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Collecting the past to create a futu...

Pomeroy, Jordana.

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Collecting the past to create a future: The Old Masters, artists, and patrons in early nineteenth-century England.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Collecting the past to create a future: The Old Masters, artists, and patrons in early nineteenth-century England./
作者:	Pomeroy, Jordana.
面頁冊數:	357 p.
附註:	Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 1887.
Contained By:	Dissertation Abstracts International57-05A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9631766

Collecting the past to create a future: The Old Masters, artists, and patrons in early nineteenth-century England.
Pomeroy, Jordana.

Collecting the past to create a future: The Old Masters, artists, and patrons in early nineteenth-century England. - 357 p.

Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 1887.

Thesis (Ph.D.)--Columbia University, 1996.

Sir Joshua Reynolds's Discourses advised artists to consider the Old Masters as "perfect and infallible guides." Yet artists in the second half of the eighteenth century faced the practical problem of finding old-master paintings to follow. The influx of paintings from the Continent during the warfare following the French Revolution, the opening up of private collections, and the establishment of the British Institution and The National Gallery created new possibilities for studying the Old Masters. The collections of John Julius Angerstein, the third Earl of Egremont, and Sir George Beaumont provide insight into the relationship between collecting and patronage at this critical juncture in British art history, as many of the paintings in their collections functioned as lightening rods for contemporary artistic debate. The founding of the British Institution and The National Gallery formalized the interrelationship between Old Masters and contemporary art production.Subjects--Topical Terms:

1018076
History, European.

Collecting the past to create a future: The Old Masters, artists, and patrons in early nineteenth-century England.
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245 1 0 $a Collecting the past to create a future: The Old Masters, artists, and patrons in early nineteenth-century England.
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500 $a Source: Dissertation Abstracts International, Volume: 57-05, Section: A, page: 1887.
502 $a Thesis (Ph.D.)--Columbia University, 1996.
520 $a Sir Joshua Reynolds's Discourses advised artists to consider the Old Masters as "perfect and infallible guides." Yet artists in the second half of the eighteenth century faced the practical problem of finding old-master paintings to follow. The influx of paintings from the Continent during the warfare following the French Revolution, the opening up of private collections, and the establishment of the British Institution and The National Gallery created new possibilities for studying the Old Masters. The collections of John Julius Angerstein, the third Earl of Egremont, and Sir George Beaumont provide insight into the relationship between collecting and patronage at this critical juncture in British art history, as many of the paintings in their collections functioned as lightening rods for contemporary artistic debate. The founding of the British Institution and The National Gallery formalized the interrelationship between Old Masters and contemporary art production.
520 $a Two themes have emerged in examining the impact of old-master painting on contemporary artists and patrons from the time of the Orleans sale of paintings in London to the founding of London's National Gallery. Patrons played a central role during this period in determining the future direction of British painting. An analysis of Angerstein, Egremont, and Beaumont has revealed a new sort of patron with expansive sights beyond the improvement of his own collection. During this period the impact of patrons and their collections on contemporary art cannot be overestimated.
520 $a This era in English art was also one of transition, from the "golden" age of Hogarth, Wilson, and Reynolds to the "modern" age most often associated with Turner and Constable. The debate over the role of the Old Masters in shaping contemporary painting in early nineteenth-century England dominated discourse among artists, critics, and collectors in these years of transition. Artists scrutinized and debated the merits and failings of old-master paintings, especially in relation to their own productions. The pervasiveness of old-master paintings forced artists and collectors to reevaluate Britain's artistic past and established the framework in which they debated and shaped Britain's artistic future.
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