Akademi och anatomi. Om människokroppens historia i nya tidens konstnärsutbildning och ateljépraktik, med särskild tonvikt på anatomiundervisningen vid konstakademierna i Stockholm och Köpenhamn fram till 1800-talets början.

SUMMARY Torsten Weimarck: ACADEMY AND ANATOMY. On the History of the Human Body in Art Instruction and Studio Practice from ca. 1600 up to ca. 1810, with Particular Emphasis on the Instruction of Anatomy at the Academies of Art in Stockholm and Copenhagen The aim of the present study is to contribute to the documentation and interpretation of the image and experience of the body by means of two historically and locally specific examples. This image was first formulated in the 16th and 17th centuries by among others René Descartes, and it was given various visual shapes by artists connected with the academies of art from that time on. The intention of my investigation is to discuss – from a Nordic horizon – some traits of what from an epistemological point of view may be called the growth of the modern profane or rather anatomical body image. I have explored some important aspects of these specific, epistemological and ideological contexts, taking as my point of departure the basic pedagogical system in academy instruction, the academy drawing from the nude, especially the "scientific" version called plastic anatomy, painter's anatomy etc. The system was derived from Andreas Vesalius De humani corporis fabrica libri septem ("Fabrica"), an anatomical masterpiece which was published in 1543 with the enormously influential woodcuts by the Flemish artist Jan Stephan van Calcar educated in Titian's Venetian school of drawing. * The Swedish Academy of Art was founded in 1735, the Danish counterpart in 1754, but I also try to outline the prehistory of anatomical instruction and studio practice in the Nordic countries; in fact the study begins with the Nordic Renaissance from the 14th to the 16th centuries and pursues the subject until about 1810, when a partly new perception of the body and the world was being formed. The flowering of Romanticism brought a new comprehension of human perception not only as a reflection but above all as a creative encounter between the individual and the objects of the surrounding world. ...