https://septentrio.uit.no/index.php/1700/issue/feed 1700-tal: Nordic Journal for Eighteenth-Century Studies 2020-03-19T10:35:21+01:00 My Hellsing my.hellsing@historia.su.se Open Journal Systems <p>Nordic Journal for Eighteenth-Century Studies</p> https://septentrio.uit.no/index.php/1700/article/view/5114 [Title page, Colophon, Table of Contents] 2020-03-19T10:34:58+01:00 My Hellsing per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 My Hellsing https://septentrio.uit.no/index.php/1700/article/view/4877 Redaktörernas förord 2020-03-19T10:35:21+01:00 My Hellsing per.pippin.aspaas@uit.no Søren Peter Hansen per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 My Hellsing, Søren Peter Hansen https://septentrio.uit.no/index.php/1700/article/view/4878 Inledning: Haga, det skapade skimret över Gustaf III:s dagar 2020-03-19T10:35:19+01:00 My Hellsing per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 My Hellsing https://septentrio.uit.no/index.php/1700/article/view/4879 Authenticity on the silver screen 2020-03-19T10:35:17+01:00 Hedvig Mårdh per.pippin.aspaas@uit.no <p>The three silent films 'Gustaf III och Bellman' (1908), 'En afton hos Gustaf III på Stockholms slott' and 'Två konungar' (1925) are illuminating examples of how the Gustavian period was reinvented, negotiated and visualized at the beginning of the twentieth century. In the article, object-based and visual analysis of the films, together with reception studies, are used to explore the production of period film and the strategies film directors developed in order to mediate a feeling of authenticity on screen. These strategies, based on a performative approach to authenticity, shared a number of similarities with professional art-historical practice at the turn of the twentieth century. The three case studies reveal not only how the Gustavian period was staged, but also the overlapping professional structures where filmmakers relied on specialists in the organization of material things, for example museum curators and art historians. Through their authority as experts they were able to help authenticate film productions and facilitate access for the film crew to historic sites. Likewise, the production of period films helped shape public history and influenced the management of heritage sites and museums, initiating reconstruction projects, for example.</p> 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Hedvig Mårdh https://septentrio.uit.no/index.php/1700/article/view/4880 Ligning med ubekendte 2020-03-19T10:35:16+01:00 Kent Alstrup per.pippin.aspaas@uit.no <p>Inaugurated in 1740, the majestic building of the new royal palace in Copenhagen would play a key role in the introduction of new stylistic waves over the next 50 years, until the palace sadly was destroyed by a devastating fire in 1794. As the title suggests, the disappearance of these interiors has left a serious lacuna in the understanding of the period’s art and architecture. All the famous architects and artists of the time worked in the palace and from this, the central monument of eighteenth-century Denmark, new ideas spread throughout the realm. A few drawings have survived, and together with the abundance of written sources, we can get a rather good impression of the character of these interiors, even to the point where it is possible to reconstruct quite a few of them in drawings. An example of this is the bedroom of the Crown Princess Marie Sophie Frederikke from 1790, from which there furthermore exist pieces of furniture and richly embroidered textiles (fig. 12-19). At the outset, the interiors of the palace were decorated in the early rococo style (figs. 4–7) by the young architects L. de Thurah and N. Eigtved, who both had recently been on long journeys in Europe, where they had studied the newest architecture. The French sculptor L.-A. Le Clerc was responsible for the design of all the ornamental work on the building, and since the ornaments played such a vital part in the concept of the whole style, Le Clerc came to play a key role in the interior design (fig. 9). Furthermore, the well-documented use of up-to-date literature about the latest developments in French architecture as well as direct artistic contact with the Court of Versailles, ensured that the interiors lived up to the standards of the time. The early variant of the classical revival, the Louis Seize, was introduced by the French architect N.-H. Jardin and later on developed further by his pupil, C.F. Harsdorff (fig. 8), aided by the talented architect and decorator C.F. Lillie. In this article, a part of the palace’s north wing is used as an example of the development of not only style and fashion, but also the different ways in which the rooms were used over the years.