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(side 193)
av Øystein Sjåstad
Vitenskapelig publikasjon
(side 194-205)
av Terje Borgersen

As an exhibition produced to circulate throughout the world, The Family of Man was both praised and criticized in the 1950s. However, the exhibition has been a pronounced point of reference in international photo research for decades. The article presents and discusses some of Edward Steichen’s ideas related to the design of the collection as a global travelling exhibition. Sixty years ago, The Family of Man was exhibited at the MoMA in New York, and in the period 1955–1962, the exhibition was visited by nine millions around the world. The MoMA-exhibition is now reconstructed in Luxembourg, and the 1955 catalogue is still available – and the exhibition as well as the catalogue reveal manifestations of a post-war philanthropy.

Keywords: Snapshots and emotions, Philanthropic photography, Documentary photography, The Family of Man, Edward Steichen, Wayne F. Miller, Roland Barthes

Vitenskapelig publikasjon
(side 206-216)
av Nicholas Parkinson

This paper elucidates the important role of environmental determinism in the history of the reception of Scandinavian art in France, arguing that the emergence of Scandinavia as a cultural imaginary within nineteenth-century art criticism is integrally tied to how Scandinavian nature was imagined simultaneously by critics. Writings on Scandinavian art are traced from the Enlightenment era through the international salons and expositions of the nineteenth century, illustrating the assimilation of diverse and occasionally opposing perceptions of the effects of climate and geography on Northern populaces within art critical writings.

France, Scandinavia, Nineteenth century, Theory of climates, Art criticism

Vitenskapelig publikasjon
(side 220-232)
av Jens Christian Eldal

The article presents the European background for the Bird Room in the Royal Palace of Oslo. The room was painted during 1841–1843 as an illusion of a pavilion with views of Norwegian landscapes in a continuous, surrounding panorama. The main sources of inspiration are from Germany, especially the Rosenau palace by Coburg. The illusionistic theme is firmly rooted in European palatial traditions, whilst the landscapes and pavilion detailing add contemporary National Romanticism to this Norwegian version.

Keywords: Hans Ditlev Franciscus Linstow, Johannes Flintoe, Royal Palace Oslo, Rosenau, Interior decoration, Nineteenth century

Vitenskapelig publikasjon
(side 234-246)
av Line Engen

The pioneer German artist Paula Modersohn-Becker (1876–1907) developed a modernist style during her short career. The still life became a leitmotif in her formal experiments, as it did for Pablo Picasso. At the very end of her career, her still lifes show several formal similarities with Picasso’s Pre-Cubist still lifes from the exact same period. In the development towards abstraction and modernism, they both depended on the still life contribution of Paul Cezanne and Jean Siméon Chardin.

Keywords: Early, Modernism, Paula Modersohn-Becker, Pablo Picasso, Still life, Pre Cubism, Formalism

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