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Access and Display: viewing art in Ireland c.1790-c.1920

访问和展示：在爱尔兰观看艺术 c.1790-c.1920

基本信息

批准号：
AH/F015496/1
负责人：
Fintan Cullen
金额：
$ 4.14万
依托单位：
University of Nottingham
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2008
资助国家：
英国
起止时间：
2008 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FF015496%2F1
关键词：
Access Display viewing art Ireland

项目摘要

This project focuses on access to and the display of art in Ireland from the late eighteenth century to the early twentieth century. The long-nineteenth century is the focus of this study as it was a period when Ireland evolved into a modern nation.The fundamental contribution to be made by the study is to record and assess new knowledge on a range of cultural institutions where art was available and at a range of events which made the visual more accessible during the period. One of the outcomes of the research is to enlarge our understanding of how the visual arts contributed to the maintenance of the union between Britain and Ireland. Much recent art historical research has focussed on identifying a 'nationalistic' art in Ireland in the nineteenth century. This project intends to complicate that notion by showing how a greater variety of visual material was accessible in an urban centre such as Dublin.The key information that I would like to uncover is to suggest what kind of art was available at any particular time in the long nineteenth century, that is, if one visited Dublin in 1801, 1861 or 1901, what would one have been able to see? Taste was dictated by political realities, as much as by the talents of certain artists. In 1801, for example, huge public panoramas displaying imperial victories were popular attractions in Dublin; in the 1860s whole galleries devoted to soldiers who had won the Victoria Cross in the Crimea, India and elsewhere were on display at the Royal Hibernian Academy (the most prestigious display gallery in the city since 1826); by contrast, in 1901, exhibitions were being organised of indigenous artists and a distinctive 'Irish' art was being proclaimed. The investigation demands the study of the institutions that permitted such displays. This book will offer accounts of institutional histories (the Royal Irish Academy, 1785, the National Gallery of Ireland, 1854, the National Museum of Ireland, 1877) and the large expositions held in various Irish cities in the second half of the nineteenth century through to Hugh Lane's establishment of a Modern Art Gallery in Dublin in 1908. Alternative forms of display beyond the exhibition room will also be explored, from the aforementioned panoramas to magic lantern displays. An added dimension to this study is an international perspective. Research will include an analysis of Irish material exhibited in England and further afield in the USA. We need to know more about the creative diaspora and the continuous Irish presence within the British and the American nineteenth-century artistic experience. Initial work carried out for the highly successful National Portrait Gallery exhibition, Conquering England: Ireland in Victorian London (2005), has alerted me to the large numbers of Irish works exhibited in London exhibitions during the period. Equally, the appearance of Irish art and commercial goods at the numerous world expositions in Britain and the USA offer an intriguing counterbalance to the all too common dominant story of militant Irish nationalism. The model Irish village, for example, built in London's White City in 1908 was not a normal art venue but an exposition on Ireland composed of a purpose built round tower, thatched cottages, a replica of the high cross and as Annie Coombes has discussed, '150 colleens employed to populate the site.' Equally, the Irish Industrial Village erected over a decade earlier at the World's Columbian Exposition in Chicago in 1893 consisted of such anomalies as a replica of Blarney Castle, the vigorous display of contemporary home crafts/industries by Irishwomen, all organised by a Scottish aristocrat and the vicereine of Ireland, Countess Aberdeen.

该项目的重点是从世纪早期到世纪晚期在爱尔兰获得和展示艺术。长期的世纪是本研究的重点，因为它是一个时期，当爱尔兰演变成一个现代nation.The基本的贡献，由研究是记录和评估新的知识，在一系列的文化机构，艺术是可用的，并在一系列的事件，使视觉更容易在此期间。这项研究的成果之一是扩大了我们对视觉艺术如何为维持英国和爱尔兰之间的联盟做出贡献的理解。许多最近的艺术史研究集中在确定一个“民族主义”的艺术在爱尔兰在十九世纪。这个项目旨在通过展示在都柏林这样的城市中心如何可以获得更多种类的视觉材料来使这一概念复杂化。我想揭示的关键信息是，在漫长的19世纪的任何特定时间，可以获得什么样的艺术，也就是说，如果一个人在1801年、1861年或1901年访问都柏林，他会看到什么？品味既受政治现实的支配，也受某些艺术家的才华的支配。例如，在1801年，展示帝国胜利的巨大公共展厅是都柏林的热门景点;在19世纪60年代，专门展示在克里米亚、印度和其他地方赢得维多利亚十字勋章的士兵的画廊在皇家希伯尼安学院展出（自1826年以来，该市最负盛名的展览馆）;与此相反，1901年，土著艺术家的展览正在组织中，一种独特的“爱尔兰”艺术正在被宣布。调查要求研究允许这种展示的机构。这本书将提供机构的历史帐户（皇家爱尔兰学院，1785年，国家美术馆的爱尔兰，1854年，国家博物馆的爱尔兰，1877年）和大型博览会举行的各种爱尔兰城市在下半年的世纪通过休莱恩的建立一个现代艺术画廊在都柏林于1908年。展览室以外的其他展示形式也将被探索，从上述的灯笼到魔术灯笼展示。这项研究的另一个方面是国际视角。研究将包括在英国和更远的地方在美国展出的爱尔兰材料的分析。我们需要更多地了解创造性的流散，以及爱尔兰人在英国和美国19世纪艺术经验中的持续存在。为非常成功的国家肖像画廊展览，征服英格兰：爱尔兰在维多利亚时代的伦敦（2005年）进行的初步工作，提醒我注意在此期间在伦敦展览中展出的大量爱尔兰作品。同样，爱尔兰艺术品和商品在英国和美国的众多世界博览会上的出现，为激进的爱尔兰民族主义这一常见的主导故事提供了一种有趣的平衡。例如，1908年在伦敦的白城建造的爱尔兰村庄模型并不是一个普通的艺术场所，而是一个关于爱尔兰的博览会，由一个专门建造的圆塔、茅草屋、一个高十字架的复制品组成，正如安妮·库姆斯所讨论的那样，150名大学生被雇佣来填充这个场地。同样，十多年前在芝加哥的世界哥伦比亚博览会上建立的爱尔兰工业村包括诸如布拉尼城堡的复制品，爱尔兰妇女对当代家庭工艺品/工业的有力展示，所有这些都是由苏格兰贵族和爱尔兰总督阿伯丁伯爵夫人组织的。