'The Landscape Painter's Studio in the Age of Exhibitions: Private Galleries in London, from Gainsborough to Constable and Turner, c. 1780-1850'

本次CDP的研究成果将有助于我们更好地理解城市工作室兼画廊是如何塑造乡村风景画的生产和接受的。该方法的框架将基于内容分析和鉴赏力：统计分析、定性档案研究和视觉分析的均匀分布。在过去的三十年里，文学已经不再把山水画理解为观察记录，而是一种人类经验的表达，正如西蒙·沙玛的《风景与记忆》所探索的那样。我将从对这一时期水彩画和油画的兴趣和商业吸引力的广泛调查开始。是什么构成了一幅“英国”风景画——它是由艺术家的国籍、所描绘的场景还是艺术风格来定义的？一个重要的因素是考虑到艺术家是如何接受山水画教育的。所有的艺术家都尝试过吗？画家接受的正规训练是什么，还是依赖于其他推动山水画教育的人，比如亚历山大·科岑斯？在英国旅游有什么建议？随后，我将通过统计分析生活在伦敦的艺术家，以及他们在“黄金时代”在皇家学院和其他商业场所销售风景画的成功，来量化风景画的成功。这将需要使用当代地图在地理上确定伦敦的边界，并为样本设置参数。艺术家自己的工作室画廊是否引起了同时代人的兴趣？它们在经济上可行吗？成功是否取决于媒介？为了进一步完善研究，我将使用一系列艺术家作为案例研究，利用文献证据和近距离的视觉分析。金·斯隆在《风景之诗》一书中关注亚历山大和约翰·罗伯特·科曾斯，用他们的传记经历来描绘他们的职业生涯和他们每件作品背后的动机。重要的资源包括盖恩斯伯勒故居、约翰·索恩爵士博物馆、贺加斯故居、特纳故居（特威克纳姆）、皇家学院档案馆、威特和康威图书馆以及耶鲁大学英国艺术中心。在这方面，泰特是一个理想的CDP合作伙伴，因为它拥有丰富的档案。广告中提到的其他艺术家可能包括约瑟夫·威廉·艾伦、乔治·文森特、罗伯特·巴克、威廉·马洛和威廉·佩恩，他们都在“展览时代”在伦敦工作。由于艺术院校倾向于招收男性，因此这项研究的结果可能会受到性别的影响。为了解决这一因素，我建议对两位女性艺术家进行案例研究，并分析她们在山水画生产和市场中的作用。定性数据，如报纸评论，艺术期刊和当代报道（如约瑟夫·法灵顿的日记），可以用来了解参观这些艺术家在他们的工作室画廊的经验和对他们的山水画的反应。Martin Myrone回顾了John Martin的职业生涯，Richard Johns深入研究了Robert Aggas的作品，每个人都使用经济和传记细节来描述艺术家在艺术市场上的重要性。我们可以更深入地了解艺术家们在工作室的工作实践，并在他们绘制的地点进行创作。此外，我们将了解绘画的城市呈现如何塑造观众与乡村题材的相遇，这是贾尔斯·沃特菲尔德初步研究的。这些艺术家是如何策划他们自己的工作室画廊空间的？它们是可接触的还是排外的？

The research culminating from this CDP would establish a greater understanding of how the production and reception of rural landscape painting was moulded by the urban studio-cum-gallery. The framework of the methodology would be based on content analysisand Connoisseurship: an equal distribution of statistical analysis, qualitative archival researchand visual analysis.iLiterature over the last thirty years has moved away from understanding landscape painting as observational record, but rather an expression of the human experience, asexplored in Simon Schama's Landscape & Memory.iiI would begin with a broad survey of the interest and commercial appeal of landscape painting in this period, in both watercolours and oils. What constitutes a 'British' landscape -is it defined by the artist's nationality, the scene illustrated or the artistic style? A considerable factor is consideringhow artists were educated in landscape painting. Did all artists attemptit? What was the formal training or were artist's reliant on otherswho promoted the education of landscape painting, such as Alexander Cozens? What was the advice about travelling around Britain?iiiSubsequently I would quantify the success of landscape painting by statisticallyanalysingartists living in London and theirsuccesses of selling landscapes in the Royal Academy and other commercial locationsofthe 'golden age'. This would require geographically determining the boundaries of London using a contemporary map, setting the parameters for the sample. Were the artist's own studio galleries a source of interest to their contemporaries? Were they economically viable spaces in which to sell landscapes? Did the success depend upon the medium?To refine the research further I would use a series of artists as case studies, drawing on documentary evidence and close visual analysis. Kim Sloan, in The Poetry of Landscape, focuses on Alexander and John Robert Cozens, using their biographical experiences to map their careers and the motivations behind each of theirworks.ivEssential resources include Gainsborough's House, Sir John Soan's Museum, Hogarth's House, Turner'sHouse (Twickenham), Royal Academyarchive, the Witt and Conway Libraries and Yale Centre for British Art.Tate, in this respect, is an ideal CDP partner for itsextensive archive.Additional artists to those suggested in the advertcould include Joseph William Allen, George Vincent, Robert Barker, William Marlow and William Payne, all of whom were working in London during the 'age of exhibitions '. Due to arts institutions being biased towards admitting men, the results of this study could riskbeing skewed by gender. To address this factor I propose writing case studies on two female artists and analyse their role in the production of landscape paintings and the market.Qualitative data, such as newspaper reviews, artjournals and contemporary reports(such as the diaries of Joseph Farrington), could be used to understand the experience of visiting these artists in their studio galleries and the response to their landscape painting. Martin Myrone reviewed John Martin's career, whilst Richard Johns delved into Robert Aggas' work, each using economic and biographical details to contextualise the artists' importance in the art market.vWe can gain greater insight into the artists'working practice in the studio anden plein air at the location they were illustrating. Furthermore,we will gain an understanding of how the urban presentation of the painting would shape the viewer's encounter with the rural subject matter, which was preliminarily examined by Giles Waterfield.viHow did the artists curate their own studio gallery space? Were they accessible or exclusive?