Bone and Oil: The long nineteenth-century visual and material cultures of whaling

被推荐为“白鲸”的一种资源，现在在船体海事博物馆内的捕鲸收藏品是约克郡最受欢迎的景点之一的重要组成部分，每年有73- 80千游客。该博物馆的收藏品是国家海事博物馆以外最重要的海洋文化宝库之一。收藏了300多幅油画、大量印刷品收藏，以及美国以外最大的scrimshaw收藏品之一（鲸鱼和海象骨头上的雕刻），除了众多的捕鲸和北极纪念品外，博物馆还反映了这座城市悠久的海洋历史，是该地区最有前途、最少开发的艺术历史资源之一。19 thC海洋绘画代表了该系列的核心，特别强调北极捕鲸和探索的相互关联的主题，在邻近的Ferens美术馆提供这方面的额外资源。到目前为止，有相当多的地方历史学者对长期的19世纪捕鲸，其中一个强调船体的中心地位，作为维多利亚时代的捕鲸资本英国（见亚瑟G Credland，'船体捕鲸贸易' [1995]）。还有一套关于《白鲸》及其来源的丰富评论（见沃森G。分支，“赫尔曼梅尔维尔：批判遗产”[1974]）。相比之下，学者们几乎没有注意到19世纪捕鲸的艺术历史文化。这是令人惊讶的，因为最近对英国海洋艺术的兴趣重新抬头，证明了“特纳与海”（国家海事博物馆，2013-4）的成功，即将在耶鲁大学英国艺术中心举办的英国海洋绘画展览;以及Geoff Quilley（2011）和其他人的主要专著。事实上，迄今为止，关于船体收藏的现存学术研究包括PCF的“约克郡东骑”卷中绘画的简要背景墓碑条目和礼品店中的简短游客指南书籍，这些书籍可以追溯到一代人：亚瑟G。Credland的“三个世纪以来船体的海洋绘画”（1993年）和Credland和Janet West的“Scrimshaw：捕鲸者的艺术”（1995年）。提供其关键的北极捕鲸收藏的第一个持续的艺术历史分析，'骨头和石油：维多利亚捕鲸的视觉和物质文化'旨在将船体的国际重要收藏品返回到中心舞台，在学院内，并为不同的公众准备博物馆的聚光灯作用在船体的一年作为2017年的英国文化之城。该项目将侧重于收藏的两个主要领域：以捕鲸为主题的北极海洋绘画，博物馆的scrimshaw和其他雕塑的例子，如19世纪40年代在约克郡巡回演出的两个因纽特旅行者的真人半身像，将这些置于博物馆和邻近的Ferens画廊广泛的相关捕鲸印刷品收藏中，更广泛地说，与其他英国收藏有关，如国家海事博物馆和美国捕鲸博物馆的多媒体收藏。在这样做的时候，该项目将介入四个当前的学术辩论。它将有助于对19世纪英国海洋绘画日益复杂的学术研究。它将提供一个关键的艺术史证据基础，以挑战维多利亚时代捕鲸的主流文学/历史记录。它将返回scrimshaw到一个19世纪的雕塑研究越来越活跃的业余工艺传统的重要性，由于最近发展的一个高度复杂的跨学科工艺研究的新领域。它将有助于一个新的，再次快速增长，跨学科的动物研究，只是找到它的脚在艺术史上。该项目还将在两个关键方面产生影响：通过博物馆展览的会谈、图尔斯和讲座，以及通过其在线目录收藏中的重要新解释资源。

Recommended as a resource in 'Moby Dick', the whaling collections now within the Hull Maritime Museum form a key part of one of Yorkshire's most popular attractions, with between 73-80k visitors per year. The Museum's collection contains one of the most significant repositories for maritime culture outside of the National Maritime Museum. Housing more than 300 oil paintings, a sizeable print collection, and one of the largest collections of scrimshaw - carving upon whale and walrus bone - anywhere outside the U.S., as well as numerous pieces of whaling and Arctic memorabilia, the museum reflects the city's long maritime history, and is one of the most promising, least explored art historical resources in the region. 19thC marine painting represents the heart of the collection, with a particular emphasis on the inter-related topics of Arctic whaling and exploration, with additional resources in this area available at the adjacent Ferens Art Gallery. To date, there is a considerable local-historical scholarship on long-19thC whaling, one emphasising Hull's centrality as the whaling capital of Victorian Britain (see Arthur G Credland, 'The Hull Whaling Trade' [1995]). There is also a rich set of commentaries on 'Moby Dick' and its sources (see Watson G. Branch, 'Herman Melville: The Critical Heritage' [1974]). By contrast, scholars have paid virtually no attention to the 19thC art historical cultures of whaling. This is surprising given the recent resurgence of interest in British maritime arts, evidenced by the success of 'Turner and the Sea' (National Maritime Museum, 2013-4), the forthcoming exhibition of British marine painting at the Yale Center for British Art; as well as by major monographs by Geoff Quilley (2011) and others. Indeed, to date, the extant scholarship on the Hull collections comprises the briefly contextualised tombstone entries for the paintings in the PCF's 'East Riding of Yorkshire' volume and the short visitor guide books available in the gift shop, which date back a generation: Arthur G. Credland's 'Marine Painting in Hull Through Three Centuries' (1993) and Credland and Janet West's 'Scrimshaw: The Art of the Whaler' (1995). Providing the first sustained art historical analyses of its key Arctic whaling collections, 'Bone and Oil: The Visual and Material Cultures of Victorian Whaling' seeks to return Hull's internationally significant collections to centre stage, within the academy and for a diverse public in readiness for the museum's spotlight role in Hull's year as the UK City of Culture in 2017. The project will focus on two main areas of the collection: the whaling themed Arctic marine paintings, and the museum's scrimshaw and other examples of sculpture, such as the life cast busts of two Inuit travellers who were toured round Yorkshire in the 1840s, contextualising these within the museum and the neighbouring Ferens gallery's extensive, related whaling print collections, and more broadly in relation to other British collections, such as the National Maritime Museum, and the multimedia collections of American whaling museums. In so doing, the project will intervene in four current scholarly debates. It will contribute to the increasingly sophisticated scholarship on long 19thC British marine painting. It will provide a key art historical evidence base to challenge the dominant literary/historical accounts of Victorian whaling. It will return scrimshaw to a 19thC sculpture studies increasingly alive to the importance of amateur craft traditions, thanks to the recent development of a highly sophisticated new field of interdisciplinary craft studies. And it will contribute to a new, again fast growing, interdisciplinary animal studies, just finding its feet in art history. The project will also achieve impact in two key ways: through talks, tours and lectures of the museum's displays, and through significant new interpretive resources within its online catalogue collections.