Engelska

A stunning photographic guide to Taylor Swift's fashion highlights from the author of Harry Styles and the Clothes He Wears.

Inside Bridgerton [Bok / Inbunden]

<p>An appreciation of the life and art of Tove Jansson, creator of the Moomin books, which are adored by children and adults across the globe. This book provides fresh insights and a deeper appreciation of the life and art of Tove Jansson (1914-2001), one of the most original, influential and perennially enjoyed illustrators of the 20th century. Jansson's flourishing Moomin books are examined in detail, as are her interpretations of such classics as Lewis Carroll's Alice's Adventures in Wonderland and The Hunting of the Snark, and J.R.R.</p><p>Tolkien's The Hobbit. Born in Helsinki among the Swedish-speaking Finnish minority, Jansson was brought up with a love for making art and stories in a supportive artistic family. Her first illustrated tales were published when she was fourteen years old.</p><p>From a year later until 1953, she drew humorous and political cartoons as well as striking front covers for the satirical magazine Garm, responding to the Second World War and its aftermath as she developed from art student to painter and muralist, bohemian and lesbian. This book also explores the emergence of her Moomin world, appearing in her first children's book in 1945 and then in newspaper strips. These would lead to her being headhunted by the London Evening News, the world's biggest-selling evening paper, to write and draw a daily Moomin newspaper cartoon.</p><p>This body of work is one of her great achievements, expanding her stories, settings and cast and invigorating her drawing and writing. Jansson also wrote many novels, documented here along with personal commentaries from her own writings.</p>

Odd Nerdrum - Making Painting Great Again is a richly illustrated book with texts by philosopher Carl Wegner Korsnes and the artist Odd Nerdrum himself. "Painting as a discipline is ruined; It's time to make painting great again." Thus sounds the masterful painter's philosophy, and these are his appeal points: First and foremost, the painter is a craftsman, in addition, the painter should seek what is always relevant. Nerdrum's idea of making painting great again means reintroducing a quality concept. Again, one should be allowed to say, "I've made something wonderful, and I'm proud of it." It is no coincidence that Aristotle is the thinker who has most influenced the kitsch philosophy. He claims that craft has its utility and value as a means of mediation. Mimesis, or representation, is of value, not only because one finds joy and insight in recognizing a motif, but because one can recreate action in a painting. All human feelings take form in action. Stories that utilize familiar scenes and archetypal situations are, according to Aristotle, of the greatest value, because they are expressions of the universal. Odd Nerdrum gives the discipline of painting back to the people. Art is for the sake of Art. Kitsch, however, is for humans. Removing the intrinsic values of art makes painting a tangible phenomenon again. The feeling of usefulness will return and thus the valuation. Painting is lifted to old heights. Painting is made great again. Carl Wegner Korsnes

In a time when all witnesses to the Holocaust will soon have perished, one possible route for commemoration is a return to images, asking what testimony they can give? This book seeks to answer the question of how images can bear witnesses, by examining them as multifaceted entities produced, reproduced and resituated in conflicting political and historical situations. Through a reading of three works that reinterpret archival material and position it in a new time and context, Beyond Witness seeks to explicate this relation and unfold the implications of that movement. In the three archive-based works, "Respite" by Harun Farocki (2007), "A Film Unfinished" by Yael Hersonski (2010), and "The Specialist: Portrait of a modern criminal" by Eyal Sivan (1999), the materials are reactivated and reinterpreted. The films are based on archival materials which are reworked visually and aurally. The pieces of footage discussed are understood as incomplete; like individual testimony that is dependent on context. Footage produced as internal Nazi propaganda and the video recording of a politically charged trial in the aftermath of the Holocaust now mean something else. Photographic images, moving or still, are bound to their contexts and conditions of production and presentation. Therefore, the testimony of images can be grasped through their archival conditions, context and framework (conditions for production) and means of representation (voice, narration and gaze). These means offer the framework for the analysis through which the testimony of images can be understood.

<p>[English description below] Under 1880-talet blev nordiska kvinnliga konstnärer alltmer synliga på konstscenen, samtidigt som de verkade inom en nästan uteslutande manlig sfär. Paris blev deras konstnärliga centrum, där de byggde sina egna nätverk, ställde ut sina verk, blev eftertraktade konstnärer och fick kritiskt erkännande för sitt arbete.  </p><p>Genom fördjupade analyser av utvalda målningar utforskar <i>Becoming Artists</i> hur nordiska kvinnliga målare presenterade sig själva och varandra i sina yrkesroller, hur de lanserade sina verk, övervann hinder och skrev in sig i konsthistorien. Den belyser vänskapens, gemenskapens och samarbetets inverkan på kvinnornas själviscensättning och studerar ateljéns symboliska betydelse som <i>ett eget rum</i>. Avhandlingen bygger på omfattande opublicerade arkivkällor och erbjuder nya perspektiv på konstnärer som Julia Beck, Hanna Hirsch-Pauli, Asta Nørregaard och Bertha Wegmann.  </p><p>Carina Rech är konsthistoriker, baserad i Stockholm och Berlin. Hon är forskare vid Stockholms universitet och kurator vid konstmuseet Prins Eugens Waldemarsudde. <i>Becoming Artists</i> är hennes doktorsavhandling.</p><p>The 1880s were a decade of professionalization, liberation and transnational encounters for women artists from the Nordic countries. Despite structural discrimination, a growing number of women from Denmark, Finland, Norway and Sweden pursued professional careers as artists, studying at the Royal Academy of Fine Arts in Stockholm or at private art schools. Many of them traveled to Germany or France to train at private ateliers. In the 1880s, Paris was their artistic center, where they built their own networks, exhibited frequently, became sought-after artists and gained critical recognition for their work. </p><p>Conducting in-depth analyses of selected paintings, <i>Becoming Artists</i> explores how Nordic women painters represented themselves and one another in their professional roles, how they promoted their work, how they overcame obstacles and inscribed themselves into the visual history of their profession. It highlights the impact of friendship, companionship and collaboration on Nordic women painters self-fashioning in the 1880s and it examines the studio s symbolic meaning as <i>a room of one s own</i>. Drawing extensively on hitherto unpublished archival sources, this study offers new perspectives on artists including Julia Beck, Hanna Hirsch-Pauli, Asta Nørregaard and Bertha Wegmann.  </p><p>Carina Rech is an art historian based in Stockholm and Berlin. She is a researcher at Stockholm University and a curator at the art museum Prins Eugens Waldemarsudde. <i>Becoming Artists</i> is her doctoral dissertation. [för svensk presentation, se ovan]<br/></p>

A great number of artists have been inspired by other artists in their works throughout centuries of the art history. Periods of art have connected back to other periods, like neo-classicism, new-gothics, new romanticism and others. As for solemn artists, great masters have inspired others for many hundred years, they created schools and were copied. One of these was the norwegian painter Edvard Munch (1863-1944), who never formed a "school", but has influenced artists over the world up to our time. The most known is perhaps Andy Warhol, but this book reveals that there are many, with names like Robert Mapplethorpe and Norwegians like Unni Askeland and Frans Widerberg.