‘WE WOULD TAKE THE SCREEN BY STORM’: FEMALE ANTIQUARIAN AGENCY AND THE CAPTURE OF ENGLISH MEDIEVAL PAINTING C 1830–50

IF 0.2 4区 社会学 0 HUMANITIES, MULTIDISCIPLINARY
J. Snape
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Abstract

This paper explores the work of Harriet Gunn (1806–69) who began making drawings of rood screens c 1830. With the help of her sisters Hannah and Mary Anne, Harriet produced approximately 250 drawings, a remarkable number considering that rood screens received very little attention at this period. This substantial body of work merits analysis not least because it constitutes the first serious attempt to visually document Norfolk’s painted rood screens and provides an opportunity to shed light on an overlooked episode of female antiquarian activity. Drawing on previously unpublished letters, this paper confirms the active role Harriet and her sisters played in recording, discovering and enhancing the understanding of English medieval painting in the mid-nineteenth century. It also considers the influence of Harriet’s father, Dawson Turner FSA (1775–1858), in encouraging a new appreciation of the art historical value of painted rood screens. Turner’s objectives are situated within the wider cultural context of emerging tastes for early Italian art and new developments in art historiography seen in the 1820s and 1830s. Harriet’s sophisticated understanding of rood screens is therefore interpreted as a response to the intellectual milieu in which she was immersed. The paper concludes by exploring how her work, and the knowledge it promoted, was disseminated through the cultural machinery of archaeological societies in the mid-1840s through printed publications, exhibition and display.
“我们将以风暴般的方式登上银幕”:女性古董机构与英国中世纪绘画的拍摄(1830-50)
本文探讨了哈里特·冈恩(1806–69)的作品,他于1830年开始绘制鲁德屏风。在姐姐Hannah和Mary Anne的帮助下,Harriet创作了大约250幅绘画作品,考虑到当时rood屏幕很少受到关注,这是一个了不起的数字。这一庞大的作品值得分析,尤其是因为它构成了第一次对诺福克彩绘rood屏风进行视觉记录的严肃尝试,并为揭示一个被忽视的女性古董活动提供了机会。根据之前未发表的信件,本文证实了哈里特和她的姐妹们在记录、发现和增进对19世纪中期英国中世纪绘画的理解方面发挥的积极作用。它还考虑了Harriet的父亲Dawson Turner FSA(1775–1858)的影响,鼓励人们重新认识彩绘屏风的艺术历史价值。特纳的目标是在更广泛的文化背景下实现的,即对早期意大利艺术的新品味,以及19世纪20年代和19世纪30年代艺术史学的新发展。因此,Harriet对rood屏幕的复杂理解被解释为对她所处的知识环境的回应。论文最后探讨了她的作品及其所推广的知识是如何在19世纪40年代中期通过印刷出版物、展览和展览通过考古社会的文化机制传播的。
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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来源期刊
Antiquaries Journal
Antiquaries Journal HUMANITIES, MULTIDISCIPLINARY-
CiteScore
0.60
自引率
0.00%
发文量
34
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