</p> <p>Inaugurated in 1740, the majestic building of the new royal palace in Copenhagen would play a key role in the introduction of new stylistic waves over the next 50 years, until the palace sadly was destroyed by a devastating fire in 1794. As the title suggests, the disappearance of these interiors has left a serious lacuna in the understanding of the period’s art and architecture. All the famous architects and artists of the time worked in the palace and from this, the central monument of eighteenth-century Denmark, new ideas spread throughout the realm. A few drawings have survived, and together with the abundance of written sources, we can get a rather good impression of the character of these interiors, even to the point where it is possible to reconstruct quite a few of them in drawings. An example of this is the bedroom of the Crown Princess Marie Sophie Frederikke from 1790, from which there furthermore exist pieces of furniture and richly embroidered textiles (fig. 12-19). At the outset, the interiors of the palace were decorated in the early rococo style (figs. 4–7) by the young architects L. de Thurah and N. Eigtved, who both had recently been on long journeys in Europe, where they had studied the newest architecture. The French sculptor L.-A. Le Clerc was responsible for the design of all the ornamental work on the building, and since the ornaments played such a vital part in the concept of the whole style, Le Clerc came to play a key role in the interior design (fig. 9). Furthermore, the well-documented use of up-to-date literature about the latest developments in French architecture as well as direct artistic contact with the Court of Versailles, ensured that the interiors lived up to the standards of the time. The early variant of the classical revival, the Louis Seize, was introduced by the French architect N.-H. Jardin and later on developed further by his pupil, C.F. Harsdorff (fig. 8), aided by the talented architect and decorator C.F. Lillie. In this article, a part of the palace’s north wing is used as an example of the development of not only style and fashion, but also the different ways in which the rooms were used over the years.</p> 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Kent Alstrup https://septentrio.uit.no/index.php/1700/article/view/4881 Blickar och betydelser 2020-03-19T10:35:15+01:00 Johan Eriksson per.pippin.aspaas@uit.no Steven Bachelder per.pippin.aspaas@uit.no Masaki Hayashi per.pippin.aspaas@uit.no Per Widén per.pippin.aspaas@uit.no <p>During the years 1795–1866 the Swedish national art collection, today’s Nationalmuseum, was on display at the Royal Palace in Stockholm at what was known as Kongl. Museum. This museum consisted of two sculpture galleries adjacent to the palace garden Logården and a paintings gallery and a few more rooms on the second floor. While the sculpture galleries are well known as well as reconstructed in situ, there has been much less research on the display of paintings at the museum. In the cross disciplinary research project »Virtual Museum at the Royal Palace» we are using a digital 3D model to reconstruct the display of paintings in the so-called smaller gallery of the palace, as it was displayed during the period. The reconstruction deals with two different hangings of the gallery, in 1795 and c. 1843, made by the curators Carl Fredric Fredenheim and Lars Jacob von Röök respectively. Our preliminary findings show that, contrary to earlier claims, the two hangings are rather different and constructed on quite different ideologies of museum display, something that is possible to see thanks to the method of using digital 3D-models as a basis for analysis.</p> 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Johan Eriksson, Steven Bachelder, Masaki Hayashi, Per Widén https://septentrio.uit.no/index.php/1700/article/view/4882 From country house to penthouse 2020-03-19T10:35:14+01:00 Victor Edman per.pippin.aspaas@uit.no <p>In 2011 a new museum opened in Stockholm – Sven-Harry’s Art Museum – named after its initiator and funder, the building contractor Sven-Harry Karlsson. Besides a gallery for temporary exhibitions, the museum includes a permanent collection of art and applied art installed in a penthouse on top of the building. The installation is conceived as a full-scale replica of Karlsson’s former home in an eighteenth-century manor house. This article focuses on the reconstructed home and aims at situating it within a tradition of full-scale displays of architectural interiors – so-called period rooms – in Swedish cultural history museums. Since the start of the twentieth century, eighteenth-century architecture has had a central position in the Swedish cultural heritage. Sven-Harry’s replicated home, a small manor of the rococo era, fits perfectly into the national canon, which for a long time focused on the homes of the elites to illustrate development within the arts. Even though the recreated milieu in Sven-Harry’s museum depends on traditional museum practice, it is also typical of contemporary innovations. In the last few decades, even prestigious cultural history museums have utilized the periodroom format in unconventional ways, and the bold reconstruction of Sven-Harry’s home is clearly a representative of this trend.