Cunningham, Chantrey and Gibbons: winged words on nation and nature, c. 1829-57

IF 0.3 3区 艺术学 0 ART
Jason Edwards, A. Harris, M. Sullivan
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引用次数: 0

Abstract

In this article, the authors explore the nineteenth-century British reception of Gibbons through a number of closely related images, objects and texts, frequently focusing on the bodies of dead birds. The article commences with Allan Cunningham’s pivotal 1830 account of Gibbons at the start of his Lives of the Most Eminent Sculptors, which made the influential claim that the sculptor was the heir to a ‘natural’ decorative carving tradition and father to an indigenous British school, resistant to the idealism and allegory that characterized continental classicism. The authors go on to explore Gibbons’s key status in Francis Chantrey’s contemporaneous Woodcocks (c. 1829-34) for Holkham Hall, which employed Gibbons’s idiom to emphasize Chantrey’s related status as a paradigmatic British sportsman and sculptor. The article then examines how these characterizations of Gibbons took hold at the mid-century Great Exhibitions and at the Victoria and Albert Museum, before concluding with a close reading of an obscure, but deeply revealing 1857 meditation on Chantrey’s Woodcocks, and on Gibbons before him, that reveals the complex attitudes the Victorians had in relation to the spectacle of dead animals.
Cunningham,Chantrey和Gibbons:关于国家和自然的带翼文字,约1829-57年
在这篇文章中,作者通过一些密切相关的图像、物体和文本,探讨了19世纪英国人对吉本斯的接受,经常关注死鸟的尸体。这篇文章从艾伦·坎宁安1830年在其《最杰出雕塑家的一生》一书开始时对吉本斯的关键描述开始,该书提出了一个有影响力的主张,即这位雕塑家是“自然”装饰雕刻传统的继承人,也是一所英国本土学校的创始人,他抵制了大陆古典主义的理想主义和寓言。作者继续探讨了吉本斯在弗朗西斯·钱特雷(Francis Chantrey)为霍尔哈姆大厅(Holkham Hall)创作的同时代《伍德科克》(Woodcocks)(约1829-34年)中的关键地位,该作品采用了吉本s的习语来强调钱特雷作为典型的英国运动员和雕塑家的相关地位。然后,这篇文章探讨了这些对吉本斯的刻画是如何在世纪中期的大展览和维多利亚和阿尔伯特博物馆中站稳脚跟的,最后细读了1857年对尚特雷的《伍德科克》和他之前的吉本斯进行的一次晦涩但深刻的沉思,揭示了维多利亚人对动物死亡奇观的复杂态度。
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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CiteScore
0.10
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32
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