Grafik som folkbildning : En analys av litografins spridning i det svenska folkhemmet 1947-1957

Sammanfattning: Graphic Art as Public Education – a Study of the Spreading of Litographic Prints in Swedish Homes 1947-1957  This thesis aims to analyze how graphics as an art form became a tool to democratize art during the period of 1947–1957 in Sweden. Graphic art refers to the collective term that includes multiplied art prints: lithography, etching, woodcut, and serigraphy. I am using Pierre Bourdieu's sociological theories and concepts as a theoretical framework. The first part highlights the various agents whose ambition was to realize the goal that art would be a matter for everyone in society. These agents consisted of organizations and political representatives. The fact that the state guarded good taste and art presented a potential for change in the existing art field and an opportunity for new agents to exert influence. Next, I examine the role of graphics as an art form, in particular lithography, which had its’ big revival in the 1940s. The number of lithographs that were published via Konstfrämjandet and spread across the country testifies to the power of the political goal that art should concern everyone. The process included education via public organizations of adult and childrens education, creating art societies within the workplace and in general contexts, as well as expanding the trading of art via local agents throughout the country. In the last part, I report on my research regarding how communication relating to graphic arts was carried out. Three cultural inquiries (1947, 1953, 1956), intended to form the basis of a modern cultural policy, emphasized the importance of cultural and artistic education of the people. The investigations called for education and the presence of art in homes and workplaces as well as in schools. The communication about the role of graphic arts in the organization’s publications follows the degree of relevance conveyed in the investigations. The summary I present also shows the increase of organization members, exhibition visitors and graphic arts sales during the years 1947–1957, all with the support of the government's democratization work.