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Artistic patronage at the court of Q...

Strobel, Heidi Anne.

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Artistic patronage at the court of Queen Charlotte.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Artistic patronage at the court of Queen Charlotte./
作者:	Strobel, Heidi Anne.
面頁冊數:	488 p.
附註:	Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0392.
Contained By:	Dissertation Abstracts International63-02A.
標題:	History, European. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3044233
ISBN:	9780493581088

Artistic patronage at the court of Queen Charlotte.
Strobel, Heidi Anne.

Artistic patronage at the court of Queen Charlotte. - 488 p.

Source: Dissertation Abstracts International, Volume: 63-02, Section: A, page: 0392.

Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2002.

In the late eighteenth and early nineteenth centuries, Charlotte (1744--1818), wife of George III (1738--1820), fostered the careers of female artists at the English court, contributing to a startling and unprecedented phenomenon: the widespread patronage of women artists by female royalty. Like her contemporaries in other European capitals such as Catherine the Great (1729--1796), Marie-Antoinette of France (1755--1793), her sister, Maria Carolina of Naples (1752--1814), and the aunts of Louis XVI, Mesdames Adelaide and Victoire, Charlotte promoted the growth of feminized circles in a salon-like atmosphere. Among these royal patrons, she is especially unique because she was the first monarch to employ such an exceptionally large number of female artists. These women included well-established figures such as Angelica Kauffman (1741--1807) and Mary Moser (1744--1819), but also a host of lesser-known artists. Art historical scholarship has paid scant attention to her relationships with major artists like Kauffman and Moser, and has rarely mentioned her sponsorship of less well-known figures. My dissertation examines the economic and social circumstances surrounding Charlotte's artistic patronage, placing special emphasis on its underlying principles, its effects on artistic careers, and its relation to the larger context of the Georgian art world I also relate her patronage to the broader phenomenon of royally sponsored feminine artistic circles across Europe.

ISBN: 9780493581088Subjects--Topical Terms:

1018076
History, European.

Artistic patronage at the court of Queen Charlotte.
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502 $a Thesis (Ph.D.)--University of Illinois at Urbana-Champaign, 2002.
520 $a In the late eighteenth and early nineteenth centuries, Charlotte (1744--1818), wife of George III (1738--1820), fostered the careers of female artists at the English court, contributing to a startling and unprecedented phenomenon: the widespread patronage of women artists by female royalty. Like her contemporaries in other European capitals such as Catherine the Great (1729--1796), Marie-Antoinette of France (1755--1793), her sister, Maria Carolina of Naples (1752--1814), and the aunts of Louis XVI, Mesdames Adelaide and Victoire, Charlotte promoted the growth of feminized circles in a salon-like atmosphere. Among these royal patrons, she is especially unique because she was the first monarch to employ such an exceptionally large number of female artists. These women included well-established figures such as Angelica Kauffman (1741--1807) and Mary Moser (1744--1819), but also a host of lesser-known artists. Art historical scholarship has paid scant attention to her relationships with major artists like Kauffman and Moser, and has rarely mentioned her sponsorship of less well-known figures. My dissertation examines the economic and social circumstances surrounding Charlotte's artistic patronage, placing special emphasis on its underlying principles, its effects on artistic careers, and its relation to the larger context of the Georgian art world I also relate her patronage to the broader phenomenon of royally sponsored feminine artistic circles across Europe.
520 $a Charlotte supported all types of visual culture, but especially of the so-called "minor arts," such as engraving, embroidery, transparencies (illuminated paintings), wax modeling and miniature painting, fields which were traditionally open to or dominated by women. My dissertation demonstrates that Charlotte did not promote hierarchical distinctions prevalent in the larger art world, such as that between oil painting and the minor arts. Her patronage supplemented the limited opportunities available to women artists in other institutions and to create new career possibilities for women. The growth of such specifically feminine artistic patronage and production has, however, gone almost unnoticed by Georgian art historians. My dissertation supplies the history of one such circle: the alternative center for female creativity provided by Charlotte and the English court.
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