Between God, Art and Mammon: Religious Painting as Public Spectacle in Britain, c.1800-1850

在上帝、艺术和玛门之间：作为英国公共景观的宗教绘画，c.1800-1850

• 批准号: AH/I024046/1
• 负责人: David Solkin
• 金额: $ 7.71万
• 依托单位: Courtauld Institute of Art
• 依托单位国家: 英国
• 项目类别: Training Grant
• 财政年份: 2011
• 资助国家: 英国
• 起止时间: 2011 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=AH%2FI024046%2F1
• 关键词: Between; God; Art; Mammon; Religious

The project will aim to explore an important but little studied dimension of the history of British art: the dramatic proliferation of religious paintings in the public exhibition-spaces of London and other urban centres during the first half of the nineteenth century. The importance of this phenomenon has long been recognised by scholars, but - for reasons having largely to do with the secular bias of both the historical and art-historical discourses of British Romanticism - it has never been closely examined, nor have its implications been seriously explored. This neglect offers the opportunity for The Courtauld Institute and Tate jointly to oversee a research project that will not only shed welcome new light on a highly significant area of Tate's collection by enriching our knowledge of some of the era's most ambitious paintings, but also complicate our understanding of a host of key players - artists, art institutions, audiences, patrons, and art entrepreneurs - in an increasingly commercially-driven art world. The student will work toward the fulfillment of these larger ambitions by constructing a succession of six focused case studies, mainly of pictures that belong to Tate. These may include major religious paintings by JMW Turner, Benjamin West, Benjamin Robert Haydon, Joseph Severn, Francis Danby and the Pre-Raphaelite Brotherhood - works which in every case were created for public display, either at the Royal Academy or in a variety of private commercial galleries. The supervisory team are well qualified to direct the research. David Solkin is one of the world's leading scholars on British art of the eighteenth and early nineteenth centuries, and has pioneered the study of London exhibition culture in this period with 'Art on The Line: The Royal Academy Exhibitions at Somerset House 1780-1836', a major exhibition (and accompanying book) that he organised at The Courtauld Gallery in 2001; more recently he has published an important monograph on early nineteenth-century British genre painting, and curated 'Turner and the Masters', a major exhibition that opened at Tate Britain in 2009 before moving on to Paris and Madrid. Martin Myrone was involved in both these exhibition projects, and has published extensively on history painting, the Sublime, and other aspects of British Romantic art that are particularly pertinent to this project. The student would be able to take advantage of two complementary research cultures at Tate and The Courtauld. With its teaching staff of over twenty research-active art historians specialising in western art, and its international-renowned Research Forum, The Courtauld offers an exceptionally rich intellectual environment for its doctoral students, who are given the opportunity to participate in the largest and most diverse community of art history PhD's in the UK; for this student, the London Research Seminar in Early Modern Visual Culture (co-organised by The Courtauld and University College London) will be of particular relevance, but issues relating to religious art and to 19th-century exhibition culture arise in numerous other contexts as well. At Tate Britain, the student will have access to another active research community involved in a range of projects from collection catalogues to exhibitions and displays, and the chance to become involved in the programmes of the new Research Centre for British Romantic Art. Practical training will be provided by Tate in order to allow the student to access and work closely with the primary materials (paintings especially) held in the gallery and its Southwark store. We foresee several important outcomes from this project. Primarily the PhD would enter the public domain through partial or complete publication. The case-studies will form the basis of new 'In-Focus' texts which will provide an in-depth documentation and analy

该项目旨在探索英国艺术史上一个重要但鲜有研究的方面：19世纪上半叶伦敦和其他城市中心的公共展览空间中宗教绘画的戏剧性激增。这一现象的重要性早已得到学者们的认可，但由于英国浪漫主义的历史和艺术历史话语的世俗偏见，人们从未仔细研究过这一现象，也没有认真探讨过它的影响。这种忽视为考陶尔德研究所和泰特共同监督一个研究项目提供了机会，该项目不仅将通过丰富我们对那个时代最雄心勃勃的一些画作的知识，为泰特收藏的一个非常重要的领域带来新的可喜的曙光，而且还将使我们对越来越受商业驱动的艺术世界中的许多关键参与者--艺术家、艺术机构、观众、赞助人和艺术企业家--的理解复杂化。这位学生将通过构建一系列六个重点案例研究来努力实现这些更大的雄心，主要是属于泰特的图片。这些作品可能包括JMW Turner、Benjamin West、Benjamin Robert Haydon、Joseph Severn、Francis Danby和前拉斐尔兄弟会的主要宗教绘画-这些作品都是为公开展示而创作的，要么在皇家学院，要么在各种私人商业画廊。监督团队完全有资格指导这项研究。戴维·索尔金是十八世纪和十九世纪初世界领先的英国艺术学者之一，他在这一时期开创了伦敦展览文化研究的先河，他于2001年在考陶尔德画廊组织了一个大型展览(及配套书籍)--《线上的艺术：萨默塞特宫1780-1836年的皇家学院展览》；最近，他出版了一本关于十九世纪早期英国风俗画的重要专著，并策划了大型展览《特纳与大师》，该展览于2009年在英国泰特美术馆开幕，然后转移到巴黎和马德里。马丁·米龙参与了这两个展览项目，并发表了大量关于历史绘画、崇高和英国浪漫主义艺术的其他方面的文章，这些方面与这个项目特别相关。学生将能够利用泰特和考陶尔德两种互补的研究文化。Courtauld拥有20多名专门从事西方艺术的积极研究的艺术史学家和享誉国际的研究论坛，为博士生提供了一个特别丰富的知识环境，他们有机会参与英国最大和最多样化的艺术史博士社区；对这名学生来说，伦敦早期现代视觉文化研究研讨会(由Courtauld和伦敦大学学院联合举办)将具有特别的相关性，但与宗教艺术和19世纪展览文化有关的问题也会在许多其他背景下出现。在英国泰特，学生将有机会接触到另一个活跃的研究社区，参与从收藏目录到展览和展示的一系列项目，并有机会参与新的英国浪漫主义艺术研究中心的项目。泰特将提供实践培训，以使学生能够接触到画廊及其南沃克门店持有的原始材料(特别是绘画)并与之密切合作。我们预计这个项目会产生几个重要的结果。首先，博士将通过部分或全部出版进入公共领域。这些案例研究将构成新的重点文本的基础，这些文本将提供深入的文件和分析