Spaces of Connoisseurship : : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / / Alison Clarke.
Spaces of Connoisseurship explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade, via a comparison of family art dealers Thomas Agnew & Sons (“Agnew’s) and London’s National Gallery.
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Superior document: | Studies in the History of Collecting & Art Markets |
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Place / Publishing House: | Leiden ;, Boston : : Brill,, 2022. |
Year of Publication: | 2022 |
Edition: | 1st ed. |
Language: | English |
Series: | Studies in the History of Collecting & Art Markets.
|
Physical Description: | 1 online resource (352 pages) :; illustrations |
Notes: | Originally presented as the author's thesis (doctoral)--University of Liverpool, 2018, under the title: Spatial aspects of connoisseurship : Agnew's and the National Gallery, 1874-1916. |
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Clarke, Alison, author. Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / Alison Clarke. Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 1st ed. Leiden ; Boston : Brill, 2022. 1 online resource (352 pages) : illustrations text txt rdacontent computer c rdamedia online resource cr rdacarrier Studies in the History of Collecting & Art Markets Originally presented as the author's thesis (doctoral)--University of Liverpool, 2018, under the title: Spatial aspects of connoisseurship : Agnew's and the National Gallery, 1874-1916. Includes bibliographical references and index. Description based on print version record. Spaces of Connoisseurship explores the ‘who’, ‘where’ and ‘how’ of judging Old Master paintings in the nineteenth-century British art trade, via a comparison of family art dealers Thomas Agnew & Sons (“Agnew’s) and London’s National Gallery. 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. List of Illustrations -- Introduction -- 1 On Institutions, Subjects and Dates -- 2 On Sources and a Spatial Methodology -- Section I: Connoisseurship and Acquisition: The What, Where and How -- 1 What? The Criteria of Connoisseurship -- 1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution -- 2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration -- 3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics -- 4 Selecting Typical Specimens: Representativeness and Importance -- 5 ‘Should Think Unsaleable’: Negotiating Customer Appeal -- 2 Where? Examining Paintings at Home and Abroad -- 1 Beyond Texts: Moving on from Dematerialised Connoisseurship -- 2 Mobility: Artworks and Connoisseurs -- 3 The Spaces of Connoisseurship -- 4 Spatial Factors Affecting Connoisseurship -- 5 The Chronology of Connoisseurship -- 3 How? The Supremacy of Visual Connoisseurship -- 1 Categorisation and Comparison: Viewing Artworks in Person -- 2 ‘My Treacherous Memory’: Comparison from Reproductions -- 3 Visual Experience and the ‘Mental Canon’ -- 4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship? -- 5 A Lack of Evidence for Technical Testing -- 6 Connoisseurship and a Model for Perceptual Expertise -- Section II: Connoisseurship and Display: Exhibiting Expertise -- 4 The National Gallery and Display -- 1 Public Ownership, Public Criticism -- 2 The Trafalgar Square Building and its Extensions -- 3 Walking through Art History: Rooms, Schools, Chronology and Hang -- 4 The Aesthetics of Display: Décor and Lighting -- 5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display -- 5 Agnew’s and Display -- 1 Private Ownership, Public Reputation -- 2 ‘Lent from Various Great Houses’: Special Exhibitions -- Conclusion and Final Thoughts -- 1 A Cautionary Tale -- Appendix -- Bibliography -- Primary Sources -- Secondary Sources -- Index. National Gallery (Great Britain) History. Painting Economic aspects Great Britain History 19th century. Painting Economic aspects Great Britain History 20th century. Painting Expertising Great Britain. Thomas Agnew & Sons History. Print version: Clarke, Alison Spaces of Connoisseurship Bielefeld : BRILL,c2022 Studies in the History of Collecting & Art Markets. |
language |
English |
format |
eBook |
author |
Clarke, Alison, |
spellingShingle |
Clarke, Alison, Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / Studies in the History of Collecting & Art Markets List of Illustrations -- Introduction -- 1 On Institutions, Subjects and Dates -- 2 On Sources and a Spatial Methodology -- Section I: Connoisseurship and Acquisition: The What, Where and How -- 1 What? The Criteria of Connoisseurship -- 1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution -- 2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration -- 3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics -- 4 Selecting Typical Specimens: Representativeness and Importance -- 5 ‘Should Think Unsaleable’: Negotiating Customer Appeal -- 2 Where? Examining Paintings at Home and Abroad -- 1 Beyond Texts: Moving on from Dematerialised Connoisseurship -- 2 Mobility: Artworks and Connoisseurs -- 3 The Spaces of Connoisseurship -- 4 Spatial