根茲巴羅風景畫研究的變遷及其意義--一個藝術史學史的考察_

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題名：	根茲巴羅風景畫研究的變遷及其意義--一個藝術史學史的考察
書刊名：	新史學
作者：	謝佳娟
作者(外文)：	Hsieh, Chia-chuan
出版日期：	2016
卷期：	27:2
頁次：	頁151-235
主題關鍵詞：	根茲巴羅；風景畫；英國畫派；藝術史；藝術社會史；Gainsborough；Landscape；English school；Art history；Social history of art
原始連結：	連回原系統網址
相關次數：	被引用次數:期刊(3) 博士論文(0) 專書(0) 專書論文(0) 排除自我引用:2 共同引用:1 點閱:39

十八世紀英國畫家根茲巴羅(Thomas Gainsborough, 1727-1788)是當時難得同時有大量肖像畫與風景畫創作的藝術家，在世時即是英國皇家藝術學院(Royal Academy of Arts)創始院士，身後也是藝術史書寫上「英國畫派」(English school)的奠立者之一。相對於二十世紀前期根茲巴羅以其肖像畫聞名，二十世紀中葉以來根茲巴羅的形象卻轉為「熱愛風景的肖像畫家」，且風景畫成為學界研究的焦點，並在二十世紀末引發激烈論辯。這樣的轉變，不僅事關根茲巴羅的評價與定位，更牽涉到藝術史學界品味的轉移以及理論框架的變動。本文首先爬梳二十世紀中葉以來有關根茲巴羅風景畫研究的發展，分析各種研究與論述方式的假設前提，以及各自所形塑出的藝術家形象與風景畫意義；繼而提出從收藏與展覽、複製版畫、國家畫派、全球化過程等四個方向，來推展根茲巴羅風景畫未來研究的前景。這些面向的考察，並非針對繪畫創作過程與畫面內容意義，而是釐清根茲巴羅及其風景畫如何被接受的歷史過程。探究根茲巴羅風景畫研究的轉變與前瞻，不僅揭示了英國藝術史研究的重要進展，亦有助於反思藝術史作為一門批判性學科的限制與潛能。

以文找文

Thomas Gainsborough (1727-1788), one of the few painters who produced both portraits and landscapes in eighteenth-century England, was a founding member of the Royal Academy of Arts in 1768 and a founder of the English School in art-historical writings. In the early twentieth century Gainsborough was celebrated for his portraits; however, since the mid-twentieth century, the image of the artist has become one of a “portraitist whose real love was landscape,” and it was his landscapes that provoked most scholarly discussion toward the end of the century. This shift of focus not only related to the evaluation of Gainsborough’s artistic achievement, but also involved the shifting taste of art historians and changes in the conceptual framework of art-historical studies. This article begins with a discussion of the changes in the studies of Gainsborough’s landscapes since the mid-twentieth century, analyzing various approaches to Gainsborough and his works. This article then examines Gainsborough’s landscapes in different contexts: collecting and exhibition, reproductive printmaking, national school discourse, and globalization. These investigations, rather than focusing on the production of paintings and their pictorial content, illuminate the process of reception of Gainsborough’s landscapes through the centuries. This article illustrates that an analysis of Gainsborough studies reveals important progress in arthistorical research and facilitates reflections on the restraints and potential of art history as a critical discipline.

以文找文

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其他
1.	(20090706)。Dealer Unveils Gainsborough Sleeper，http://www.antiquestradegazette.com/news/2009/jul/06/dealer-unveils-gainsborough-sleeper。
2.	(20141113)。Gallery: Thomas Gainsborough，http://www.bbc.co.uk/suffolk/content/image_galleries/gainsborough_general_gallery.shtml。
3.	Cincinnati Art Museum。The Cottage Door，http://www.cincinnatiartmuseum.org/art/collection/collections/?u=6906389。
4.	Gainsborough's House。Museum，http://www.gainsborough.org/page/483/Museum。
5.	Hugh Belsey Art Historian。About，http://www.hughbelsey.co.uk/about。
6.	The Courtauld Institute of Art。History，http://courtauld.ac.uk/about/history。
7.	The Warburg Institute。History of the Warburg Institute，http://warburg.sas.ac.uk/about/history-warburg-institute。

圖書論文
1.	Bann, Stephen(1998)。Art History and Museums。The Subjects of Art History: Historical Objects in Contemporary Perspectives。Cambridge：Cambridge University Press。
2.	Bennett, Shelly M.(2014)。Henry E. Huntington: An American Model for Collecting Art and Instituting Cultural Philanthropy。British Models of Art Collecting and the American Response: Reflections Across the Pond。Farnham：Ashgate。
3.	Bermingham, Ann(2005)。The Simple Life: Cottages and Gainsborough's Cottage Doors。Land, Nation and Culture, 1740-1810: Thinking the Republic of Taste。Basingstoke：Palgrave Macmillan。
4.	Crook, J. Mordaunt(1968)。John Britton and the Genesis of the Gothic Revival。Concerning Architecture: Essays on Architectural Writers and Writing Presented to Nikolaus Pevsner。London：Allen Lane。
5.	Clunas, Craig(2013)。The Art of Global Comparisons。Writing the History of the Global: Challenges for the Twenty-First Century。Oxford：Oxford University Press。
6.	Deuchar, Stephen(2002)。[Gainsborough] Foreword。Gainsborough。London：Tate Britain。
7.	Gage, John(1995)。The British School and the British School。Towards a Modern World。New Haven：Yale University Press。
8.	Haskell, Francis(1985)。The British as Collectors。The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting。New Haven：Yale University Press。
9.	Grindle, Nicholas(2008)。New Ways of Seeing: Landscape Painting and Visual Culture, c.1620-c.1780。The History of British Art 1600-1870。London：Tate Publishing。
10.	Kaufmann, Thomas DaCosta(2015)。Reflections on World Art History。Circulations in the Global History of Art。Farnham：Ashgate。
11.	Postle, Martin(1995)。In Search of the 'True Briton': Reynolds, Hogarth, and the British School。Towards a Modern Art World。New Haven：Yale University Press。
12.	Rosenthal, Michael(1997)。[Prospects for the Nation: Recent Essays in British Landscape, 1750-1880] Introduction。Prospects for the Nation: Recent Essays in British Landscape, 1750-1880。New Haven：Yale University Press。
13.	Rosenthal, Michael、Myrone, Martin(2002)。Thomas Gainsborough: Art, Society, Sociability。Gainsborough。London：Tate Britain。
14.	Spencer-Longhurst, Paul(2014)。'This delightful Artist': Cultural Trends in the Historiography of Richard Wilson。Richard Wilson and the Transformation of European Landscape Painting。New Haven：Yale University Press。
15.	Vaughan, William(2002)。Behind Pevsner: Englishness as an Art Historical Category。The Geographies of Englishness: Landscape and the National Past, 1880-1940。Yale University Press。
16.	Vergo, Peter(1989)。[The New Museology] Introduction。The New Museology。London：Reaktion。

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