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During 1746–48 the Danish artist Johannes Rach painted eight Norwegian locations by royal commission. These are some of the earliest known paintings depicting Norwegian locations. Views, they show cities, castles, fortifications and remarkable sights. They also convey important information on landscape and gardens. Rach’s works are primarily valuable as cultural documents, but also have definite pictorial charm.
Monuments are symbols. This article asks how and why the Christian August memorial has changed its symbolic function since it was made in 1810. By using a historiographical approach to investigate visual and written sources in relation to social changes, a fascinating history of symbolic change is revealed. This challenges our understanding of cultural heritage as continuity, suggesting that it rather consists of objects of changing meaning.
While the architectural inspirations for the Royal Palace in Oslo have traditionally been sought in Denmark and Germany, the exterior and interior of Elghammar Manor in Sweden may also have been an influence. Designed by the Russian architect Giacomo Quarenghi, Elghammar is untypical of Swedish architecture, but bears a certain resemblance to the Bonde Mansion in Stockholm as well as to Krontorp Manor, which has traditionally been ascribed to H.D.F. Linstow, the architect of theRoyal Palace.
This essay is about how paintings by Christian Krohg and Edvard Munch can be described as «theatrical» and «absorptive» in the way Michael Fried uses these terms in his writings. It argues that both Krohg and Munch explore diffe- rent kinds of absorptive and theatrical strategies in their paintings, and that they share a common interest in this, despite choosing diffe- rent approaches in their compositions. This is especially striking when it comes to their use, and non-use, of facing characters.
The Norwegian National Gallery’s collection and its presentation, focuses on Norwegian artists and art history in relation to international trends. In what way does the collection reflect cultures beyond the borders of Norway? Who is represented and who represents? This article focuses on how Norwegian artists have depicted North Africa versus the sub-Saharan region, concluding that while North Africa is represented as an idealized untouched Oriental culture, the images of the sub-Saharan region represent a wilder, rougher Africa with a close connection to nature.