Konstens Socialisering. Kritiska texter av Georg Pauli 1915–1926.
(2019) In Avdelningen för konsthistoria och visuella studier Institutionen för kulturvetenskaper. Lunds universitet KOVM10 20191Division of Art History and Visual Studies
- Abstract
- Georg Pauli belonged to a group of artists known as the Opponents, due to their opposition of the way art education, exhibitions, and allocation of grants was managed by the The Royal Swedish Academy of Fine Arts (Kungliga Akademien för de fria konsterna). Their oppositional work resulted in the formation of the Arts Association (Konst¬närs¬förbundet) in 1886. In a series of books and articles, including his own journal, Flamman – tidskrift för modern konst, Pauli continued to express his criticism of art museums and the education of artists. Richard Bergh was also part of this broad movement and had similar ideas och critique. He on the other hand started to work inside the national museum for fine arts 1913 and was its director... (More)
- Georg Pauli belonged to a group of artists known as the Opponents, due to their opposition of the way art education, exhibitions, and allocation of grants was managed by the The Royal Swedish Academy of Fine Arts (Kungliga Akademien för de fria konsterna). Their oppositional work resulted in the formation of the Arts Association (Konst¬närs¬förbundet) in 1886. In a series of books and articles, including his own journal, Flamman – tidskrift för modern konst, Pauli continued to express his criticism of art museums and the education of artists. Richard Bergh was also part of this broad movement and had similar ideas och critique. He on the other hand started to work inside the national museum for fine arts 1913 and was its director 1915–1919.
This essay focuses on the emergence of modern society between 1890 and 1930, including the public Nationalmuseum and Pauli´s commentary on the organisation of art museums, choice of art exhibitions and exposure of works to the public. This takes place within the framework of Pierre Bourdieu’s theory of modern society, particularly non-commercial and commercial actors within the field of art production. The essay highlights difference and similarities between Georg Pauli’s and Richard Bergh’s critique as well as demands that government resources be allocated in such a way as to enable as many citizens as possible to enjoy art collections found in public buildings. (Less)
Please use this url to cite or link to this publication:
http://lup.lub.lu.se/student-papers/record/8972433
- author
- Thavenius, Robert LU
- supervisor
- organization
- course
- KOVM10 20191
- year
- 2019
- type
- H1 - Master's Degree (One Year)
- subject
- keywords
- Art as objects of speculation, Middle-class culture hegemony, Economy of aesthetics, Socialisation of art, Decentralisation of art museums, Bourdieu’s field of art production, Georg Pauli, Richard Bergh
- publication/series
- Avdelningen för konsthistoria och visuella studier Institutionen för kulturvetenskaper. Lunds universitet
- language
- Swedish
- id
- 8972433
- date added to LUP
- 2024-02-21 10:39:57
- date last changed
- 2024-02-21 10:39:57
@misc{8972433, abstract = {{Georg Pauli belonged to a group of artists known as the Opponents, due to their opposition of the way art education, exhibitions, and allocation of grants was managed by the The Royal Swedish Academy of Fine Arts (Kungliga Akademien för de fria konsterna). Their oppositional work resulted in the formation of the Arts Association (Konst¬närs¬förbundet) in 1886. In a series of books and articles, including his own journal, Flamman – tidskrift för modern konst, Pauli continued to express his criticism of art museums and the education of artists. Richard Bergh was also part of this broad movement and had similar ideas och critique. He on the other hand started to work inside the national museum for fine arts 1913 and was its director 1915–1919. This essay focuses on the emergence of modern society between 1890 and 1930, including the public Nationalmuseum and Pauli´s commentary on the organisation of art museums, choice of art exhibitions and exposure of works to the public. This takes place within the framework of Pierre Bourdieu’s theory of modern society, particularly non-commercial and commercial actors within the field of art production. The essay highlights difference and similarities between Georg Pauli’s and Richard Bergh’s critique as well as demands that government resources be allocated in such a way as to enable as many citizens as possible to enjoy art collections found in public buildings.}}, author = {{Thavenius, Robert}}, language = {{swe}}, note = {{Student Paper}}, series = {{Avdelningen för konsthistoria och visuella studier Institutionen för kulturvetenskaper. Lunds universitet}}, title = {{Konstens Socialisering. Kritiska texter av Georg Pauli 1915–1926.}}, year = {{2019}}, }