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Didon, Rune

Rokokon och dess måleri i det svenska 1800-talets ögon.

Hatt Rare Books ILAB & CINOA
lbh302536
Stockholm, Konstvetenskapliga institutionen, 1988. Diss. 200 sid. + spikblad (Abstract leaf). Illustrerad. Register. Resumé en francais: "Le rococo français au cours du XIXème siècle en Suède". Häftsd, dek. omslag. Fint skick.

Kapitelrubriker i urval: "Något om den franska rokokon", "Lorenzo Hammarsköld - rokokons antagonist", "Exkurs: Marianne Ehrenström", "Ulrik Thersner - en avvikare", "Fredrik Boye - en konsthistorisk pionjär", "Läro- och uppslagsböckernas rokoko", "De kungl. slottens rokoko - och allmogemåleriets", "Carl XV", "Exkurs: Jacob von Falke och Ludvig Looström", "Nyblom och Dietrichson - män i täten", "Carl Gustaf Estlander", "Bellmansdiktningen föder nyrokokomåleriet", " Julius Kronbergs rokoko", "Carl Larsson", "Strindberg", "Oscar Levertins återupprättelse av rokokon", "Georg Nordensvan", "Carl G. Laurin", "Auktionspriserna", "Värdering av 1800-talets värderingar", "Résumé en français". - - - (Abstract:) "The work intends to discuss attitudes to the French rococo and its paintings in Sweden during the 19th century, an aspect which earlier drew very little attention. The time selected covers the period from the Freedom of the Press Act in 1810 to around the turn of the century 1900. - - - To form a basis a search for appraisals was made in all kinds of literature including dictionaries, text- and reference books containing references to the French rococo. To limit the extent of the material the dissertation concentrated itself on five of the most important artists during that epoch: Watteau (1684-1721), Chardin (1699-1779), Boucher (1703-1770), Greuze (1725-1805) and Fragonard (1732-1806). - - - The academic stratum formed a negative view. This was brought about because the way of life in France during the rococo was considered sinful and immoral and was associated with a considerable portion of the art from that time. Here an account is given especially of two pioneers in the history of art from the early 19th century, Lorenzo Hammarsköld and Fredrik Boye whose reviews influenced appraisals of those paintings to the end of the century. Few backbiters of the rococo had themselves seen the art which they criticized, opinions were mostly derived from foreign sources and from imported French engravings, until Carl Gustaf Tessin's and later Queen Lovisa Ulrika's large collection of rococo paintings, then at Drottningholm Castle outside Stockholm, were moved to the newly built National Gallery in 1866. The excellent hangings at Drottningholm are revealed by a hitherto unnoticed sketch from the mid-19th century. - - - The Bellman cult with its element of French rococo gave rise to extensive neo-rococo paintings by a number of artists among whom we note Carl Larsson and Julius Kronberg. - - - Prejudice to rococo painting ceased mainly through Oscar Levertin's pioneering work 'Niclas Lafrensen, the younger, and the relations between Swedish and French art of painting in the 18th century'. This work probably influenced the appraisals in Carl G. Laurin's 'History of Art' (1900) and in Georg Nordensvan's 'Visual Art'. The thesis is yvritten in Swedish."
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