(2021). Cover-title page. Konsthistorisk tidskrift/Journal of Art History: Vol. 90, No. 1, pp. i-i.

(2021). Editorial board. Konsthistorisk tidskrift/Journal of Art History: Vol. 90, No. 1, pp. ii-ii.

(2021). Contents. Konsthistorisk tidskrift/Journal of Art History: Vol. 90, No. 1, pp. iii-iii.

Summary This article chronicles the French critic Pierre Restany and his 1967 exhibition Superlund at Lunds Konsthall in Sweden. Throughout his life and work Restany travelled the globe and engaged in local art scenes, often described as peripheries. But when did Lund, a town in southern Sweden, become the periphery, and with reference to which centre? When Restany engaged with the so-called peripheries

Summary This essay proposes that Haarlem genre artist Jan Miense Molenaer created two paintings, only known today from photographs in the Rijksbureau voor Kunsthistorische Documentatie (RKD). The pictures depict peasants; two are playing cards, others are observers. Molenaer plausibly used print prototypes after the designs of Pieter Bruegel the Elder, adding observations from life of his present day

Summary Recent scholarship on the nunneries of the Late Middle Ages has demonstrated that within these houses, textile work served as important devotional tools which might accompany prayer, meditation and worship. This shows that the production of woven and embroidered textiles in nunneries does not easily compare to any modern-day notion of artistic practice, and it is argued that art historians

(2020). Cover-title page. Konsthistorisk tidskrift/Journal of Art History: Vol. 89, No. 4, pp. (i)-(i).

(2020). Editorial board. Konsthistorisk tidskrift/Journal of Art History: Vol. 89, No. 4, pp. (ii)-(ii).

(2020). ToC. Konsthistorisk tidskrift/Journal of Art History: Vol. 89, No. 4, pp. (iii)-(iii).

Summary On May 15, 1897, the Stockholm Exhibition of Arts and Industry opened in conjunction with the silver jubilee celebration of King Oscar II (r. 1872-1907). The Hall of Arts, designed by Ferdinand Boberg and organized by Prince Eugen, Sweden’s “painting prince”, not only celebrated the art of Scandinavia, but also advanced the country’s cosmopolitan ambitions by exhibiting foreign art throughout

In order to reframe the conventional bimedial (textual and pictorial) concept of illustration, this study examines illustrations and their textual and pictorial elements from the point of view of the medium of reproduction – which includes present-day digital photography as well as nineteenth-century xylography. The study investigates two nineteenth-century illustrated texts, the Swedish literary review

The Bride Stripped Bare by Her Bachelors, Even (1915–1923), also known as The Large Glass, is one of Marcel Duchamp's most complex works and has elicited a wealth of scholarly suggestions as to its meaning and sources of inspiration. Nevertheless, although it is recognized that Duchamp’s early practice as a maker of cartoons paved the way for an oeuvre replete in wit and wordplay, the inspiration Duchamp

Summary Johann Joachim Winckelmann (1717–1768) has traditionally been praised as a pioneering Hellenist whose important studies on ancient Greek and Roman sculpture influenced generations of students in various academic fields, ranging from classical philology to archaeology and the history of art. From the late eighteenth century to the early twentieth century, Winckelmann’s important books on ancient

Linked to the thirteenth century devotional text Meditationes Vitae Christi, visual representations of the Resurrected Christ Appearing to His Mother appear in Italian manuscripts, either of the Meditationes itself or in other devotional treatises around 1300. The epitome of the motif, however, is probably the depiction in the right panel of the Miraflores Triptych, painted by Rogier van der Weyden

This article will examine how the practice of critique is made vivid in the early performances of Andrea Fraser, the artist associated most conspicuously with Institutional Critique (IC), an umbrella term for a variety of critical artistic practices that developed out of the conceptual art movement of the 1960s. It traces the convoluted position of critique in contemporary art history, as distinct

Arguably, the great lesson of the avant-garde is the irrelevance of beauty and, by all accounts, the central figure in the lesson is Marcel Duchamp. This essay will argue that the Duchampian readymade offered artists a second, far less readily identifiable legacy, in which the lesson to be learned was not the irrelevance of beauty but rather its ubiquity. The main champion of this antithetical legacy

Have we witnessed the return of critique in the U.S. art world? Taking the decentralization of art institutions as a tactic of critique, this paper identifies waves of critique in the contemporary art world, with particular attention to New York City in the late 1960s-early 1970s, and the 2010s. Though certain critical aims and strategies have persisted, this period spans an impassable divide: the

Looking at both critique and postcritique in relation to art history, in general, and art historiography, in particular, this article suggests that art history’s critical heritage runs longer and deeper than a “hermeneutics of suspicion” signals, and that this state of affairs is therefore a deeper and wider problem than how to overcome and replace critique. The latter term, for art history, is of

