Allt guld som glimmar : Stormaktstidens medaljkonst från Kristina till Karl XI
(2015)- Abstract
- In the 17th century, especially after the Thirty Years War, Sweden was engaged with demonstrating and presenting itself as the new great power it had become. Particularly the visual culture was a fine way to express the royal desires and ambitions, and what better way to show Sweden’s new age of greatness than through medals, the baroque business card.I strive to illustrate the significance of medals and the cultural context in which they were produced, which includes all components as the ordering of the medal, the medal artist and in the end the final item. The three German medal artists Johan Rethe, Johan Georg Breuer and Anton Meybusch were one of the first of their kind who came to Sweden to work for the Swedish Crown and they left... (More)
- In the 17th century, especially after the Thirty Years War, Sweden was engaged with demonstrating and presenting itself as the new great power it had become. Particularly the visual culture was a fine way to express the royal desires and ambitions, and what better way to show Sweden’s new age of greatness than through medals, the baroque business card.I strive to illustrate the significance of medals and the cultural context in which they were produced, which includes all components as the ordering of the medal, the medal artist and in the end the final item. The three German medal artists Johan Rethe, Johan Georg Breuer and Anton Meybusch were one of the first of their kind who came to Sweden to work for the Swedish Crown and they left apparent impressions on the Swedish medal art. Their carreers shall act as an example for cultural transfer, as well as it shall show the importance of hiring abled medal artists to properly use the medal arts’ potential.My focus is set on how the Swedish monarchs, Kristina, Karl X Gustav and Karl XI used medals to merchandise themselves and in what manner their medals were received. In addition to that it seems to be of importance to evaluate in which way the medals reached their intended public and who the planned recipients were. Analysis of the compound personifications of the royal court produced during the baroque era call for a careful and observant deciphering of their attributes and an awareness of how these medals could yield complex messages. Paradoxical, through pictures the message becomes more apparent and complicated at the same time. It is vital to understand the images’ function in relationship to the commissioning body and his position and personal taste, as well as the medals’ general significance as a cultural object. (Less)
Please use this url to cite or link to this publication:
https://lup.lub.lu.se/record/59d94c85-52e5-40cd-952f-87228837fae3
- author
- Haidenthaller, Ylva LU
- supervisor
- publishing date
- 2015
- type
- Thesis
- publication status
- published
- subject
- keywords
- Medaljer, numismatik, 1600-talet, drottning Kristina, Karl X Gustav, Karl XI, Karl XII, samlande, materiell kultur, visuell kultur, Hedvig Eleonora, sverige, mynt, kulturtransfer, porträttbruk, visuell retorik, emblematik, Medals, Sweden’s age of greatness, Kristina, Karl X Gustav, Karl XI, visual culture
- pages
- 95 pages
- language
- Swedish
- LU publication?
- no
- id
- 59d94c85-52e5-40cd-952f-87228837fae3
- alternative location
- http://uu.diva-portal.org/smash/record.jsf?pid=diva2%3A906619&dswid=2430
- date added to LUP
- 2017-10-27 11:59:58
- date last changed
- 2023-03-24 13:34:27
@misc{59d94c85-52e5-40cd-952f-87228837fae3,
abstract = {{In the 17th century, especially after the Thirty Years War, Sweden was engaged with demonstrating and presenting itself as the new great power it had become. Particularly the visual culture was a fine way to express the royal desires and ambitions, and what better way to show Sweden’s new age of greatness than through medals, the baroque business card.I strive to illustrate the significance of medals and the cultural context in which they were produced, which includes all components as the ordering of the medal, the medal artist and in the end the final item. The three German medal artists Johan Rethe, Johan Georg Breuer and Anton Meybusch were one of the first of their kind who came to Sweden to work for the Swedish Crown and they left apparent impressions on the Swedish medal art. Their carreers shall act as an example for cultural transfer, as well as it shall show the importance of hiring abled medal artists to properly use the medal arts’ potential.My focus is set on how the Swedish monarchs, Kristina, Karl X Gustav and Karl XI used medals to merchandise themselves and in what manner their medals were received. In addition to that it seems to be of importance to evaluate in which way the medals reached their intended public and who the planned recipients were. Analysis of the compound personifications of the royal court produced during the baroque era call for a careful and observant deciphering of their attributes and an awareness of how these medals could yield complex messages. Paradoxical, through pictures the message becomes more apparent and complicated at the same time. It is vital to understand the images’ function in relationship to the commissioning body and his position and personal taste, as well as the medals’ general significance as a cultural object.}},
author = {{Haidenthaller, Ylva}},
keywords = {{Medaljer; numismatik; 1600-talet; drottning Kristina; Karl X Gustav; Karl XI; Karl XII; samlande; materiell kultur; visuell kultur; Hedvig Eleonora; sverige; mynt; kulturtransfer; porträttbruk; visuell retorik; emblematik; Medals; Sweden’s age of greatness; Kristina; Karl X Gustav; Karl XI; visual culture}},
language = {{swe}},
title = {{Allt guld som glimmar : Stormaktstidens medaljkonst från Kristina till Karl XI}},
url = {{http://uu.diva-portal.org/smash/record.jsf?pid=diva2%3A906619&dswid=2430}},
year = {{2015}},
}