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Making a Market for Art: Agnew's and...

Pezzini, Barbara.

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Making a Market for Art: Agnew's and the National Gallery, 1855-1928.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Making a Market for Art: Agnew's and the National Gallery, 1855-1928./
Author:	Pezzini, Barbara.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2018,
Description:	405 p.
Notes:	Source: Dissertations Abstracts International, Volume: 80-04, Section: C.
Contained By:	Dissertations Abstracts International80-04C.
Subject:	Museum studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10836889
ISBN:	9781083518651

Making a Market for Art: Agnew's and the National Gallery, 1855-1928.
Pezzini, Barbara.

Making a Market for Art: Agnew's and the National Gallery, 1855-1928. - Ann Arbor : ProQuest Dissertations & Theses, 2018 - 405 p.

Source: Dissertations Abstracts International, Volume: 80-04, Section: C.

Thesis (Ph.D.)--The University of Manchester (United Kingdom), 2018.

This item must not be sold to any third party vendors.

The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.

ISBN: 9781083518651Subjects--Topical Terms:

2122775
Museum studies.

Making a Market for Art: Agnew's and the National Gallery, 1855-1928.
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245 1 0 $a Making a Market for Art: Agnew's and the National Gallery, 1855-1928.
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300 $a 405 p.
500 $a Source: Dissertations Abstracts International, Volume: 80-04, Section: C.
500 $a Publisher info.: Dissertation/Thesis.
502 $a Thesis (Ph.D.)--The University of Manchester (United Kingdom), 2018.
506 $a This item must not be sold to any third party vendors.
520 $a The thesis investigates the interaction that developed between a major art dealer, Thos. Agnew and Sons (Agnews), and a principal public collection, the London National Gallery, from 1855 to 1928. Agnews played a crucial role in the life of the National Gallery and greatly facilitated the museum accession of important paintings, such as the Madonna Ansidei by Raphael, the Rokeby Venus by Velazquez, the Portrait of Doge Vincenzo Morosini by Tintoretto, and many others. In turn, collaborating with the National Gallery allowed Agnews to penetrate the international Old Masters market and reach for higher social standing. Through the analysis of ten case studies of acquisitions, which are supported by new archival evidence and are contextualised within a broader historical and theoretical framework, this thesis charts the emergence, development and decline of the rapport between the two organisations. It analyses how Agnews and the National Gallery began as two unconnected entities in the mid-nineteenth century, explores how their distinct trajectories turned into a close, collaborative rapport during the 1880s, and finally examines how in the third decade of the twentieth century they separated and initiated a newly detached professional relationship. Appropriating sociological theories by Pierre Bourdieu, Bruno Latour, Viviana Zelizer and others, this study investigates museum acquisitions as resulting from complex interplays of cultural and commercial forces within the field of cultural production. Acquisitions are further enlightened by the analysis of the networks that underpin them, which provide additional evidence on how economic factors are embedded within broader social constructs. By detailing and locating these processes and relationships within the historical context of a broad shift towards commercialisation, yet demonstrating that cultural elements are part of the dealers activities and that commercial values are an intrinsic component of the museum, this study provides an insight into the historical origins of modern-day relationships between museums and art dealers.
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