Summary The postcritical movement in academia has served to highlight the rhetorical strategies and attitudes of critique that have become so habitual in the humanities that they tend to be confused with political participation. In this article, I examine one critical strategy that have become just as habitual in art practices, namely the attempt at negating aesthetic distancing. By contrasting two

The article positions the exhibition Vitalitá nell’arte (1959–60) as a significant event in the postwar art world. It proposes the hypothesis that the development of the curated exhibition of contemporary art should be seen as a key concern of the 1945–1968 art world and that this new medium emerged in a complex alliance between new institutions, artistic aims and personal contacts. This is exemplified

Summary An abstract follows here, if needed: In December 1951 the exhibition Klar Form opened in Copenhagen. It was the first venue of a Scandinavian tour that included Oslo, Stockholm and Helsinki. It was organized by the prolific Galerie Denise René, Paris in collaboration with the Galerie Børge Birch, Copenhagen and the Danish artists Richard Mortensen and Robert Jacobsen. The exhibition showed

Aeneas Fleeing Troy, painted by Federico Barocci (1535–1612), depicts a scene from Vergil’s Aeneid (29–15 BCE). This article offers interpretations of text and image highlighting the complexity of the refugee experience and the possibilities for a future society comprised of blended populations. Aeneas negotiated a new world for his progeny while suffering through war, displacement and loss. History

Berghaus’ volume by the simple strategy of listing all the countries in alphabetical order, thus avoiding standard Eurocentric hierarchies. A fuller and more realistic history must evidently include the relevant global versions of futurism and other -isms. That is convincingly demonstrated in this volume. After reading through this Handbook of International Futurism and comparing chapters on different

Through the radical use of the sheer materiality of the artwork, including her own body, Janine Antoni intends a profound encounter between herself, the artwork and the viewer. The work of art becomes thereby a critical concept of reflection and an occasion for reflexive thinking regarding the identity of the subject in the contemporary postmodern consumer society. This essay examines where and how

Antoni Tàpies conferred new meanings to everyday things through his singular creative processes and material-object arrangements. Moreover, he brought the objects, materials, and subjects of art into a sensorial and intellectual play to achieve a sui generis view of art. The analysis of his hybrid conception of artwork has three points of exploration. First, he questioned the character of the thingness

I sin doktorsavhandling Temporalitet i visuell kultur: Om samtidens heterokrona estetiker tar Ann-Louise Sandahl grepp om vår tids ödesfråga: klimatkrisen och antropocen. Hon gör så genom att undersöka hur ett antal konstverk och andra visuella uttryck (för enkelhets skull nedan “konstverken”) – huvudsakligen nutida – gestaltar denna fråga. Men det är Sandahls eget engagemang som driver boken framåt

Utilizing documents from his personal Nachlass, I sketch Otto Pächt’s career in Great Britain, from his emigration in 1936 to his call back to the University of Vienna in 1963. As a member of the Vienna School of Art History, who had contributed with Hans Sedlmayr to the elaboration of a methodological viewpoint based on immanent form and real historical processes, Pächt faced difficulties in England

Nationalmuseum i offentlighetens ljus. Framvaxten av tillfalliga utstallningar 1866-1966, Eva-Lena Bergstrom. diss., Umea, Umea universitet. Institutionen for kultur och medier, 2016. 420 sid. ISBN 9789176018644.

Artiklen undersøger etableringen og reproduceringen af et moderne antropocentrisk kartografisk blik på verden. Et blik, der på meget væsentlig facon har bidraget til den anthropocene forandring af kloden, vi er begyndt at opfatte omfanget af de senere år. Artiklens hovedtese er den, at den moderne oplyste 1600-tals kartografi korrellerede med en samtidig udvikling af et mørkt imaginært rum afkoblet

Summary A large number of Norwegian stave churches with a portico were built in the period 1150–1250. This article examines these porticoes in an international context. From the same period, one can find parallels in a large number of smaller, European stone churches, predominantly in France and northern Spain. Norwegian and European churches have several functions in common. It would likely be relevant

Summary I 1884 malede Jenny Nyström billedet Konvalescenten forestillende en syg og en rask pige, der er placeret i det samme rum. Værket er langt fra det eneste værk i perioden af en syg pige, idet flere europæiske kunstnere beskæftigede sig med dette motiv, heraf flere nordiske kunstnere, men Nyström værk er slet ikke så kendt, som eksempelvis værker af Christian Krohg, Edvard Munch og Helene Schjerfbeck

Summary In recent years the availability of digital reproductions of present and past images has increased significantly, in many ways facilitating teaching in art history. Students of art history of today live in a society dominated by visual media and are supposed to be particularly adept to communicate through digital media. This seems as an ideal situation for teaching art history, and the use

This text is a critical review of Sara Callahan’sdoctoral dissertationThe Archive Art Phenom-enon: History and Critique at the Turn of theTwenty-First Century. The aim of the disser-tation is to in ...

