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

从CDP开始的研究将更好地理解乡村山水画的生产和接受是如何被城市工作室兼画廊塑造的。方法论的框架将建立在内容分析和鉴赏力的基础上：统计分析、定性档案研究和视觉分析的平均分布。i过去30年的文献不再将风景画理解为观察记录，而是对人类经验的表达，正如Simon Schama的《风景与记忆》所探索的那样。英国风景画是由什么构成的？它是由艺术家的国籍、所描绘的场景还是艺术风格来定义的？一个相当重要的因素是考虑艺术家是如何在风景画方面受到教育的。是不是所有的艺术家都试图这样做？艺术家的正规训练是什么，还是依赖于其他推动山水画教育的人，如亚历山大·科曾斯？关于环游英国有什么建议？III.随后，我将通过统计分析居住在伦敦的艺术家以及他们在皇家学院和其他商业地点销售风景画的成功，来量化风景画的成功。这将需要使用当代地图从地理上确定伦敦的边界，并为样本设置参数。这位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？它们是在经济上可行的出售景观的空间吗？成功取决于媒介吗？为了进一步完善研究，我会使用一系列艺术家作为案例研究，利用文献证据和近距离的视觉分析。在《风景诗篇》中，金·斯隆重点介绍了亚历山大·科曾斯和约翰·罗伯特·科曾斯，用他们的传记经历描绘了他们的职业生涯和他们各自作品背后的动机。IV基本资源包括盖恩斯伯勒的房子、约翰·索恩爵士的博物馆、霍加斯的房子、特纳的房子(特威肯纳姆)、皇家科学院档案馆、威特和康威图书馆以及耶鲁大学英国艺术中心。在这方面，泰特是CDP的理想合作伙伴，因为它拥有大量的档案。除了广告中建议的艺术家之外，其他艺术家可能包括约瑟夫·威廉·艾伦、乔治·文森特、罗伯特·巴克、威廉·马洛和威廉·佩恩，他们都在展览时代在伦敦工作。由于艺术机构偏向于招收男性，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，我建议写两位女性艺术家的案例研究，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)，可以用来了解参观这些艺术家的工作室画廊的经历和他们对风景画的反应。Martin Myrone回顾了John Martin的职业生涯，而Richard Johns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中的重要性。v我们可以更深入地了解艺术家在工作室的工作实践，并在他们所展示的地点的空气中。此外，我们将了解这幅画的城市呈现将如何塑造观者与农村题材的接触，这是贾尔斯·沃特菲尔德初步研究的。vii艺术家如何策划自己的工作室画廊空间？它们是可访问的还是独一无二的？

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?