From Vesuvius to the Thames. The fortunes of Baroque Neapolitan art in English collections, 1600-1900

从维苏威火山到泰晤士河。

• 批准号: 2726048
• 金额: --
• 依托单位: University of Birmingham
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2022
• 资助国家: 英国
• 起止时间: 2022 至 无数据
• 项目状态: 未结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2726048
• 关键词: Vesuvius; Thames.; fortunes; Baroque; Neapolitan

My project will be interdisciplinary, aimed at investigating the history of collecting Neapolitan art in England. Baroque Neapolitan painting forms a significant part of private and public English art collections from the late seventeenth century onwards, yet there is no publication exploring the significance of these collections as a whole. Studies are often related to well-known artists (e.g. Luca Giordano, Francesco Solimena), famous public collections (e.g. the National Gallery, London) or to specific periods, such as the seventeenth century (e.g. Haskell, 1980; Treves, 2016). Despite the high academic interest, as evidenced by ongoing research (e.g. Spinosa, 2021), there are no publications offering an overarching thesis supported by an illustrated database. My database will provide the first comprehensive view of Neapolitan paintings still admired today across England (1600-1900), and - to make the project manageable - the thesis will analyse the histories of collecting during the crucial period between 1680 and 1800, when a considerable number of English artists and collectors came to Naples during the Grand Tour.The questions this project will answer include; who were the most famous Neapolitan artists in England and why? Who and why were the English collectors interested in Neapolitan art? Is it possible to talk about an "English fashion for Baroque Neapolitan art"? How did the art market influence the English view of Naples? Who were the agents and the economic interests involved in the movement of artworks from Naples to England? What differentiates a public from a private collection? How does the ownership of artworks influence their accessibility today?The study will require documentary, online and archival research, the comparison with heritage inventories and testimonies of biographers (e.g. De Dominici, 1745). I will draw on new approaches to the history of collecting, based on economic, political and social aspects. Field studies, identifying and locating Neapolitan art in public and private English collections, will also form an essential part of my research.My research (in particular the open access database) will be a fundamental resource for academics and museum professionals interested in provenience research, ownership rights, economic, political and social studies regarding the fortunes of Neapolitan art in England. The research will be particularly valuable for civic museum collections (such as BMAG) which house significant Baroque collections, but do not have curatorial staff who specialise in this period.

我的项目将是跨学科的，旨在调查在英格兰收集那不勒斯艺术的历史。从十七世纪后期开始，巴洛克那不勒斯的绘画构成了私人和公共英语艺术收藏的重要组成部分，但没有出版物探索整个收藏的重要性。研究通常与著名艺术家（例如卢卡·佐丹奴，弗朗切斯科·索利梅纳），著名的公共收藏（例如国家美术馆，伦敦）或特定时期有关，例如17世纪（例如Haskell，1980; Treves; Treves，2016年）。尽管持续的研究表明，尽管学术上的兴趣很高（例如Spinosa，2021），但没有出版物提供插图数据库支持的概念论文。我的数据库将提供今天整个英格兰（1600-1900）仍然钦佩那不勒斯绘画的首个综合视图，并且 - 为了使该项目易于管理 - 论文将分析1680年至1800年之间的关键时期期间收集的历史，届时，在大量的英国艺术家和收藏家中，在大量旅行中，这个项目将回答Noples。谁是英国最著名的那不勒斯艺术家，为什么？谁和为什么对那不勒斯艺术感兴趣的是谁？是否可以谈论“巴洛克那不勒斯艺术的英国时尚”？艺术市场如何影响英国对那不勒斯的看法？谁是代理商和经济利益，参与从那不勒斯到英国的艺术品运动？是什么区别于公众与私人收藏的区别？艺术品的所有权如何影响其当今的可及性？该研究需要纪录片，在线和档案研究，与传记作者的遗产清单和证词进行比较（例如，Demomici，1745年）。我将根据经济，政治和社会方面的新方法来探讨收集历史的新方法。野外研究，在公共和私人英语系列中识别和定位那不勒斯艺术，也将成为我的研究的重要组成部分。我的研究（尤其是开放访问数据库）将是学者和博物馆专业人士的基本资源，这些资源对熟练的研究，所有权，所有权，经济，经济，政治，政治和社会研究感兴趣，内容涉及英国Neapolitan Art in England的Fortunes fortunes。这项研究对于容纳大量巴洛克式收藏品的公民博物馆收藏（例如BMAG）将特别有价值，但没有专门在此期间专门的策展员工。