Newcastle’s First Art Exhibitions and the Language of Civic Humanism

Paul Usherwood
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Abstract

This chapter looks at the way debates about the role of visual art in Britain in the early nineteenth century were couched in the language of eighteenth-century civic humanism. In so doing, it deploys archival research on the struggle for control of public art exhibitions in Newcastle at the time. What emerges is that a newly-assertive middle-class intelligentsia in the town viewed art exhibitions as an instrument of moral and intellectual improvement whereas the other interested party, resident artists, saw them chiefly as a show-case for their own work. Significantly, however, even the latter felt obliged to pay at least lip-service to the idea of art serving an educational purpose. It builds on Usherwood’s earlier research on early nineteenth-century provincial art for the catalogue essay for Art for Newcastle: Thomas Miles Richardson and the Newcastle Exhibitions, 1822-1843, Laing Art Gallery, Newcastle upon Tyne, 1984, and his chapter, ‘Art on the Margins: from Bewick to Baltic’ in R.Colls and B. Lancaster, A Modern History of Newcastle upon Tyne, Phillimore, 2001.
纽卡斯尔第一次艺术展览与公民人文主义的语言
本章着眼于19世纪早期英国关于视觉艺术角色的辩论是如何用18世纪公民人文主义的语言表达出来的。在这样做的过程中,它部署了对当时纽卡斯尔公共艺术展览控制权斗争的档案研究。出现的情况是,镇上新兴的自信的中产阶级知识分子将艺术展览视为道德和智力进步的工具,而另一方,当地艺术家,则主要将其视为展示自己作品的机会。然而,值得注意的是,即使是后者也觉得有义务至少在口头上支持艺术服务于教育目的的想法。它建立在亚瑟伍德早期对19世纪早期地方艺术的研究之上,为纽卡斯尔艺术目录文章:托马斯·迈尔斯·理查森和纽卡斯尔展览,1822-1843,莱恩艺术画廊,泰恩河畔纽卡斯尔,1984年,以及他在r·科尔斯和b·兰开斯特的“边缘艺术:从比威克到波罗的海”章节,泰恩河畔纽卡斯尔近代史,菲利莫尔,2001年。
本文章由计算机程序翻译,如有差异,请以英文原文为准。
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