{"title":"Zu den versöhnlicheren alternativen der vanitasmalerei","authors":"Patrik Reuterswärd","doi":"10.1080/00233609608604404","DOIUrl":"https://doi.org/10.1080/00233609608604404","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77436024","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Earthly Saints: The concordance of Flemish and Florentine art in the fifteenth century","authors":"S. Blum","doi":"10.1080/00233609608604409","DOIUrl":"https://doi.org/10.1080/00233609608604409","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84150478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Tempest again: Giorgione's “Ingegno”","authors":"Avigdor W. G. Poséq","doi":"10.1080/00233609608604397","DOIUrl":"https://doi.org/10.1080/00233609608604397","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88053404","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"“Drottning Margaretas gyllene kjortel\"—än en gång","authors":"A. Danielsson","doi":"10.1080/00233609608604396","DOIUrl":"https://doi.org/10.1080/00233609608604396","url":null,"abstract":"Summary Queen Margaret's Golden Gown—once again. The theory that the Uppsala gown can be dated to the 14th century is no longer tenable. This is clearly demonstrated by Docent Goran Possnert's Appendix to the latest work on the subject published by the Royal Academy of Letters, History and Antiquities: Geijer—Franzen—Nockert, Drottning Margaretas gyllene kjortel i Uppsala domkyrka revised by M. Nockert (Stockholm 1994, pp. 115–120, 137; subsequently referred to as G‐F‐N in this article).1 By subjecting silk and linen threads from this gown to the 14C test, the The Svedberg Laboratory at Uppsala has been able to date the material to the years 1403–1439. Nota bene that this applies only to the age of the threads, not to when the gown was made. As, however, there is no telling what future scientific discoveries may reveal, Possnert has urged me to publish the results of my research once more,2 even though they cannot be fitted into the period mentioned above but rather point to the 1460s, i.e., a few decades...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84906676","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Chance Meetings of Umbrellas with Sewing-Machines: some Reflections on the Object, the Table and the Tableau in 20th Century Art.\" Paper delivered at the Still Life Symposium, Nationalmuseum, 3.4 1995.","authors":"Torsten Weimarck","doi":"10.1080/00233609608604408","DOIUrl":"https://doi.org/10.1080/00233609608604408","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80319248","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Anders Zorns zwei Porträts von Max Liebermann","authors":"C. Lengefeld","doi":"10.1080/00233609608604416","DOIUrl":"https://doi.org/10.1080/00233609608604416","url":null,"abstract":"Summary in English Anders Zorn's two portraits of Max Liebermann. From the Parisian and Berlin art world of the 1890's. In the 1880's the German artist Max Liebermann (1847–1935) went to Paris regularly, both to keep in contact with the Parisian art world and to see his own pictures on view there. He made friends with Scandinavian artists, among others the Finns Albert Edelfelt and Ville Vallgren, the Norwegian Frits Thaulow and the Dane P.S. Kroyer. But above all he appreciated the Swedish artist Anders Zorn (1860–1920) whom Liebermann leatnt to know in 1888 or 1889 and whom he was to support in later Berlin years when he had become an influential personage as president of the Berlin Secession (from 1899). Liebermann and Zorn harmonized from the beginning in their opinion about art and artists. They both admired Rembrandt and Frans Hals, but particularly they took the same view of contemporary art. This means that they rejected the academic style and disliked avantgarde symbolism as well, whereas they mo...","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78124549","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A Look at the Over‐Looked","authors":"Charlotte Christensen","doi":"10.1080/00233609608604407","DOIUrl":"https://doi.org/10.1080/00233609608604407","url":null,"abstract":"","PeriodicalId":41575,"journal":{"name":"KONSTHISTORISK TIDSKRIFT","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"1996-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84299937","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":2,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}