The story of KatarzynaKobro (–) and Władysław Strzemiński (–), two of the most prominent artists of the Polish avant-garde, embraces many central aspects of early modernism and abstraction. This is reflected in the exhibitionNewArt inTurbulent Time at Moderna Museet in Malmö. The “turbulent time” the exhibition title refers to contain the complex issue of national identity, visible

The historical study of art in relation to geographical space has for a long time been biased by the “canonical logic” of the centre–periphery narrative. This text takes as its starting point a methodological critique of this binary framework by using an example from Swedish art history, namely the art historical narrative of 1950s Sweden as a slumbering Nordic province slowly being awoken by the heroic

In order to broaden the possibilities for further, in-depth analysis of contemporary art in the light of climate change, the essay identifies and explores a recurrent phenomenon within contemporary art today: The frequent use of rocks and stones. Stones have, of course, played a quite significant role in the history of art, not least through skillfully crafted marble and grand earthworks. Within contemporary

As cities with far-reaching diplomatic, mercantile and missionary networks, fourteenth- and early fifteenth-century Florence and Pisa were characterized by the impact of numerous artifacts imported from distant lands. This paper focuses on two case studies: The first one sheds new light on representations of Oriental carpets in the miraculous image of the Annunciation in the Florentine church SS. Annunziata

St. Alexander Nevsky Orthodox сhurch in Copenhagen (1881–1883) is associated with the name of Princess Dagmar of Denmark, who became the empress of the huge Russian Empire under the name of Maria Feodorovna. The church, which was designed by academician D. I. Grimm, is unique not only for the Danish capital, but also unusual for Russian ecclesiastical architecture of the second half of the nineteenth

Under -talets senare del lät drottning Kristina införskaffa några sviter vävda tapeter från Delft. En av sviterna framställer bland annat scener ur Didos historia. Hon var det mäktiga Kartagos härskarinna och förälskade sig i den trojanske hjälten Aeneas. Denne var på väg mot Latium, där en större mission väntade. Vergilius berättelse gav tacksamma motiv till barockens konstnärer och några av dem

Kulturfænomener får deres betydning på baggrund af en historisk specifik horisont bestående af vaner, praksis- og produktionsformer, tekno-materielle betingelser, økonomiske rationaler m.m. Denne mangfoldighed af indvirkende faktorer, der danner baggrund for både erfaring og produktionen af et givent fænomen, kan sammenfattes i ideen om et format. Mens kunst- og kulturforskningen ofte fokuserer på

In a group portrait by the Swedish painter August Malmström from c. 1894, the professor of anatomy Carl Curman is seen lecturing a group of students at the Royal Swedish Academy of Arts in Stockholm, most of them women. The painting has often been used to illustrate the change that came to the Academy of Arts in 1864, when a separate Ladies’ Department, opened. This article investigates the painting

The Colic (La Colique) and The Headache (Le mal de tête), two lithographs based on drawings by Honoré Daumier, produced as part of the series L’Imagination, were executed by the artist in 1832, during the final weeks of his incarceration at Dr Pinel’s mental hospital, where he was sent as a penalty for the publication of the caricature Gargantua. This article addresses the singularity of both lithographs

seum, Stockholm). The two artists and friends worked simultaneously on these paintings, and they both used lighting effects to give an otherworldly aspect to royal ceremonies and the church interiors in which they took place. For Pilo’s painting, Christensen convincingly argues an influence from Jürgen Oven’s paintings of the marriage of Karl X Gustav and Hedvig Eleonora, dating from the s (Nationalmuseum

Summary The “end of art” thesis, especially as Danto’s interpretation of Hegel, has been able to address the radical pluralism of the contemporary art institution. However, since the 1990s two challenging and correlated shifts in contemporary art seem to have appeared: firstly, the interactions with – and the reiterations through – digital media, and secondly, a sheer rise of artistic production to

In the eighteenth century, the study of the great masters was considered an indispensable part of an artist’s education. Had they searched for a specific artist to illustrate this tenet, the theorists of the day could hardly have found a better example than Carl Gustaf Pilo (–), a Swedish artist who became a successful portrait painter in the service of the Danish court and aristocracy. The

Summary This article explores Picasso’s encounter with concrete, and how it brought architecture into his sculptural work. Picasso’s concrete sculptures have a formal connection with the contemporaneous international architectural style Brutalism, particularly in regards to the specific roughness of aestheticized objects. Pierre Gascar tells us in the introduction to Picasso et le beton of the duality

