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..

Kisa Courthouse in the south of ?sterg?tland is a house built in the early 19th century with a typical neoclassical style. With clearly regular symmetrical wooden facade scheme with a central main entrance. The main entrance is a wooden double door with richly decorated portico. the crown moulding above the door consists of a band of dentils with a cornice moulding at the top.

Stureholm Manor and garden is a relatively young farming unit on clay soil in the north western part of Skåne, a province in Southern Sweden. Since the middle of the 19th century the landscape has been actively cultivated and has been transformed from oak forrest into farmingland of high efficiency. The industrial era during the 19th and 20th centuries meant new posssibilites for cultivation of these clay soils. With equipment like steam ploughs and the possibility to obtain fertilizers, the harvest increased considerably. This increased prosperity provided estate Stureholm with a beatuiful corps de logi, a manor. The trends prevailing in Europe around the turn of the century 1800-1900 against the growing industrialism, was turned into a artisan movement known as Arts and Craft. The Swedish followers idealized our Swedish history and they took the turn of a national romantic movement that later turned into Neoclassicism.