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    Please use this identifier to cite or link to this item: http://ir.lib.ncu.edu.tw/handle/987654321/66961

    Title: 從「被遺忘」到「典範」之形塑─ 維梅爾藝術史地位變遷探討;From ”Oblivion” to ”Canon”: The Changes of Vermeer′s Status in Art History
    Authors: 丁玟伶;Ting,Wen-ling
    Contributors: 藝術學研究所
    Keywords: 荷蘭黃金時期;風俗畫;維梅爾;接受史;胡布拉肯;被遺忘;竇黑;再發現;典範;哈德森與富爾頓紀念展;荷蘭藝術展;超級大展;Dutch Golden Age;genre painting;Johannes Vermeer;reception history;Arnold Houbraken;oblivion;Théophile Thoré;rediscovery;canon;The Hudson-Fulton Exhibition;Exhibition of Dutch Art;Blockbuster Show
    Date: 2015-01-27
    Issue Date: 2015-03-16 16:08:06 (UTC+8)
    Publisher: 國立中央大學
    Abstract: 維梅爾(Johannes Vermeer, 1632-1675)是現今荷蘭十七世紀最偉大的繪畫大師之一,然而在其身後卻「被遺忘」超過一個世紀,直到十九世紀中葉才被法國藝評者竇黑(Théophile Thoré, 1807-1869)「再發現」。然而,維梅爾為何會被遺忘?又如何被再發現?直到成就今日地位。本論文將以維梅爾生前之名聲概況,十八世紀至十九世紀藝術市場收藏的品味,竇黑「再發現」的理念與推廣方式,以及二十世紀初至二十世紀末博物館舉辦的公共展覽等面向,理解藝術家地位變遷之過程,期望探究維梅爾如何從「被遺忘」到「被接受」的歷史,形塑成當代「典範」畫家。
    ;Johannes Vermeer is now acknowledged as one of the greatest Dutch painters of the 17th century, but was forgotten for over a century after his death. It was until the mid-19th century that Vermeer was rediscovered by French art critic Théophile Thoré (1807-1869). However, how was Vermeer forgotten? And how was he rediscovered? This research will explore the process of the change of an artist’s status from an overview of Vermeer’s reputation during his time, the taste of art market from the 18th century to the 19th century, Thoré’s idea and his way of promoting “Rediscovery”, and related exhibitions held by museums from the early 20th century to late 20th century in the hope of making a thorough inquiry into the way how Vermeer was shaped as a contemporary model painter from being forgotten and being rediscovered.
    Chapter one traces back Vermeer’s status and reputation in the 17th century from his patrons and customers to clear out the original historical context. Subsequently we discuss if he was truly forgotten after his death and the possible reasons for being forgotten. Chapter two firstly focuses on the status of collection and sell of Vermeer’s work in the art market in Holland and foreign countries such as Britain, France and central Europe from the 18th century and early 19th century because it explains the impact of important collectors and art dealers on Vermeer’s reputation. Secondly, the influence of change of taste during late 19th century on Thoré’s rediscovery of Vermeer and on the reshaping of Vermeer’s reputation is discussed. Also, we have an insight into the change of Vermeer’s status after Thoré’s rediscovery. Chapter three is based on the public exhibitions in museums. Lastly we focas three important exhibitions of Vermeer in the 20th century, namely “The Hudson-Fulton Exhibition” in 1909 by Metropolitan Museum of Art, “Exhibition of Dutch Art, 1450-1900” in 1929 by Royal College of Art and Blockbuster Show in 1995 by National Gallery of Art and The Mauritshuis museum, to discuss how they shape and influence Vermeer’s contemporary positioning in the history of art.
    Appears in Collections:[藝術學研究所 ] 博碩士論文

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