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Peter GillgrenProfessor

Om mig

Professor i konstvetenskap.

Doktorsexamen 1995 från Uppsala universitet med på en avhandling om målade minnestavlor i det tidigmoderna Sverige.

Mellan 1998 och 2007 lektor i konstvetenskap vid Högskolan på Gotland.

Forskning

Min forskning handlar i hvudsak om renässansens och barockens konst samt om konstvetenskaplig teori och ämneshistoria. 2009 utkom en bok om konst och identitet i 1500-talets Sverige. En bok om betraktarskap och platsspecificitet i Federico Baroccis måleri publicerades av Ashgate 2011. Den gavs ut som pocket av Routledge 2016.

2017 kom en bok om Michelangelo och multimedia på Nordic Academic Press.

Jag bedriver även forskning om konsthistorikern Felix Horb (Prag 1890 - Stockholm 1958) som tillhörde Wienerskolan.

Förutom tidigmodern konst och konstteori är jag intresserad av samtida konst, musik och multimedia.

 

Forskningsprojekt

Publikationer

I urval från Stockholms universitets publikationsdatabas

  • By the Dead Body of Christ: Representation and Spectacle

    2021. Peter Gillgren. Indifferent Things? Objects and Images in Post-Reformation Churches in the Baltic Sea Region, 105-117

    Kapitel
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  • Felix Horb

    2019. Peter Gillgren. Journal of Art Historiography (21)

    Artikel

    With his publications on architectural representations in Late Medieval painting, Felix Horb (1890–1958) positioned himself in relation to his teacher Max Dvořák, his close colleague Hans Sedlmayr and the studies of Erwin Panofsky. Founding his work on a historic-genetic methodology, Horb demonstrated its relevance for understanding important aspects of Giotto’s art and the rise of Renaissance perspective. In close contact with many renowned art historians of the earlier twentieth century, Horb’s work is important not only in itself but also for its critical stand in relation to these scholars. Refuting both the history of style and iconology, Horb took a constructivist approach to art history that was founded in the New Vienna School, and was at the same time highly original.

    Läs mer om Felix Horb
  • Siting Michelangelo's Last Judgment in a Multimedia Context

    2011. Peter Gillgren. Konsthistorisk Tidskrift 80 (2), 65-89

    Artikel

    Michelangelo's Last Judgment is a site-specific work. The fresco was painted in 1535-1541 for permanent installation in the Sistine chapel and conceived as part of a multimedia spectacle, involving the singing of Costanzo Festa's Miserere (a forerunner to Allegri's better known piece) and the gradual darkening of the chapel the famous tenebrae ceremony. Several of the painting's characteristics can be explained as the result of the artist optimizing his work to function within this very context. The study is based on witness reports of the late eighteenth and early nineteenth century, as well as sixteenth-century sources on the art, music and ceremonies of the Sistine chapel. Special consideration is given to the tapestries by Raphael and their relationship to Michelangelo's work.

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