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

展览时代的风景画家工作室：伦敦的私人画廊，从盖恩斯伯勒到康斯特布尔和特纳，c。

• 批准号: 1949691
• 金额: --
• 依托单位: University of York
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2017
• 资助国家: 英国
• 起止时间: 2017 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-1949691
• 关键词: Landscape; Painter; Studio; Age; Exhibitions

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?

从这个CDP的研究达到高潮将建立一个更好的理解农村风景画的生产和接收是如何由城市工作室兼画廊塑造。方法框架将以内容分析和鉴赏为基础：统计分析、定性档案研究和视觉分析的平均分布。在过去的三十年里，文学已经不再把风景画理解为观察记录，而是人类经验的表达，正如西蒙·沙马在《风景与记忆》中所探讨的那样，我将开始对这一时期风景画的兴趣和商业吸引力进行广泛的调查，包括水彩画和油画。什么构成了“英国”景观-它是由艺术家的国籍，场景说明或艺术风格定义？一个相当大的因素是艺术家是如何接受风景画教育的。所有的艺术家都同意吗？什么是正规的训练，或者艺术家的依赖于其他人谁促进了风景画的教育，如亚历山大柯伊伯？在英国旅行有什么建议吗？iii随后，我将量化成功的风景画的艺术家生活在伦敦和他们的成功销售景观在皇家学院和其他商业地点的“黄金时代”。这将需要使用当代地图在地理上确定伦敦的边界，为样本设置参数。艺术家自己的工作室画廊是他们同时代人感兴趣的来源吗？他们是经济上可行的空间，其中出售景观？成功取决于媒介吗？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，利用文献证据和密切的视觉分析。金·斯隆在《风景的诗歌》一书中关注亚历山大和约翰·罗伯特·柯恩，用他们的传记经历描绘他们的职业生涯和他们每件作品背后的动机。（特威克纳姆）、皇家学院档案馆、维特和康威图书馆以及耶鲁大学英国艺术中心。泰特，在这方面，是一个理想的CDP合作伙伴，其广泛的档案。其他艺术家的建议，在广告中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，他们都是工作在伦敦在“时代的展览”。由于艺术机构倾向于招收男性，这项研究的结果可能会受到性别的影响。为了解决这个问题，我建议对两位女性艺术家进行个案研究，分析她们在风景画创作和市场中的作用。定性数据，如报纸评论，艺术期刊和当代报道（如约瑟夫法林顿的日记），可以用来了解在工作室画廊访问这些艺术家的经历和他们的风景画的反应。Martin Myrone回顾了John Martin的职业生涯，而Richard Johns则深入研究了Robert Aggas的作品，每个人都使用经济和传记细节来说明艺术家在艺术市场上的重要性。此外，我们将了解绘画的城市呈现将如何塑造观众与农村题材的相遇，这是由贾尔斯沃特菲尔德初步研究。它们是可访问的还是排他性的？