Vinsamlegast notið þetta auðkenni þegar þið vitnið til verksins eða tengið í það: http://hdl.handle.net/1946/28193
The nationalistic Romantic Movement in art was in the 19th century but came later to the Nordic countries. After World War II only the Faroe Islands kept on depicting its’ folklore, myths and ballades. This was clearly a reaction to continuously being dependent on the Kingdom of Denmark and thus underlining its’ own cultural heritage.
Faroe Islands has only a 100-year-old art history. Because of that, artists have over the years tried to create a face for the country using Faroese folklore. Interpretations of works by Faroese artists depicting Faroese folklore are therefore of great interest in order to figure out what these art pieces contain and whether they can be recognised as national treasures themselves.
In my own art I´m fascinated by Faroese folklore and the idea of creating a national treasure. As a part of my preparatory work I have analysed methods and techniques used in creating a piece of work for allowing it to become a so-called national treasure.
There is a downside to visual nationalism and it can be quite dangerous in terms of manipulation. Some Faroese artists also criticize Faroese people in their artworks for their lack of cultural heritage.
In conclusion, nationalistic art is important for small countries like Faroe Islands because of the feeling of belonging and identity it can create - manufactured or not.
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