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Female art patronage and collecting ...

The University of North Carolina at Chapel Hill.

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Female art patronage and collecting in seventeenth-century Britain.

紀錄類型:	書目-語言資料,印刷品 : Monograph/item
正題名/作者:	Female art patronage and collecting in seventeenth-century Britain./
作者:	Chew, Elizabeth Vassa.
面頁冊數:	404 p.
附註:	Adviser: Helen Hills.
Contained By:	Dissertation Abstracts International61-05A.
標題:	Art History. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9968570
ISBN:	9780599734005

Female art patronage and collecting in seventeenth-century Britain.
Chew, Elizabeth Vassa.

Female art patronage and collecting in seventeenth-century Britain. - 404 p.

Adviser: Helen Hills.

Thesis (Ph.D.)--The University of North Carolina at Chapel Hill, 2000.

This dissertation examines relationships between gender, architecture, and material culture in seventeenth-century Britain by investigating aristocratic female architectural patronage and art collecting. It focuses on Anne Clifford Sackville Herbert, Countess of Dorset, Pembroke, and Montgomery (1590--1676), and Aletheia Talbot Howard, Countess of Arundel (1584--1654). Chapter One considers relationships between female landowning and architectural patronage by examining Clifford's struggles to possess her family's titles, lands, and castles, and her restoration and use of her properties. I argue that Clifford's castle renovations and her autobiographical writings about them were intended to demonstrate the efficacy and inevitability of her assumption of the role of family head. Chapter Two asserts that owning and giving away goods were further means through which Clifford demonstrated her control of cultural capital in performing the role of female landowner. I argue that by collecting curiosities she displayed the genealogical connections and intellectual proclivities keeping her at the top of family and local hierarchies; by giving goods away she demonstrated the largesse expected of someone in her position and cemented relationships with neighbors and relatives; by bequeathing objects she sought to ensure that connections would endure when she was dead. Chapter Three examines Tart Hall, the "artisan mannerist" suburban London villa that the Catholic heiress Lady Arundel established for herself in 1633 as an alternative to her husband's residence. I show that Tart Hall's neighborhood, eclectic appearance, and exotic contents attested to Lady Arundel's social, financial and cultural prowess. I argue that at Tart Hall Lady Arundel maintained an environment in which visual display, intellectual engagement, and religious devotion assisted her in creating an independent identity. Chapter Four considers relationships between gender, a celebrated art collection, and the circumstances of the family that amassed it. I examine the motivations behind the Arundel collection's formation and consider the implications for Lady Arundel of her decision not to make a will. I argue that the Arundel example suggests that collecting represents a series of cultural negotiations used to shape social and political identities.

ISBN: 9780599734005Subjects--Topical Terms:

635474
Art History.

Female art patronage and collecting in seventeenth-century Britain.
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