Bøger af Magnus Olausson

Katalog og bogværk udgivet i forbindelse med udstillingen Dansk Guldålder på Nationalmuseum Stockholm (28. februar – 21. juli 2019) og Dansk guldalder. Verdenskunst mellem to katastrofer på SMK (24. august- 8. december 2019) inkl. fuld værkfortegnelse. Værket består af 20 artikler forfattet af fremtrædende svenske og danske kunsthistoriker, der her fremlægger de senere års reviderede og kritiske forskning i en af de mest populære perioder i dansk kunst. Forskningen suppleres med viden og indsigter opstået i den redaktionelle og kuratoriske proces omkring både bog og udstilling i Stockholm og København. Således indledes bogen med en omfattende oversigtsartikel om perioden af Karina Lykke Grand (AU), hvor den traditionelle, mere idealiserende fortælling og de tematiseringer, man typiske præsenteres for (”Det nye borgerskab”, ”Kunstakademiet”, ”Familieliv” mm.) uddybes og udfordres af en række nye læsninger og perspektiver. De øvrige artikler i bogen behandler og uddyber de problemstillinger, hovedartiklen opridser, og naturligvis også de temaer, man præsenteres for i udstillingen. Periodens udstrækning bliver diskuteret, men også hidtil underbelyste emner i kunsthistorien som tidens kvindelige kunstnere, kolonialisme, resultater af den helt nye tekniske kunsthistorie, den demokratiske revolution, nationalisme vs. internationalisme, teknologi, skandinavismen og de danske kunstnere i Sverige. Ikke mindst er der fokus på de mange kunstnere, der har været skrevet ud af den vedtagne kanon, ikke af kvalitetsmæssige, men af dybest set real- eller identitetspolitiske årsager. Bogen har som udstillingen en art kronologisk-rumlig opbygning, så man følger kunstens faglige udvikling og geografiske bevægelser mellem 1800 og 1860. En udvikling som selvfølgelig ikke kan betragtes isoleret, som kunsthistorien nok har haft tilbøjelighed til, men skal forstås som tæt sammenvævet med en lang række samfundsmæssige forhold og forandringer. Derudover finder man et forord ved NM’s og SMK’s museumsdirektører, en kuratorisk introduktion til udstillings-samarbejdet samt et appendiks med værkfortegnelse, omfattende bibliografi og fyldige kunstnerbiografier over de udstillende kunstnere, Bogen er rigt illustreret med ca. 350 billeder og fotografier.****** ’Et mirakel af et katalog’ Berlingske***** ’Nuanceret og indsigtsfuldt’ Kristeligt Dagblad♥♥♥♥ ’De 278 værker er smukt gengivet’ Politiken

The Swedish and French cultures have had a long and passionate love story in Paris. For 50 years, the 16th-century palace Hôtel de Marle has been an important meeting place for both cultures. In 1971, the Swedish state opened the Swedish Institute in Paris here Sweden s only house of culture abroad. This book tells the history of the unique city palace and of all exciting events that have taken place there. Among other things, one can read about how the singer Barbro Hörberg taught Georg Riedel to drink cassis, about an unforgettable gala night with the main characters from Christer Strömholm s controversial photo book The Friends from Place Blanche, how the Swedish Institute in Paris showed Hilma af Klint before she became widely known, and how a young Swedish photographer named Eva Klasson got her international breakthrough in Paris. There are also guest appearances from August Strindberg, Greta Knutson, Queen Kristina, Gunnar Ekelöf and many other cultural personalities who have made Paris a second home. This is a book about a house, about people, about culture, but first and foremost about friendship. Amitié!

The catalogue was published in connection with the exhibition The Danish Golden Age World-Class Art Between Disasters at The National at National Museum Stockholm (28th February - 21st July 2019) and the National Gallery of Denmark (24th August - 8th December 2019). The catalogue includes 20 articles by prominent Swedish and Danish art historians, who present the most recent academic research on one of the most popular eras in Danish art history. The research is supplemented with knowledge and insight gained in the editorial and curatorial process of both the book and the exhibition in Stockholm and Copenhagen. Thus, the book is introduced by a comprehensive overview article about the period by Karina Lykke Grand (University of Aarhus), which elaborates on the traditional, more idealised, narrative and the thematics that are typically presented in connection to the Danish Golden Age. Family life, citizenship, the Danish Art Academy, etc. are elaborated and challenged by various new readings and perspectives. How far the Danish Golden Age stretches is discussed, as well as, more undiscussed topics in art history, such as the female artists of the Danish Golden Age, colonialism the results of the new technical art history, the democratic revolution, nationalism versus internationalism, technology, Scandinavianism and Danish artists in Sweden. In addition, the catalogue focuses on the many artists who have been written out of the approved canon, not for lack of quality, but for reasons of realpolitik or identity politics. The catalogue, as well as the exhibition, has a chronological-spacial set up so that we follow the technical development and geographic movement between 1800 and 1860. This development can of course not be considered isolated, like art history has been inclined to do, but must be understood as closely interwoven with a wide range of societal conditions and changes. The catalogue is richly illustrated with approximately 350 paintings and photographies