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，旨在调查收集那不勒斯艺术在英格兰的历史。巴洛克风格的那不勒斯绘画构成了自17世纪后期以来英国私人和公共艺术收藏的重要组成部分，但没有出版物探讨这些收藏品的整体意义。研究通常与著名艺术家（例如卢卡·焦尔达诺，弗朗西斯科·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，如十七世纪（例如哈斯凯尔，1980;特里夫斯，2016）。尽管有很高的学术兴趣，正在进行的研究（例如Spinosa，2021）证明，没有出版物提供由插图数据库支持的总体论文。我的数据库将提供第一个全面的那不勒斯绘画今天仍然在英格兰各地欣赏（1600-1900），并-使项目管理-论文将分析收集的历史在1680年和1800年之间的关键时期，当相当数量的英国艺术家和收藏家来到那不勒斯期间的大旅游。这个项目将回答的问题包括;谁是英格兰最著名的那不勒斯艺术家，为什么谁以及为什么英国收藏家对那不勒斯艺术感兴趣？有没有可能谈论“巴洛克那不勒斯艺术的英国时尚”？艺术市场是如何影响英国人对那不勒斯的看法的？参与艺术品从那不勒斯到英国的运输的代理人和经济利益集团是谁？公共收藏与私人收藏的区别是什么？艺术品的所有权如何影响它们今天的可访问性？这项研究将需要文献、在线和档案研究，与遗产清单和传记作者的证词（例如De Dominici，1745年）进行比较。我将从经济、政治和社会方面借鉴新的方法来研究收藏史。实地研究，在公共和私人的英国收藏中识别和定位那不勒斯艺术，也将成为我研究的重要组成部分。我的研究（特别是开放获取数据库）将成为对那不勒斯艺术在英格兰的命运感兴趣的出处研究，所有权，经济，政治和社会研究的学者和博物馆专业人士的基本资源。这项研究将是特别有价值的公民博物馆收藏（如BMAG）的房子重要的巴洛克收藏，但没有谁专门在这一时期的策展人员。