Summary During the 1870s, Whistler painted several night-time pictures of the industrialising banks of the Thames at Chelsea and Battersea. This part of the river was being transformed during the period by the building of Joseph Bazzelgate’s embankment (1871–1874), tangle of railway lines at Battersea and population boom on the South side. Painting and etching close to his Cheyne Walk home, Whistler

Summary A medieval reredos from Vålse in Denmark is used as a case to test if the theory of affordance can shed light on how medieval Christians perceived images. An affordance is a visual clue to the function of a physical object; it suggests how the object can be used. Humans can identify affordances when seeing objects in their environment. Four signifying aspects of the reredos will be explored:

Summary Confronting the unfruitful and insufficient notion of matter as “dead”, inert, and immobile is a growing acknowledgement that medieval materiality was empowered and enlivened by animation. This was not least the case in tangible images moved or mobilized by their inherent anima. Imbued with agency, power, personhood, spirit, life, and corporeality, pictures and sculptures would set themselves

Summary The profane meal was an important part of social life during the Middle Ages and could take place within a single household, at a larger banquet or in the community of a guild. The focus of this article is on medieval material culture in relation to the meal. At the centre are cutlery and drinking vessels from medieval Sweden such as spoons, knives, jugs, drinking horns, bowls and goblets.

Summary This article explores the material matter of alabaster, tentatively explaining why the sculptor Pere Johan travelled more than 1000 kilometres across Spain to obtain the finest possible alabaster for the retable in La Seo, Zaragoza (1435–1445), and why the parts he sculpted in wood were later replaced by alabaster modules sculpted by other artists. Medieval writers apparently assumed that there

Summary This article undertakes an object-focused study of an embroidery of great visual and material complexity: The Bremnes Orphrey. Medieval embroideries were known for their rich and expressive materiality with costly silks, shimmering metal threads, precious stones and pearls. This was especially true for ecclesiastical textiles adorning the altar and clothing the clergy. Thus, ecclesiastical

Summary This paper aims to discuss the employment of garnets on early medieval gold crosses. Despite appearing on a large number of pectoral crosses from the Mediterranean as well as from northern Europe, the symbolism of garnets has never been fully explored. No study has related their employment to the major controversies that took place between the late seventh and the first half of the ninth centuries

Summary This article considers questions of materials and materiality in the context of the very large Byzantine mosaic of the Archangel Gabriel in Hagia Sophia in Istanbul. It looks at the ways in which the materials of mosaics affected and affect the appearance of the image, and discusses how this sits with Byzantine conceptions of angels as both embodied and disembodied beings.

Although historians of architecture commonly utilize emergent technologies of modeling and rendering to catalogue and describe the patterns of illumination that characterize a particular site, these techniques have yet to be adapted to the study of pictures or decorative assemblages within a given space. This case study considers the relationship between light and illusion in three altarpieces by Peter

Summary A crowned, wooden bust of a female saint in the medieval St Mary’s church in Sigtuna is the only remaining example of medieval bust reliquaries in the Nordic churches. Her hollow head has housed relics, which no longer exist. Without attributes, the bust has been tentatively identified as various saints and even a heroine of local folklore. No written documents have been found that could shed

“The heterotopia,” Michel Foucault writes, is “capable of juxtaposing in a single real place several places, several sites that are in themselves incompatible.” This paper argues for a heterotopic understanding of the Oriental carpet in its depicted form within Hans Memling’s paintings of Christ and Mary. Memling’s painted carpets are imagined territorially and to introduce a different kind of space

This article examines the sixteenth-century Maya coat of arms, the Memorial Shield to the Massacre at Otzmal. In analyzing the work, I consider it in the context of indigenous peoples’ efforts to gain social standing and honors during the first decades of Spanish colonial dominion in Yucatán. I suggest that the coat of arms, and the documents contextually related to its creation, offer a glimpse into

Summary The American painter and artist of ephemeral, mythical environments, Paul Thek (1933–1988), commented on his position as an American artist in his home country by realizing some key works after having left the New York art scene for Europe at the end of the 1960s: Dwarf Parade Table (1969–1973), Fishman (1969) and Shrine (1968–1972). These works are strikingly connected by their genealogy,

Sammanfattning Med utgångspunkt i diskussioner kring (fasad)dekoration som fördes under tidigt 1900-tal och med fyra fasader från den svenska tjugotalsarkitekturen som exempel vill jag i denna artikel formulera ett perspektiv på perioden som i dekorationen ser spår av ett problematiserande av det historiska formspråket och som ser dekorationen som del av en förhandling med samtiden. I vad som förefaller