Creation of an open forum for debate and discussion on 'Making Art in Tudor Britain'

研究背景：国家肖像画廊拥有世界上最大的都铎王朝和詹姆士王朝绘画的公共收藏。这个收藏是理解英国文艺复兴时期视觉文化的最重要的资源之一。这一领域的研究经常集中在识别作者或模特以及个人图像的生产环境上。更普遍、更基本的问题，如艺术的分类、工作室的做法、赞助模式、不同时期对不同类型图像的需求，以及本土流派与外国移民艺术家的关系，在很大程度上仍未得到解答。从2007年4月起，我们将启动一个名为“英国都铎时期的艺术创作”的新研究项目。我们将使用科学技术，如x射线、树木年代学、红外反射学、油漆取样和显微分析，对1500 - 1620年间的90多幅画作进行全面研究，主要来自画廊的收藏，但也使用其他收藏的比较样本。在画廊的保护工作室，三名研究人员（首席研究员和两名保护人员）每年将按时间顺序专注于大约25幅画作。该项目的结果将揭开一个重要的新的主要证据，这将有助于改变对都铎和詹姆士一世肖像和这一时期艺术实践的理解。在这个项目的第一年，我们计划举办一系列研讨会来分享我们的初步研究成果，扩大对艺术作品技术分析解释的讨论，并建立一个论坛来探索这一领域的新解释策略。画廊计划与文物保护专家、文物保护和材料科学家、历史学家和艺术史学家合作，以扩大对文物的理解，并在这一领域激发更多的跨学科研究。这项为期五年的计划在第一年获得慈善信托基金的短期资助。然而，这个规模的项目需要大量的资金，超出了画廊目前的支持范围，我们打算在2008年向人文资源委员会申请研究补助金，以支持该项目剩余的工作。目的和目标：我们的目标是在六个月的时间内举办三次跨学科研讨会，以建立对我们最初方法的辩论，发展支持网络，分享和交流新的研究，并发起额外的研究。来自英国、法国、加拿大和荷兰的访问专家将为这些研讨会作出贡献。经济、社会和艺术史学家也将参加并考虑与艺术生产、实践、赞助和消费等其他领域的相似之处。潜在的应用和好处：我们如何解释我们的发现将是至关重要的。这项开创性工作的成果将通过研讨会和案例研究以及公开讲座在画廊网站上展示。工作坊的讲稿将透过展览馆的网站提供给广大的研究界和公众。讲习班还将为国家肖像画廊的一个小型聚焦展览提供重要的支持材料，以展示我们的初步研究成果和解释。PI还将在同行评议的期刊上发表一篇关于研究结果的文章和研讨会摘要。讲习班的一个主要好处将是确定一个由科学家、绘画保护人员、历史学家、艺术历史学家和其他学者组成的团体，在整个五年的项目过程中为项目团队提供解释支持。如果得到进一步的资助，该项目将继续进行四年，在这段时间结束时，将在画廊举办一次重要的展览，并出版一本关于都铎王朝和詹姆士王朝艺术实践的多作者出版物。

Context of the research: The National Portrait Gallery holds the largest public collection of Tudor and Jacobean painting in the world. This collection is one of the most significant resources for the understanding of visual culture in the English Renaissance. Research in this field has frequently focused upon the identification of authorship or sitters and the circumstances of production of individual images. More general, fundamental questions about the categorisation of art, workshop practices, patterns of patronage, the demand for different types of imagery across the period, and the relationship of the native school with foreign émigré artists remain largely unanswered.From April 2007 we are launching a new research project entitled 'Making Art in Tudor Britain'. Using scientific techniques such as x-ray, dendrochronolgy, infra-red reflectography, paint sampling and microscopic analysis, we will undertake a comprehensive study of more than ninety paintings from the period 1500 - 1620, principally from Gallery's collection but also using comparative examples from other collections. Based in the Gallery's Conservation Studio, three researchers (the principal investigator and two conservators) will focus on around 25 paintings per year in chronological order. The results of this project will unlock a significant body of new primary evidence that will help to transform understanding of Tudor and Jacobean portraiture and artistic practice in this period. During the first year of this project we plan to host a series of workshops to share our initial research findings, broaden debate about the interpretation of technical analysis on works of art, and develop a forum to explore new strategies of interpretation in this field. The Gallery plans to work collaboratively with conservators, conservation and material scientists, historians and art historians to widen understanding, and inspire more interdisciplinary research in this area. The first year of this five-year project has attracted short term funding from charitable trusts. However, a project of this scale requires significant funding outside the reach of the Gallery's current support and we intend to apply to the AHRC for a research grant for this project in 2008 to support the remaining years of work. Aims and objectives:Our aim is to stage three interdisciplinary workshops over a six-month period to establish debate on our initial methodology, develop networks of support, share and exchange new research, and initiate additional research.Visiting specialists from the UK, France, Canada and the Netherlands will contribute to these seminars. Economic, social and art historians will also attend and consider parallels with other areas of artistic production, practice, patronage and consumption.Potential applications and benefits:How we interpret our findings will be critical. The results of this groundbreaking work will be presented through seminars and case studies on the Gallery's website together with public lectures. Presentation notes from the workshops will be made available to the wider research community and the general public via the Gallery's website. The workshops will also provide important supporting material for a small in-focus display at the National Portrait Gallery of our initial research findings and interpretation. The PI will also produce an article on the research findings and a summary of workshops in a peer reviewed journal. A key benefit of the workshops will be to identify a body of scientists, painting conservators, historians, art historians and other academics to provide interpretative support to the project team throughout the course of the five-year project. Subject to further funding, the project will continue for a further four years and towards the end of this period there will be a significant exhibition at the Gallery and a multi-author publication on Tudor and jacobean artistic practice.