sig. Sovring blir med tiden lika viktigt som och historia.
    [Show full text]
  • Guide to Ronneby Brunn Area
    Guide to THE RONNEBY BRUNN AREA and THE HARDWOOD COAST NATURE • CULTURE • EXCURSIONS 1 Introduction We are all responsible for managing the countryside, our environment, with a long-term perspective, so that we can preserve its values for future generations. Here in Blekinge we have a special responsibility for safeguarding the unique coastal deciduous forests. Since the 19th century, Brunnsparken and the surrounding forests have formed an important part of what we now call “Ronneby, the modern health resort”. Thanks to its well-preserved deciduous forest, Brunnsskogen is a top-class meeting place, which stimulates the senses and invites to active leisure activities, social encounters and tranquil recreation. For us, Brunnsskogen is a driving force for an attractive and growing Ronneby and something that all residents of the municipality can be proud of. Some years ago, the area became a nature reserve managed by Ronneby Municipality, and now it is also a pilot are for the Attractive Hardwoods project. Being out in the countryside area, whether it is just a few hours in a park or a whole day’s walking on forest trails, makes us feel good, both physically and mentally. I therefore hope that this guide will inspire more people to go out and experience all that Blekinge’s nature has to offer. Roger Fredriksson Mayor, Ronneby Municipality 2 3 Guide contents PAGES 4–13: The Hardwood Coast; its natural values and what it has to offer PAGES 14–16: Valuable nature in the Ronneby area PAGES 17–29: Ronneby Brunnspark Culture Reserve PAGES 30–32:
    [Show full text]
  • Statens Konstsamlingars Tillväxt Och Förvaltning 1974
    STATENS KONSTSAMLINGARS TILLVÄXT OCH FÖRVALTNING 1974 MEDDELANDEN FRÄN NATIONALMUSEUM Nr 99 STATENS KONSTSAMLINGARS TILLVÄXT OCH FÖRVALTNING 1974 Berättelse avgiven av överintendenten och chefen för NATIONALMUSEUM MEDDELANDEN FRÅN NATIONALMUSEUM Nr 9^ Kvinna hållande ett vinkärl. Gravfigurin. T’ang. Gåva av konung Gustaf VI Adolf, enl. testamente Till REGERINGEN Utbildningsdep artemente t Även om vi inte med bestämdhet vet hur många besökare som kan betrak­ tas som museets fasta publik, finns det mycket som talar för att den fasta museipubliken relativt sett inte alls är så stor som den en gång var i ett mer statiskt samhälle än vårt nuvarande. Det vill säga mängden av de männi­ skor, som gjort sig så hemmastadda i museets samlingar att de kommer utan att behöva någon extra lockelse i form av en utställning eller annat evenemang, den mängden har blivit betydligt mindre än för ett halvsekel sedan. Nationalmuseum har haft ett gott publikår 1974. Mer än miljonen - besökare har kunnat inräknas i de samlingar och på de utställningar, vilkas besökssiffror redovisas under Nationalmuseum. Förutom den egentliga museienheten i Stockholm gäller det slotten på Drottningholm och Gripsholm samt Nationalmuseums vandringsutställningar landet runt. Årets besökssiffra är den högsta som någonsin noterats. Det är utställningarna som ger museet större delen av dess publik. Det är inte svårt att iaktta inom de institutioner, där sådana görs. Men det finns undantag. Gripsholms slott med sina historiska minnen och stora samlingar av framför allt porträtt har under senare år visat en snabbt ökande dragningskraft. Är det ett tilltagande historiskt intresse, som fört allt flera människor till Gripsholm? Insikten om. utställningarnas betydelse har gett den verksamheten en allt större spännvidd och variation.
