Early Reception of Impressionism in Britain, 1870-1917 скачать в хорошем качестве

Early Reception of Impressionism in Britain, 1870-1917

This conference explored the development in Britain of the taste for French Impressionism between 1870, when Paul Durand-Ruel established his Bond Street gallery, and 1917, when the National Gallery in London accepted the Sir Hugh Lane Bequest. Despite Durand-Ruel’s early support of Monet and his contemporaries, Impressionism’s acceptance by the public in Britain was cautious and slow, hampered as much by limited access to the works as by the hostility of the market and the absence of a pertinent vocabulary by which it could be mediated by British critics. For much of the period in question their work was misunderstood, considered sketch-like and inconsequential. In the period leading up to the First World War, few collectors were interested in buying Impressionist art. The exceptions were artists such as Walter Sickert and John Singer Sargent, and a group of ‘new rich’ industrialists who had made their fortunes through commerce. In the 1880s and 1890s, the only British dealers to exhibit and sell impressionist art in the UK were David Croal Thomson in London and Alexander Reid in Glasgow. Although this period was marked by a number of pioneering exhibitions, it was not until after the First World War that the market for Impressionism was firmly established. This conference presented new research by leading scholars of Impressionism and of the history of collecting. It examined the pioneering contribution of key artists and art dealers, as well as the relative reluctance on the part of collectors to appreciate the Impressionist agenda. Speakers will also examine the presentation of Impressionist and relatively more modern works in British galleries between 1870 and 1917. The conference was organised and chaired by Professor Frances Fowle, Dr. Natalia Murray and MaryAnne Stevens, and Professor Steve Edwards, Manton Professor of British Art and Director of the Manton Centre for British Art, The Courtauld. Conference Schedule: 10.00 – 10.15: Welcome, Introductory remarks 10.15 – 11.15: Session 1: Collecting Impressionism and its reception in Britain before 1917 Chair: Natalia Murray Overview of Early collecting MaryAnne Stevens Durand-Ruel and his British collectors Flavie Durand-Ruel 11.15 – 11.45: Coffee Break 11.45 – 13.30: Session 2: Early Collectors Chair: Tom Stammers Louis Huth (1821-1905): An Important Early British Collector of Degas Dr Andrew Watson Captain Henry Hill: an unexpected collector of French Modern Art Dr Natalia Murray, Courtauld Institute A Contradictory Collector: Sir Peter Coats’s Impressionist pictures in context Professor Frances Fowle 13.30 – 14.45: Lunch Break Provided for speakers and organisers only 14.45 – 15.45: Session 3: Artist Collectors Chair: MaryAnne Stevens John Singer Sargent: Impressionist Painter and Collector? Elaine Kilmurray A Collector Manqué?: Walter Sickert’s Brief Ownership of Impressionist Pictures Dr Tom Stammers, Courtauld Institute 15.45 – 16.15: Coffee Break 16.15 – 17.15: Session 4: Collectors and Legacy Chair: Frances Fowle Hugh Lane: “He must always be doing for Ireland” Chris Riopelle ‘The highest ideals in art’: Impressionism in south Wales, 1913-1914 Anne Pritchard