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Glasmåleri, modernitet och modernism : studier i glasmåleriets (konst)historia 1851-1955

Fuchs, Helen LU (2005)
Abstract (Swedish)
Popular Abstract in Swedish

Syftet med föreliggande arbete har varit att undersöka statusen på nygjort glasmåleri från 1851-1955. Utgångspunkten har varit att detta glasmåleri oftast inte förekommer i konstens allmänna historia, trots att välkända konstnärer faktiskt gjort glasmåleri. Ett viktigt metodiskt grepp har varit att undersöka statusfrågan utifrån uppfattningar om glasmåleriets mediespecifika särart.



Glasmåleriets status har undersökts utifrån tre olika perspektiv: historieskrivningen kring glasmåleri, utställandet av glasmåleri i samband med världsutställningarna och kyrkans betydelse som beställare av glasmåleri i förhållande till modernismen. Detta ger också tre delvis olika bakgrunder till... (More)
Popular Abstract in Swedish

Syftet med föreliggande arbete har varit att undersöka statusen på nygjort glasmåleri från 1851-1955. Utgångspunkten har varit att detta glasmåleri oftast inte förekommer i konstens allmänna historia, trots att välkända konstnärer faktiskt gjort glasmåleri. Ett viktigt metodiskt grepp har varit att undersöka statusfrågan utifrån uppfattningar om glasmåleriets mediespecifika särart.



Glasmåleriets status har undersökts utifrån tre olika perspektiv: historieskrivningen kring glasmåleri, utställandet av glasmåleri i samband med världsutställningarna och kyrkans betydelse som beställare av glasmåleri i förhållande till modernismen. Detta ger också tre delvis olika bakgrunder till fallstudierna. I dessa är syftet att visa att Rouaults, Matisses och Le Corbusiers glasmålningar på ett meningsfullt sätt kan betraktas som en del av modernismens konst.



Under 1800-talet försökte glasmåleriföreträdare att höja glasmåleriets status. Konstruerandet av en egen dramatisk historia, grundad på en föreställning om medeltidens glasmåleri som mediespecifikt var av stor betydelse. Men strategin att hävda glasmåleriets särart, främst i relation till oljemåleriet, har varit problematiskt i relation till en allmän konsthistoria.



På världsutställningarna i London och Paris 1851-1937, visades glasmåleri som tillämpad konst. Glasmåleriföreträdare försökte höja dess status genom att definiera ett regelverk grundat på mediespecifika aspekter. Utifrån detta skulle glasmåleri kunna göras och bedömas som konst. Under 1800-talet tycks man inom akademikretsar dock inte ha velat betrakta en bildform som avvek från renässanstraditionen som fri konst. Med modernismen överskred konstnärer det akademiska konstbegreppets gränser, vilket möjliggjorde en eftersträvad korsbefruktning mellan måleri och glasmåleri.



Kyrkans inställning till modernistisk konst undersöks. Främst uppmärksammas den franska Art sacré-rörelsens roll som förnyare av glasmåleriet under perioden 1937-1955.



Glasmålningarna av Rouault, Matisse och Le Corbusier förtjänar att uppmärksammas inte enbart som delar i berättelsen om glasmåleriets historia, men också som viktiga delar av respektive konstnärs totala ?uvre och som bilder i en vidare modernistisk konstvetenskaplig kontext. (Less)
Abstract
The aim of this thesis is to analyse the status of new stained glass from 1851-1955. The point of departure is that, despite stained glass having been part of the ?uvre of many well-known artists, it is often not included in the general history of art. One primary methodological approach is to examine the issue of status emerging from notions of the media-specific qualities of stained glass.



The status of stained glass is examined from three different perspectives: the writing of a history of stained glass, the exhibitions of stained glass in connection with the World Fairs, and the importance of the church as commissioner of stained glass, relating this to modernism. This also provide three partly different backgrounds... (More)
The aim of this thesis is to analyse the status of new stained glass from 1851-1955. The point of departure is that, despite stained glass having been part of the ?uvre of many well-known artists, it is often not included in the general history of art. One primary methodological approach is to examine the issue of status emerging from notions of the media-specific qualities of stained glass.



The status of stained glass is examined from three different perspectives: the writing of a history of stained glass, the exhibitions of stained glass in connection with the World Fairs, and the importance of the church as commissioner of stained glass, relating this to modernism. This also provide three partly different backgrounds to the case studies where the aim is to show that stained glass by Rouault, Matisse, and Le Corbusier may be validly considered as part of the history of modernist art.