</p> 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Viktor Edman https://septentrio.uit.no/index.php/1700/article/view/4883 Axel Hörstedt, Latin dissertations and disputations in the early modern Swedish gymnasium: A study of a Latin school tradition c. 1620–c. 1820 (University of Gothenburg, 2018), 502 pp. 2020-03-19T10:35:13+01:00 Elena Dahlberg per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Elena Dahlberg https://septentrio.uit.no/index.php/1700/article/view/4884 Robert Oldach, Stadt und Festung Stralsund: Die schwedische militärpräsenz in Schwedisch-Pommern 1721–1807, Quellen und Studien aus den Landesarchiven Mecklenburg-Vorpommern 20 (Köln: Böhlau, 2018). 518 pp. 2020-03-19T10:35:12+01:00 Martin Almbjär per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Martin Almbjär https://septentrio.uit.no/index.php/1700/article/view/4885 Mette Vårdal, Ligesaavel i Vadmel som i Fløiel. Uformelle relasjoner mellom embetsmenn, bønder og husmenn i Vågå ca. 1745–1844, doktoravhandling ved UiB (Bergen: Historisk-filosofisk fakultet, 2018). 341 pp. 2020-03-19T10:35:10+01:00 Marthe Hommerstad per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Marthe Hommerstad https://septentrio.uit.no/index.php/1700/article/view/4886 Claus Bryld, Edmund Burke: Konservatismens profet (Aarhus: Aarhus universitetsforlag 2018). 276 pp. 2020-03-19T10:35:09+01:00 Mikkel Thorup per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Mikkel Thorup https://septentrio.uit.no/index.php/1700/article/view/4887 Elise M. Dermineur, Gender and Politics in Eighteenth-Century Sweden: Queen Louisa Ulrika (1720–1782) (Abingdon & New York: Routledge, 2017). 253 pp. 2020-03-19T10:35:08+01:00 Johanna Ilmakunnas per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Johanna Ilmakunnas https://septentrio.uit.no/index.php/1700/article/view/4888 Christina Holst Færch, Smædeskrifter, sladder og erotiske vers i 1700-tallet: Hans Nordrups forfatterskab – med et udvalg af hans digte (København: Museum Tusculanums Forlag, 2019). 416 pp. 2020-03-19T10:35:07+01:00 Simona Zetterberg Gjerlevsen per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Simona Zetterberg Gjerlevsen https://septentrio.uit.no/index.php/1700/article/view/4890 Axel Kristinsson, Hnignun, hvaða hnignun? Goðsögnin um niðurlægingartímabilið í sögu Íslands [Decline, What Decline? The Myth of the Depressed Era in the History of Iceland]. (Reykjavík: Sögufélag 2018). 280 pp. 2020-03-19T10:35:05+01:00 Helgi Skúli Kjartansson per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Helgi Skúli Kjartansson https://septentrio.uit.no/index.php/1700/article/view/4891 Leos Müller, Sveriges första globala århundrade: en 1700-talshistoria (Stockholm: Dialogos Förlag, 2018). 260 pp. 2020-03-19T10:35:04+01:00 Matthias Persson per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Matthias Persson https://septentrio.uit.no/index.php/1700/article/view/4892 Aina Nøding, Claus Fasting: Dikter, journalist, opplysningspioner (Oslo: Scandinavian Academic Press, 2018). 440 pp. 2020-03-19T10:35:03+01:00 Per Pippin Aspaas per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Per Pippin Aspaas https://septentrio.uit.no/index.php/1700/article/view/4893 Clemens Räthel, Wie viel Bart darf sein? Jüdische Figuren im skandinavischen Theater (Tübingen: Narr Francke Attempto Verlag, 2016). 388 pp. 2020-03-19T10:35:02+01:00 Bent Holm per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Bent Holm https://septentrio.uit.no/index.php/1700/article/view/4894 Gunvor Simonsen, Slave Stories: Law, Representation, and Gender in the Danish West Indies (Aarhus: Aarhus University Press, 2017). 245 pp. 2020-03-19T10:35:00+01:00 Liv Helene Willumsen per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Liv Helene Willumsen https://septentrio.uit.no/index.php/1700/article/view/4895 Kirsi Vainio-Korhonen, Musta-Maija ja Kirppu-Kaisa – Seksityöläiset 1800-luvun alun Suomessa [Black Maija and Flea Kaisa: Sex Workers at the Start of the Nineteenth Century in Finland] (Helsinki: SKS, 2018). 283 pp. 2020-03-19T10:35:00+01:00 Katariina Lehto per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Katariina Lehto https://septentrio.uit.no/index.php/1700/article/view/4896 Þórunn Jarla Valdimarsdóttir, Skúli fógeti, faðir Reykjavíkur: Saga frá átjándu öld [Skúli fógeti = the Crown’s chief financial administrator; Reykjavík’s father. A story from the eighteenth century] (Reykjavík: JPV útgáfa, 2018). 256 pp. 2020-03-19T10:34:59+01:00 Andri M. Kristjánsson per.pippin.aspaas@uit.no 2019-11-18T00:00:00+01:00 Copyright (c) 2019 Andri M. Kristjánsson