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Sofia Aittomaa: Fyra kejserliga monument i Finland. Tillkomst, mottagande och bemötande, Åbo/Turku 2019
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The Miracle of the Harvest. The Cistercians, French Connections and the Hegwald Workshop on Gotland
Full text linkThis article examines the representation of the Miracle of the Harvest, a rare pictorial motif on thirteenth century works, which was carved on four baptismal fonts by the Hegwald workshop operating on Gotland. The unique pictorial representations of this legend on the Hegwald fonts indicates that the workshop was most likely operating around the year 1200 or in the early decades of the thirteenth century and not, as Johnny Roosval suggested in 1918–1925, in the late eleventh or early twelfth centuries. Central to the development of the Romanesque font industry on Gotland was the arrival of the monks from the Cistercian monasteries of Clairvaux and Cîteaux in France, to Alvastra, Nydala (both on the Swedish mainland) and to the Baltic island of Gotland in 1152/53–1164, where the Cistercians founded the monastery of Beata Maria de Gutnalia (Roma). With these developments, a massive stone industry evolved across the North and introduced a major influx of French influences that impacted the numerous workshops producing baptismal fonts, including Hegwald’s. A review of the tetradic scholarship concerning the Hegwald workshop, the subject of the Miracle of the Harvest, the known written and visual evidence, and the construction history of the parish churches, is integrated and analysed within the historical context of the twelfth-and-thirteenth-century Danish-French alliances that contributed to these Baltic developments during the Valdemarian dynasty (1157–1241)
Sex ”dalmålningar” på Svenska institutet i Rom
Full text linkTitle: Six Dalecarlian Painted Tapestries at the Swedish Institute of Classical Studies in RomeIn the art collection of the Swedish Institute of Classical Studies in Rome, there are six “dalmålningar” (“dala” or “kurbits” paintings) whose origin, provenance and motifs have not previously been treated in a scholarly context. In fact, their existence is probably unknown to researchers in the field. Five of the paintings are genuine “dalmålningar”, i.e. painted tapestries made in the province of Dalecarlia (central Sweden), in the area around Lake Siljan, during the 18th and 19th centuries. Four of them are by one of the most famous painters, Hjelt Per Persson (1821–1886), while the fifth is a “wedding plaque” whose author cannot be determined. The sixth and largest painting is actually a Småland tapestry painted by Per i Duvhult (1787–1862), one of the foremost representatives of the Breared school, active in the borderland between the provinces of Småland and Halland (southern Sweden). All the paintings were made during the period 1836–1840. In the article, the individual works are dealt with in turn, their motifs described and their sometimes almost illegible and fragmentary texts interpreted. How and why the paintings ended up at the Swedish Rome Institute during the Second World War is something of a mystery and the article ends with a summary of what the author has been able to find out about their provenance – and a hypothetical reconstruction of their path to Rome
Zlatan-statyns uppgång och fall. Om förstörelsens ikonografi
Full text linkTitle: The Rise and Fall of the Zlatan Statue. On the Iconography of DestructionIn the previous issue of ICO, published December 31, 2019, the repeated attacks on football star Zlatan Ibrahimović’s statue in Malmö were described, and to one of them especially a brief historical background was given: the sawing off of the statue’s nose. The attacks on the monument continued and culminated in January 2020, when the statue was sawn off at the ankles and toppled from its pedestal. The subsequent debate was characterized largely by both conceptual confusion and pure ignorance regarding the grounds, traditions and iconography of monument mutilation and destruction. In this article, the Zlatan statue is the starting and ending point for placing the attacks on statues in a larger cultural-historical context where different types of motives and strategies are exemplified, and where it is shown that precisely the elimination of the nose has an ancient and very specific meaning
Lars Berggren & Annette Landen (red.): Ecce leones! Om djur och odjur i bildkonsten, Lund 2018
No full textHertugparret malet i rotunden i Znojmo, 1134, Tjekkiet, er den bedste ikonografiske parallel til det danske kongelige stifterpar i Vä, 1121
Full text linkTitle: The donor couple painted in the Rotunda of St. Catherine in Znojmo (Czech Republic) in 1134 is the best iconographical parallel to the Danish royal donors in Vä Church, Sweden (1121)
In this paper the author introduces an iconographic parallel to the donor portraits of a royal couple in Vä Church, Sweden, dated to 1121 and presented by the author in a previous issue of ICO, Nordic Review of Iconography: “Donor pictures and their iconography in Danish frescos from the 12th century”, nr 4, 2015, pp. 4–48. The case in point is found in Bohemia, in the Rotunda in Znojmo, where the donor portraits of Conrad II of Znojmo and Maria of Serbia, dated to 1134, like those in Vä are painted on the eastern wall of the chancel, on both sides of the apse. Notable parallels between the two monuments are that the construction of the church and the wall paintings are contemporary, that both use the same painting technique (fresco/secco) and that both show Byzantine influence. Furthermore the patrons are represented on the same scale as the saints in their vicinity in the church, men and women are depicted as equals in that they have the same height, both are very finely dressed and both present gifts that are received by the hand of God. However, although the portraits have much in common concerning iconography and placing, there is nothing to suggest a direct connection between the two churches. Perhaps the paintings in Vä and Znojmo are just two randomly preserved remnants of a Byzantine tradition