From Vesuvius to the Thames. The fortunes of Baroque Neapolitan art in English collections, 1600-1900

我的项目将是跨学科的，旨在调查在英格兰收集那不勒斯艺术的历史。从17世纪晚期开始，巴洛克式那不勒斯绘画构成了英国私人和公共艺术收藏的重要组成部分，但没有出版物探索这些收藏的整体意义。研究通常与知名艺术家（如卢卡·佐丹诺、弗朗西斯科·索里梅纳）、著名的公共收藏（如伦敦国家美术馆）或特定时期（如17世纪）有关（如哈斯凯尔，1980年；特里夫斯，2016年）。尽管学术兴趣很高，如正在进行的研究（如Spinosa， 2021）所证明的，但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关于那不勒斯绘画的视图，今天在英格兰（1600-1900）仍然受到赞赏，并且-为了使项目易于管理-论文将分析1680年至1800年这一关键时期的收藏历史，当时有相当多的英国艺术家和收藏家在大旅行期间来到那不勒斯。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？谁和为什么英国收藏家对那不勒斯艺术感兴趣？是否有可能谈论“巴洛克式那不勒斯艺术的英国时尚”？艺术市场如何影响英国人对那不勒斯的看法？谁是艺术品从那不勒斯运到英格兰的代理人和经济利益相关者？公共收藏和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）进行比较。我将借鉴新的方法来收集的历史，基于经济，政治和社会方面。实地研究，识别和定位公共和私人收藏的那不勒斯艺术，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）将成为学者和博物馆专业人士对出处研究、所有权、经济、政治和社会研究感兴趣的基础资源，这些研究与英格兰那不勒斯艺术的命运有关。这项研究对于市民博物馆收藏（如BMAG）特别有价值，这些博物馆收藏了重要的巴洛克收藏品，但没有专门研究这一时期的策展人员。

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.