    [Show full text]
  • Swedish Immigrant Artists' Patronage Systems, 1880-1940 Mary Towley Swanson University of St
    University of St. Thomas, Minnesota UST Research Online Art History Faculty Publications Art History 2004 A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880-1940 Mary Towley Swanson University of St. Thomas, Minnesota Follow this and additional works at: http://ir.stthomas.edu/arthistory_pub Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Swanson, Mary Towley, "A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880-1940" (2004). Art History Faculty Publications. 9. http://ir.stthomas.edu/arthistory_pub/9 This Paper is brought to you for free and open access by the Art History at UST Research Online. It has been accepted for inclusion in Art History Faculty Publications by an authorized administrator of UST Research Online. For more information, please contact [email protected]. A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880‐1940 An unpublished manuscript by Mary Towley Swanson, emeritus Professor of Art History, University of St. Thomas © 2004 Table of Contents: CHAPTER 1. Overview: Towards a Definition of Swedish‐American Artistic Patronage CHAPTER 2: Official Swedish Art Exhibitions in America Lend Support to Ethnic Artists CHAPTER 3: Early Immigrant Artists Create Template for Success CHAPTER 4. Ethnic Periodicals Help Artists Sustain Careers CHAPTER 5: Exhibitions Create a Catalyst for Artists’ Ethnic Sustainability and Support CHAPTER 6: Diverse American Systems of Patronage Provide Broad Support CHAPTER 7: Swedish Patronage Networks Encourage Artists’ Careers and Ethnic Collections APPENDIX A: Art Exhibitions: American Swedish Institute APPENDIX B: Art Exhibitions, American Swedish Historical Museum APPENDIX C: Swedish –American Artists’ Index A Tangled Web: Swedish Immigrant Artists’ Patronage Systems, 1880-1940 Ch.
    [Show full text]
  • Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880S (Diss
    Carina Rech, Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s (diss. Stockholm 2021) Edition to be published electronically for research, educational and library needs and not for commercial purposes. Published by permission from Makadam Publishers. A printed version is available through book stores: ISBN 978-91-7061-354-8 Makadam Publishers, Göteborg & Stockholm, Sweden Upplaga för elektronisk publicering för forsknings-, utbildnings- och biblioteksverksamhet och ej för kommersiella ändamål. Publicerad med tillstånd från Makadam förlag. Tryckt utgåva finns i bokhandeln: ISBN 978-91-7061-354-8 Makadam förlag, Göteborg & Stockholm www.makadambok.se becoming artists CARINA RECH Becoming Artists Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s makadam makadam förlag göteborg · stockholm www.makadambok.se This book is published with grants from Gunvor och Josef Anérs stiftelse Gerda Boëthius’ minnesfond Stiftelsen Konung Gustaf VI Adolfs fond för svensk kultur Kungl. Patriotiska sällskapet Torsten Söderbergs stiftelse Berit Wallenbergs stiftelse Åke Wibergs stiftelse Becoming Artists: Self-Portraits, Friendship Images and Studio Scenes by Nordic Women Painters in the 1880s Academic dissertation for the Degree of Doctor of Philosophy in Art History at Stockholm University, to be publicly defended on Friday 4 June 2021 © Carina Rech 2021 Cover image: Bertha Wegmann, The Artist Jeanna Bauck, 1881, detail of fig. 60. Photo: Nationalmuseum. © for illustrations, see list of figures on p. 436 isbn 978-91-7061-854-3 (pdf) table of contents Acknowledgments 7 Introduction 11 Aim and Research Questions 13 Artists, Locations and Social Fabric 15 Material 21 The 1880s in Nordic Art – Professionalization, Mobility and Transnational Encounters 28 Theories and Methods 34 Previous Research 54 Outline 62 I.
    [Show full text]
  • Modern Swedish Design
    Creagh Kåberg Modern Swedish Design Lane Three Founding Texts Lucy Creagh (coauthor and coeditor) is an architect and PhD candidate in Architectural History and Theory at Columbia University, specializing in twentieth- century Swedish architecture and consumer culture. Her dissertation on the archi- tecture of Kooperativa Förbundet was awarded the Graham Foundation’s Carter Manny Award for 2004. Her work has been published in Domus M, Transitions, and Architecture Australia, and her essay on Asger Jorn and Swedish architectural debate in the 1940s is included in Art + Architecture: New Visions, New Strategies (Alvar Aalto Foundation, 2007). Modern Swedish Design: Three Founding Texts Modern Swedish Design: Three Founding Texts Helena Kåberg (coauthor and coeditor) is a curator at the National Museum of Edited and with introductions by Lucy Creagh, Fine Arts, Stockholm. She holds a PhD in Art History from Uppsala University, which Edited and with introductions by Lucy Creagh, Helena Kåberg, and Barbara Miller Lane Helena Kåberg, and Barbara Miller Lane published her dissertation, Rationell arkitektur: Företagskontor för massproduktion och Modern Swedish Design masskommunikation (Rational Architecture: Corporate Offices for Mass Production Essay by Kenneth Frampton and Mass Communication), in 2003. She has lectured on the history of architecture Essay by Kenneth Frampton and design at institutions including Uppsala University, Konstfack, and the Cooper- 352 pages; 14 color and 246 black-and-white illustrations Hewitt National Design Museum.
    [Show full text]