My aim of this investigation has been to study Delacroix relation to the Orient, based on a number of key questions:What was specific for Delacroix oriental works?How did his oriental painting change and mature over time?How was Delacroix relation to the oriental discourse?The paper is divided into three parts: the time before his trip to Morocco in 1832, the trip to Morocco and the period after Morocco.Although many have wanted to see Delacroix as a revolutionary, he worked the whole time within, and dialogue with, the classical tradition. In Delacroix quest for renewal of history painting, the oriental works play an important role. In the period before his trip to Morocco the literary sources dominated. He constructed his own Orient in his studio.It is clear that Delacroix did not stood outside the oriental discourse.

This essay examines the debate that arose in connection to the sale of Carl Larsson?s monumental painting Midvinterblot in 1987. My main purpose is to examine which meanings the debaters ascribed Midvinterblot and in which way the debate influenced the paintings significance as cultural heritage. I will therefore argue that the debate initiated a renegotitation of the paintings meaning as cultural heritage. In the debate the debaters emphasized the National Museum?s responsibility over cultural heritage, Midvinterblots aestethic, the paintings economic value and its national implications.

The purpose of this paper is to analyse how work by Swedish artist Ylva Ogland (born in 1974) function as an eye-opener for the social marginalisation of people identified with homosexuality, prostitution and drug addiction. Although highly present in reality, these phenomena were historically, and are still today, hidden from view in public discourse. I have focused on the installations Rapture and Silence and Things Seen, and the still-life painting called Xenia. I argue that these artworks carefully represent the above-mentioned marginalised groups, by way of references to comparable motives in the history of art, from neoclassicism in France, to realism and romanticism..

Titel in original language: ARTE MUNDIT- En granskning av produkten, dess rengöringseffektsamt påverkan på muralt måleri.Language of text: SwedishNumber of pages: 50Keywords: Arte Mundit, cleaning, mural painting, cleaning poultices, latex, EDTA..

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Konservatorsprogrammet15 hpInstitutionen för kulturvård.

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Konservatorprogrammet15 hpInstitutionen för kulturvårdGöteborgs universitet2013:10.

Titel in original language: Marmorerningsmåleri ? behov av samsyn och kommunikationLanguage of text: SwedishNumber of pages: 45.

The purpose of this essay is to investigate modern influence in the painting Strömkarlen, by Ernst Josephson. Strömkarlen was painted 1884 in Norway. First the essay performed an investigation of earlier researchers statements to establish a ?common truth? that puts the painting in a realistic/naturalistic-romantic context. With the help of Yve-Alain Bois? model, where he sees art from the painters point of wiew, it was possible to use two articles, written by Ernst Josephson in the fall of 1884, where he debates the conditions for art and artists in Sweden.

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Konservatorprogrammet15 hpInstitutionen för kulturvårdGöteborgs universitet2013:09.

"A picture is worth a thousand words!?The purpose of this study is to show how familytherapy as a ground can deepen and demonstrate the value of using paintings to encourage the dialogue in coupletherapy. I have accomplished therapy with three different couples, which I report. All couples have painted four paintings each (encl.1-3) and have talked about their pictures. Through qualitative deapinterviews, every person has got the opportunity to tell their experience of painting together with their partner.

The artist Pehr Hilleström has been credited as the founder of the Swedish genre painting. In the second half of the 18th century he began painting everyday subjects of the different social stratums. Today his paintings are noted for their way of showing us the culture of the time since the photograph still had still not been introduced.   Hilleström was a court painter for King Gustav III who wanted him to depict the Swedish people and their different costumes. The king thought the costumes were of great significance for their psychological impact on people and therefore used them as a way to unite the nation psychologically, both by the genre paintings and also by making a national costume. The costumes were used as a symbol of an unbroken tradition and national heritage.

Abstract I have made a Website called ?Art school? for Liljevalchs art Gallery, Culture administration in Stockholm and Culture school in Stockholm. It is with scholarship from these that this Website has been possible. The work whit the ?Art school? started in the autumn of 2005 and ended in May 2006 on distance from Stockholm towards Blekinge technology school in Karlshamn.

Uppsats för avläggande av filosofie kandidatexamen iKulturvård, Konservatorprogrammet15 hpInstitutionen för kulturvårdGöteborgs universitet2013:06.

The aim of this paper is to take a critical look at retouching of medieval mural paintings inSweden. This is done by firstly examining the different methods of retouching, including thematerials used. Secondary it tries to answer the question of which intentions have guided theconservator?s decisions dealing with the retouching. The medieval mural paintings in Swedishchurches have three major functions today.

This essay examines how art could be used to bring forth and clarify the Catholic doctrines of purgatory. The research questions are: ? How are the Catholic Church?s doctrines of purgatory illustrated in art? ? How can the paintings affect the viewer and his/her notion on how to shorten the time in purgatory? How can art itself be used as a tool to achieve that goal? The timeframe of the chosen paintings is mainly 14th to 16th century but an overview of how the purgatory has been illustrated after that time until the present is also given. In order to answer the first research question, a painting from the 14th century has been analysed, using a method inspired by Patterns of Intention - a theoretical framework formulated by Michel Baxandall. A reception theoretic perspective according to Kemp, is used on a painting from the 15th century to answer the second research question. The results show that purgatory is illustrated as fire and the souls are depicted as living people, despite that a spiritual condition is visualized. The viewers at that time found the descriptions frightening, but the paintings also revealed ways of being granted indulgences, that is shorten-ing the time in purgatory. These ways were praying, making pilgrimages and giving alms.