Dynamic Interiors: Transitional and Liminal Spaces in Florence's Early Modern Palazzi

项目细节有待细化。该项目将重点关注文艺复兴时期意大利艺术和建筑的一个方面，这些艺术和建筑与国家美术馆的藏品相交，最有可能是一件或多件最初在佛罗伦萨（约1400-1550年）创作的宗教或世俗背景（或两者兼有）的艺术品。该项目将涉及国家美术馆精选作品的原始设置和环境的案例研究，以及数字人文研究的元素，探索如何使用数字3D建模来理解这些艺术品最初占用的背景和建筑环境（教堂，宫殿等）。学生可以在与导师讨论的过程中发展一个研究主题，例如，可以关注绘画的宗教/世俗背景，但可以扩展到关注一个艺术家或工作室的全部作品，或与城市特定部分相关的作品。该项目将包含传统艺术史研究（档案和初级研究）的元素，这将部分转化为3D数字建模过程，博士生将学习技能，但不会专门负责。该项目将与国家美术馆和Nevola教授的“沉浸式文艺复兴”项目（由盖蒂基金会通过其数字艺术史计划资助）同时进行，博士将采用并测试一个强大的工作流程，该工作流程已经产生了新的研究成果，并为数字艺术史的交付提出了新的标准(包括解决不确定性建模、模型注释、使用CiDOC-CRM本体等)。这里提出了两个可能的案例，其中任何一个都可以构成对奖学金和国家美术馆馆藏作品现有知识做出重大贡献的基础：菲律宾里皮祭坛（NG293）为圣潘克拉齐奥的Rucellai教堂。这里有一个机会，以数字方式将祭坛恢复到原来的位置；大量的档案记录保存下来。2. 美第奇宫房间的数字重建，包括国家美术馆收藏的画作：保罗·乌切罗，“圣罗马诺之战”（NG583）和菲利普·里皮的门（NG666, NG667）。同样，大量的档案记录保存了下来。该项目将与国家美术馆合作进行，因为该美术馆拥有无与伦比的相关艺术品收藏，并且有可能扩展对这些艺术品的背景理解，以符合更广泛的项目目标和“沉浸式文艺复兴”项目的活动。我们也欢迎学生与其他CDP机构建立联系，如Bowes博物馆和York博物馆信托基金，因为这两个机构都收藏了意大利藏品。该活动将建立在国家美术馆通过数字方法进行研究和观众参与的日益增长的活动的基础上，同时还将发展博士生的技能，并扩展埃克塞特大学的数字艺术史能力和专业知识。主要成果将是提交一篇博士论文，围绕国家美术馆收藏的一件或多件艺术品（如果可能的话，还有Bowes博物馆/约克博物馆信托基金）创造新的知识。这些新知识的一个核心方面将应用于数字模型的创建，并从中衍生出来，因此博士候选人也将获得对高等教育和画廊部门以及更广泛的遗产行业继续研究越来越有价值的技能。我们还希望创建可以重新部署的数字内容（资产）

Project details to be refined.The project will focus on an aspect of Renaissance Italian art and architecture that intersects with the National Gallery collections, most likely one or more artworks originally produced in Florence (c. 1400-1550) from a religious or secular setting (or indeed both). The project will involve case studies of the original settings and environment of selected works from the National Gallery collection together with an element of digital humanities research, exploring how digital 3D modelling can be used to understand the context and built environment which these artworks originally occupied (churches, palaces etc.). There will be leeway for the student to develop a research topic in discussion with the supervisors, that may for instance focus on religious/secular settings for paintings, but might extend from this to focus on the oeuvre of one artist or workshop, or works related to a specific part of the city. The project would have elements of traditional art historical research (archival and primary research) and this would in part be transposed into the 3D digital modelling process, that the PhD student would learn skills for, but would not be exclusively responsible for. The project will be delivered in parallel to an ongoing collaboration between the National Gallery and Prof. Nevola's 'Immersive Renaissance' project (funded by the Getty Foundation, through its Digital Art History initiative), and the PhD will adopt and test a robust workflow which has already produced new research findings and proposes new standards for the delivery of digital art history (including addressing issues of uncertainty modelling, the annotation of models, the use of CiDOC-CRM ontologies, etc.). Two possible case examples are suggested here, either of which could form the basis for a significant contribution to the scholarship, and to the existing knowledge on works in the National Gallery collections:1. Filippino Lippi altar (NG293) for the Rucellai chapel at San Pancrazio. There is an opportunity here to digitally reinstate the altar to its original setting; extensive archival records survive. 2. The digital reconstruction of rooms from the Palazzo Medici including paintings in the National Gallery collection: Paolo Uccello, 'Battle of San Romano' (NG583) and Filippo Lippi overdoors (NG666, NG667). Again, extensive archival records survive.This project will be conducted as a collaboration with the National Gallery on account of the Gallery's unrivalled collection of relevant artworks and the potential of extending the contextualized understanding of these in line with the wider project aims and activities of the 'Immersive Renaissance' project. We would also be open to the student developing possible connections with the other CDP institutions, the Bowes Museum and York Museums Trust, as both have Italian holdings in their collections. The activity will build on growing activity the National Gallery is involved in through digital approaches to research and audience engagement, while also developing the skills of the PhD student and extending the digital art history capacity and expertise at the University of Exeter. The main outcome will be to deliver a PhD thesis that creates new knowledge around one or more artworks from the National Gallery collection (and where possible the Bowes Museum/York Museums Trust). A core aspect of this new knowledge will be applied to and derived from the creation of digital models, and as such the PhD candidate will also acquire skills that will be increasingly valuable to continuing to research in both HE and the gallery sector, as well as in the wider heritage industry. We would also hope to create digital content (assets) that could be redeplo