Hedvig Mårdh – författare

Varför tatuerar man bilden av en gris på just vänster fot? Vad betyder egentligen ett tatuerat ankare? Hur ser man om en fullriggare är en äkta sjömanstatuering?De svenska sjömännens klassiska bildvärld är full av magiska symboler, skepp och marina föremål. Dessutom myllrar den av mer eller mindre glömda referenser till populärkulturen, inte minst den amerikanska.Boken tar dig med till de suggestiva hamnkvarteren, de seglande skeppen och en till stora delar försvunnen värld.

The neoclassical Gustavian style, perhaps like no other style, has been systematically embraced by the official heritage institutions in Sweden, including the academic discipline of art history. This study presents the actors, human and non-human, that have contributed to the resilient position of the Gustavian style in the public consciousness, nationally and internationally, but also when shaping ideas of the ideal home and good taste. It is a close investigation of the intersection between art history and cultural heritage, where the revivals and mediations of the style have been used as a platform for further exploration. In relation to this, the study examines the use and changing meanings of the concepts of authenticity and style. The focus is placed on three periods – the 1890s, the 1930s-40s and the 1990s – during which the Gustavian style was defined, revived and mediated in different modes of representation such as textbooks, exhibitions, period furniture and historically informed performances. The research is multidisciplinary in its character, drawing on the fields of art history, critical heritage studies and design history. Hedvig Mårdh is a researcher at the Department of Art History, Uppsala University. A Century of Swedish Gustavian Style is her doctoral dissertation.