Factors Affecting Connoisseurship -- 5 The Chronology of Connoisseurship -- 3 How? The Supremacy of Visual Connoisseurship -- 1 Categorisation and Comparison: Viewing Artworks in Person -- 2 ‘My Treacherous Memory’: Comparison from Reproductions -- 3 Visual Experience and the ‘Mental Canon’ -- 4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship? -- 5 A Lack of Evidence for Technical Testing -- 6 Connoisseurship and a Model for Perceptual Expertise -- Section II: Connoisseurship and Display: Exhibiting Expertise -- 4 The National Gallery and Display -- 1 Public Ownership, Public Criticism -- 2 The Trafalgar Square Building and its Extensions -- 3 Walking through Art History: Rooms, Schools, Chronology and Hang -- 4 The Aesthetics of Display: Décor and Lighting -- 5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display -- 5 Agnew’s and Display -- 1 Private Ownership, Public Reputation -- 2 ‘Lent from Various Great Houses’: Special Exhibitions -- Conclusion and Final Thoughts -- 1 A Cautionary Tale -- Appendix -- Bibliography -- Primary Sources -- Secondary Sources -- Index. |
author_facet |
Clarke, Alison, |
author_variant |
a c ac |
author_role |
VerfasserIn |
author_sort |
Clarke, Alison, |
title |
Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / |
title_sub |
Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / |
title_full |
Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / Alison Clarke. |
title_fullStr |
Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / Alison Clarke. |
title_full_unstemmed |
Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / Alison Clarke. |
title_auth |
Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / |
title_alt |
Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 |
title_new |
Spaces of Connoisseurship : |
title_sort |
spaces of connoisseurship : judging old masters at agnew’s and the national gallery, c.1874-1916 / |
series |
Studies in the History of Collecting & Art Markets |
series2 |
Studies in the History of Collecting & Art Markets |
publisher |
Brill, |
publishDate |
2022 |
physical |
1 online resource (352 pages) : illustrations |
edition |
1st ed. |
contents |
List of Illustrations -- Introduction -- 1 On Institutions, Subjects and Dates -- 2 On Sources and a Spatial Methodology -- Section I: Connoisseurship and Acquisition: The What, Where and How -- 1 What? The Criteria of Connoisseurship -- 1 Avoiding the ‘Limbo of Mistaken Acquisitions’: Attribution -- 2 ‘Much Painted on & Spoilt by Some Vandal’: Condition and Restoration -- 3 A ‘Very Dull’ Velázquez: Beauty and Aesthetics -- 4 Selecting Typical Specimens: Representativeness and Importance -- 5 ‘Should Think Unsaleable’: Negotiating Customer Appeal -- 2 Where? Examining Paintings at Home and Abroad -- 1 Beyond Texts: Moving on from Dematerialised Connoisseurship -- 2 Mobility: Artworks and Connoisseurs -- 3 The Spaces of Connoisseurship -- 4 Spatial Factors Affecting Connoisseurship -- 5 The Chronology of Connoisseurship -- 3 How? The Supremacy of Visual Connoisseurship -- 1 Categorisation and Comparison: Viewing Artworks in Person -- 2 ‘My Treacherous Memory’: Comparison from Reproductions -- 3 Visual Experience and the ‘Mental Canon’ -- 4 Provenance: Archives and Libraries as Alternative Spaces of Connoisseurship? -- 5 A Lack of Evidence for Technical Testing -- 6 Connoisseurship and a Model for Perceptual Expertise -- Section II: Connoisseurship and Display: Exhibiting Expertise -- 4 The National Gallery and Display -- 1 Public Ownership, Public Criticism -- 2 The Trafalgar Square Building and its Extensions -- 3 Walking through Art History: Rooms, Schools, Chronology and Hang -- 4 The Aesthetics of Display: Décor and Lighting -- 5 ‘Where Can These Pictures Be Hung?’ Disruptions to Display -- 5 Agnew’s and Display -- 1 Private Ownership, Public Reputation -- 2 ‘Lent from Various Great Houses’: Special Exhibitions -- Conclusion and Final Thoughts -- 1 A Cautionary Tale -- Appendix -- Bibliography -- Primary Sources -- Secondary Sources -- Index. |
isbn |
9789004518902 |
callnumber-first |
N - Fine Arts |
callnumber-subject |
ND - Painting |
callnumber-label |
ND1630 |
callnumber-sort |
ND 41630 |
geographic_facet |
Great Britain Great Britain. |
era_facet |
19th century. 20th century. |
illustrated |
Not Illustrated |
dewey-hundreds |
700 - Arts & recreation |
dewey-tens |
700 - Arts |
dewey-ones |
709 - Historical, geographic & persons treatment |
dewey-full |
709 |
dewey-sort |
3709 |
dewey-raw |
709 |
dewey-search |
709 |
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(MiAaPQ)EBC29387059 (Au-PeEL)EBL29387059 (CKB)24285898400041 (OCoLC)1311356833 (nllekb)BRILL9789004518902 (EXLCZ)9924285898400041 |
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cr |
hierarchy_parent_title |
Studies in the History of Collecting & Art Markets |
is_hierarchy_title |
Spaces of Connoisseurship : Judging Old Masters at Agnew’s and the National Gallery, c.1874-1916 / |
container_title |
Studies in the History of Collecting & Art Markets |
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