LEADER 05267nam 22005532 450 001 9910915704703321 005 20230629225551.0 010 $a9789004518902$b(electronic bk.) 024 7 $a10.1163/9789004518902 035 $a(MiAaPQ)EBC29387059 035 $a(Au-PeEL)EBL29387059 035 $a(CKB)24285898400041 035 $z(OCoLC)1311356833 035 $a(nllekb)BRILL9789004518902 035 $a(EXLCZ)9924285898400041 100 $a20220630d2022 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aSpaces of Connoisseurship $eJudging Old Masters at Agnew?s and the National Gallery, c.1874-1916 /$fAlison Clarke 205 $a1st ed. 210 1$aLeiden ;$aBoston :$cBrill,$d2022. 215 $a1 online resource (352 pages) $cillustrations 225 1 $aStudies in the History of Collecting & Art Markets 300 $aOriginally presented as the author's thesis (doctoral)--University of Liverpool, 2018, under the title: Spatial aspects of connoisseurship : Agnew's and the National Gallery, 1874-1916. 311 08$aPrint version: Clarke, Alison Spaces of Connoisseurship Bielefeld : BRILL,c2022 320 $aIncludes bibliographical references and index. 327 $aList 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. 330 3 $aSpaces 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. 330 $aIn Spaces of Connoisseurship , Alison Clarke explores the ?who?, ?where? and ?how? of judging Old Master paintings in the nineteenth-century British art trade. She describes how the staff at family art dealers Thomas Agnew & Sons (?Agnew?s?) and London?s National Gallery took advantage of emerging technologies such as the railways and photography. Through encounters with pictures in a range of locations, both private and public, these art market actors could build up the visual memory and necessary expertise to compare artworks and judge them in terms of attribution, condition and beauty. Also explored are the display tactics adopted by both commercial outfit and art museum to showcase pictures once acquired. In a time of ever-spiralling art prices, this book tackles the question of why some paintings are preferred over others, and exactly how art experts reach their judgements. 410 0$aStudies in the History of Collecting & Art Markets. 517 3 $aJudging Old Masters at Agnew?s and the National Gallery, c.1874-1916 606 $aNational Gallery (Great Britain)$xHistory 606 $aPainting$xEconomic aspects$zGreat Britain$xHistory$y19th century 606 $aPainting$xEconomic aspects$zGreat Britain$xHistory$y20th century 606 $aPainting$xExpertising$zGreat Britain 615 0$aNational Gallery (Great Britain)$xHistory. 615 0$aPainting$xEconomic aspects$xHistory 615 0$aPainting$xEconomic aspects$xHistory 615 0$aPainting$xExpertising 676 $a709 700 $aClarke$b Alison$0726484 801 0$bNL-LeKB 801 1$bNL-LeKB 912 $a9910915704703321 996 $aSpaces of Connoisseurship$94302250 997 $aUNINA