Del 15 i serien Studies in the History of Collecting & Art Markets

Spaces of Connoisseurship

Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916

Inbunden, Engelska, 2022

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In Spaces of Connoisseurship, Alison Clarke explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade. She describes how the staff at family art dealers Thomas Agnew & Sons (“Agnew’s”) and London’s National Gallery took advantage of emerging technologies such as the railways and photography. Through encounters with pictures in a range of locations, both private and public, these art market actors could build up the visual memory and necessary expertise to compare artworks and judge them in terms of attribution, condition and beauty. Also explored are the display tactics adopted by both commercial outfit and art museum to showcase pictures once acquired. In a time of ever-spiralling art prices, this book tackles the question of why some paintings are preferred over others, and exactly how art experts reach their judgements.

Produktinformation

Utgivningsdatum2022-08-22
Mått155 x 235 x 22 mm
Vikt776 g
FormatInbunden
SpråkEngelska
SerieStudies in the History of Collecting & Art Markets
Antal sidor338
FörlagBrill
ISBN9789004518896

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List of IllustrationsIntroduction1 On Institutions, Subjects and Dates2 On Sources and a Spatial MethodologySection I: Connoisseurship and Acquisition: The What, Where and How1 What? The Criteria of Connoisseurship1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics4 Selecting Typical Specimens: Representativeness and Importance5 ‘Should Think Unsaleable’: Negotiating Customer Appeal2 Where? Examining Paintings at Home and Abroad1 Beyond Texts: Moving on from Dematerialised Connoisseurship2 Mobility: Artworks and Connoisseurs3 The Spaces of Connoisseurship4 Spatial Factors Affecting Connoisseurship5 The Chronology of Connoisseurship3 How? The Supremacy of Visual Connoisseurship1 Categorisation and Comparison: Viewing Artworks in Person2 ‘My Treacherous Memory’: Comparison from Reproductions3 Visual Experience and the ‘Mental Canon’4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship?5 A Lack of Evidence for Technical Testing6 Connoisseurship and a Model for Perceptual ExpertiseSection II: Connoisseurship and Display: Exhibiting Expertise4 The National Gallery and Display1 Public Ownership, Public Criticism2 The Trafalgar Square Building and its Extensions3 Walking through Art History: Rooms, Schools, Chronology and Hang4 The Aesthetics of Display: Décor and Lighting5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display5 Agnew’s and Display1 Private Ownership, Public Reputation2 ‘Lent from Various Great Houses’: Special ExhibitionsConclusion and Final Thoughts1 A Cautionary TaleAppendixBibliographyPrimary SourcesSecondary SourcesIndex