The exhibition Art in Battle at KODE – Art Museums of Bergen portrays the battles over art initiated by Nazi policies for their European conquests. It examines propaganda exhibitions in occupied Norway as well as hitherto unseen art by soldiers stationed in Norway. This exceptional catalog documents this ground-breaking show and assembles leading experts on the history and ideology of Nazi cultural campaigns in both Germany and Norway to initiate a fresh discussion of the relationships between center and periphery within the art worlds of the Third Reich outside the overfamiliar dichotomy of “Degenerate“ versus “Great German“ art. Beyond historical re-assessment, this project also asks more pressingly: How do we encounter these battles over art today?

There is no single volume that encompasses an integrated social and cultural history of the Sámi people from the Nordic countries and northwestern Russia. Neil Kent's book fills this lacuna. In the first instance, he considers how the Sámi homeland is defined: its geography, climate, and early contact with other peoples. He then moves on to its early chronicles and the onset of colonisation, which changed Sámi life profoundly over the last millennium. Thereafter, the nature of Sámi ethnicity is examined, in the context of the peoples among whom the Sámi increasingly lived, as well as the growing intrusions of the states who claimed sovereignty over them. The Soviet gulag, the Lapland War and increasing urbanisation all impacted upon Sámi life. Religion, too, played an important role from pre-historic times, with their pantheon of gods and sacred sites, to their Christianisation. In the late twentieth century there has been an increasing symbiosis of ancient Sámi spiritual practice with Christianity. Recently the intrusions of the logging and nuclear industries, as well as tourism have come to redefine Sámi society and culture. Even the meaning of who exactly is a Sámi is scrutinised, at a time when some intermarry and yet return to Sámi, where their children maintain their Sámi identity.

Met teksten in het Engels, Frans, Italiaans, Duits, Nederlands Bibliografie : p. 561-590 Recent investigations conceiving the history of the education of young artists, and the theories of art connected with that education.

In the latter half of the 18th century, Johannes Wiedewelt (1731-1802) played a pivotal role in introducing an early form of Neoclassicism into Danish sculpture by creating a large number of monuments for many different purposes. In the 1750s, he studied in Paris and Rome, where he became part of an international network of pioneering artists and scholars, including J.J. Winckelmann. In Denmark, Wiedewelt endeavored to translate the ancient idiom in statuary and monuments into an 'eternal' national monument style. This volume reassesses Wiedewelt's role in the service of art, art theory, academic education, design, etc. Special emphasis is placed on his studies of Classical Antiquity and Danish prehistoric and medieval monuments, which makes him particularly interesting for the history of archaeology. This is the first book-length study of Johannes Wiedewelt in English.