The purpose of this essay is to study the creation of an artist ́s home. This is done through an architectural analysis of the artist Bo Vilson ́s (1910-1949) home, Bovilgården, which was completed in 1943. The essay ́s investigation is based in Gunnar Almevik ́s analysis method, which is grounded in three perspectives: the forensic perspective, the source pluralist perspective, and the actor perspective. The results are then examined in relation to Linda Young ́s theories on the phenomenon of historic house museums and the concept of authenticity.

The essay describes the process and design of Bovilgården, as well as its stylistic influences and other ideas that Vilson may have been inspired by. The building is places in the context of 1930-40s architectural history and studied in relation to the concept of the artist’s home, while also being compared to other artist ́s homes from the turn of the 20th century. The essay also includes an examination of how the site is currently narrated.