dc.contributor.author | Kirkholt, Tore | |
dc.date.accessioned | 2019-10-17T13:07:12Z | |
dc.date.available | 2019-10-17T13:07:12Z | |
dc.date.created | 2012-09-26T10:50:04Z | |
dc.date.issued | 2012 | |
dc.identifier.citation | Kunst og kultur. 2012, 95 (2), 64-83. | nb_NO |
dc.identifier.issn | 0023-5415 | |
dc.identifier.uri | http://hdl.handle.net/11250/2622808 | |
dc.description.abstract | Emil Tidemand was the most important figure in establishing art criti-cism as a literary genre in Norway. Nevertheless, his importance has been underestimated in the art his-torical literature, where he has been dismissed as a layman critic whose understanding of art was limited. This criticism is the result of a modernist understanding of art, which was unable to grasp the qualities of Tidemand’s critical writings. This is because he operates with a concept of art’s moral and social signifi-cance, an understanding partly rejected by modernist aesthetics. This article brings out aspects of Emil Tidemand’s critical praxis that will show him as a far more progressive and interesting critic than previously known. | nb_NO |
dc.language.iso | nob | nb_NO |
dc.publisher | Universitetsforlaget | nb_NO |
dc.title | Grunnleggelsen av en norsk kunstkritikk : Emil Tidemands kritiske praksis | nb_NO |
dc.type | Journal article | nb_NO |
dc.type | Peer reviewed | nb_NO |
dc.description.version | publishedVersion | nb_NO |
dc.source.pagenumber | 64-83 | nb_NO |
dc.source.volume | 95 | nb_NO |
dc.source.journal | Kunst og kultur | nb_NO |
dc.source.issue | 2 | nb_NO |
dc.identifier.cristin | 946757 | |
dc.description.localcode | This article will not be available due to copyright restrictions (c) 2012 by Universitetsforlaget | nb_NO |
cristin.unitcode | 194,62,35,0 | |
cristin.unitname | Institutt for kunst- og medievitenskap | |
cristin.ispublished | true | |
cristin.fulltext | original | |
cristin.qualitycode | 1 | |