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The painter as professional observer : Eye-witnessing through portraiture in early twentieth-century art historiography
Digitala forskarmöten gav livsluft under pandemin
Att skriva om kvinnor efter den språkliga vändningen
Turism : Nöje, pilgrimsfärd, bildningsresa och diplomati
Painted copies and views on authenticity in seventeenth-century Sweden
The research on forgeries, fakes, copies, replicas, facsimiles, substitutions, appropriations and imitations in pre-modern times is now a growing field of research in art history, and as shown the difference between these concepts is anything but clear (Heisterberg, Müller-Bechtel & Putzger eds. 2018; Cupperi ed. 2014; Wood 2008). The aim of this paper is to look at the artistic production of
Early 20th-Century Curatorial Strategies to Enhance the Power of Portraiture : Ludwig Justi and the National Portrait Gallery in Berlin 1913-1933
The emergence of the national portrait gallery as a museum phenomenon during the nineteenth century reflects a broader interest in portraiture at the time. The first of its kind was the National Portrait Gallery in London. Pivotal to the foundation of the gallery in 1856 was historian Thomas Carlyle’s declaration that a portrait had put him in contact with the past. In 1913, a German National Port
De intellektuellas förräderi?
De välvilligas rationalitet : Objektivitetsideal och mediekritik inom Riksföreningen Sverige-Tyskland 1938 till 1958
Kampen, utveckling och framtiden för demokratin : en inledning
Att skapa en konsument : Råd & Rön och den statliga konsumentupplysningen
The Swedish consumer magazine Råd & Rön (”Advice and Results”) has been available to Swedish consumers since 1958. For a major part of this time the Swedish state, represented by Konsumentverket (the Swedish Consumer Agency) and its predecessor, Konsumentinstitutet (the National Institute for Consumer Information), was the owner of the magazine. In 2006 Råd & Rön was sold to the independen
In the Presence of Great Men : The German National Portrait Gallery 1913-1933
In his “Dialogue about the Art of Portraiture” (1906), Viennese Art Historian Julius von Schlosser made the following critical observation of the behaviour of visitors in art museums:They [the public] are not interested in the portrait as an expression or disclosure of an artistic personality, but rather the actual human being, one can say, looming behind it, who is known to them in a very particu