In the 19th century stained glass protagonists attempted to raise the status of stained glass. The construction of a dramatic history of its own, based on the notion of stained glass of the Middle Ages as media-specific was of vital importance. However, this strategy of arguing unique qualities, firstly in relation to oil-painting, has been problematic in relation to a general history of art.



At the World Fair's of London and Paris 1851-1937, stained glass was shown as applied art. By focusing on media-specific aspects, stained glass protagonists were attempting to raise its status by suppling it with rules according to which it could be created and judged as art. During the 19th century, academic circles appear unwilling to consider any art form diverging from the Renaissance tradition as free art. Within a modernist context, artists transgressed the boundaries of the academic concept of art. This allowed for a desirable cross-fertilization of painting and stained glass.



The church's attitude to modernist art is investigated; primarily the focus is one the French Art Sacré movement as an agent of the renewal of stained glass during 1937-1955.



Stained glass made by Rouault, Matisse, and Le Corbusier deserve attention, not only as parts of the narrative of the history of stained glass, but also as important parts of these artists complete ?uvre and as images in a wider context of modernism. (Less)
Please use this url to cite or link to this publication:
author
supervisor
opponent
  • Högskolelektor Karlholm, Dan, Södertörns högskola
organization
publishing date
type
Thesis
publication status
published
subject
keywords
Stained glass, Modernism, Media-specific, World Fairs, Georges Rouault, Henri Matisse, Le Corbusier, Art Sacré, Assy, Vence, Art history, Ronchamp, Modernity, Konsthistoria
pages
242 pages
publisher
Department of Art History and Musicology
defense location
Institutionen för konst- och musikvetenskap, sal 314, Josephson-huset, Biskopsgatan 5, Lund
defense date
2005-12-10 10:00
ISBN
91-628-6677-X
language
Swedish
LU publication?
yes
id
399c60a5-5e0f-4266-93a8-6527b582362f (old id 24696)
date added to LUP
2007-06-01 08:56:02
date last changed
2016-09-19 08:45:01
@phdthesis{399c60a5-5e0f-4266-93a8-6527b582362f,
  abstract     = {The aim of this thesis is to analyse the status of new stained glass from 1851-1955. The point of departure is that, despite stained glass having been part of the ?uvre of many well-known artists, it is often not included in the general history of art. One primary methodological approach is to examine the issue of status emerging from notions of the media-specific qualities of stained glass.<br/><br>
<br/><br>
The status of stained glass is examined from three different perspectives: the writing of a history of stained glass, the exhibitions of stained glass in connection with the World Fairs, and the importance of the church as commissioner of stained glass, relating this to modernism. This also provide three partly different backgrounds to the case studies where the aim is to show that stained glass by Rouault, Matisse, and Le Corbusier may be validly considered as part of the history of modernist art.<br/><br>
<br/><br>
In the 19th century stained glass protagonists attempted to raise the status of stained glass. The construction of a dramatic history of its own, based on the notion of stained glass of the Middle Ages as media-specific was of vital importance. However, this strategy of arguing unique qualities, firstly in relation to oil-painting, has been problematic in relation to a general history of art.<br/><br>
<br/><br>
At the World Fair's of London and Paris 1851-1937, stained glass was shown as applied art. By focusing on media-specific aspects, stained glass protagonists were attempting to raise its status by suppling it with rules according to which it could be created and judged as art. During the 19th century, academic circles appear unwilling to consider any art form diverging from the Renaissance tradition as free art. Within a modernist context, artists transgressed the boundaries of the academic concept of art. This allowed for a desirable cross-fertilization of painting and stained glass.<br/><br>
<br/><br>
The church's attitude to modernist art is investigated; primarily the focus is one the French Art Sacré movement as an agent of the renewal of stained glass during 1937-1955.<br/><br>
<br/><br>
Stained glass made by Rouault, Matisse, and Le Corbusier deserve attention, not only as parts of the narrative of the history of stained glass, but also as important parts of these artists complete ?uvre and as images in a wider context of modernism.},
  author       = {Fuchs, Helen},
  isbn         = {91-628-6677-X},
  keyword      = {Stained glass,Modernism,Media-specific,World Fairs,Georges Rouault,Henri Matisse,Le Corbusier,Art Sacré,Assy,Vence,Art history,Ronchamp,Modernity,Konsthistoria},
  language     = {swe},
  pages        = {242},
  publisher    = {Department of Art History and Musicology},
  school       = {Lund University},
  title        = {Glasmåleri, modernitet och modernism : studier i glasmåleriets (konst)historia 1851-1955},
  year         = {2005},
}