| 摘要: | 倫敦華勒斯典藏館是赫特福（Hertford）家族歷代藝術收藏的集結。赫特福家族自赫特福四世（4th Marquess of Hertford, Richard Seymour-Conway, 1800-1870）開始，便將大量18 世紀法國藝術納入收藏中，為現今華勒斯典藏館的整體品味奠定基調。此大批家族收藏由最後繼承人理查•·華勒斯爵士（Sir Richard Wallace,1818-1890）接手後，藝術品於1872 年被安置在英國倫敦的赫特福宅邸中，而最終由華勒斯夫人捐贈於英國政府，後續由國家託管。自1900 年起，赫特福宅邸不再是私人宅邸，而是提供大眾參觀的公共美術館。本論文從赫特福家族收藏品味探討，到華勒斯典藏館在20 以及21 世紀美術館經營脈絡下的展覽內容發展，藉以反映華勒斯典藏館的定位以及對於自身收藏的推展狀況。
論文第一章從赫特福家族的收藏建立談起。特別針對此家族私人收藏中的18 世紀法國藝術在19 世紀英國所帶來的迴響，以及後續收藏捐贈、在倫敦成立美術館的過程，了解這個私人貴族收藏從建立到美術館成立的演變。第二章透過20 世紀美術館開幕以來，在宅邸空間中的展示以及展覽的安排，勾勒出此私人收藏在20、21 世紀以來如何利用既有收藏，定位館藏特色。第三章則聚焦在館藏最具特色的18 世紀法國藝術，特別是繪畫部分以及21 世紀以來的法國素描特展。延續第二章的展示策略，從中觀看華勒斯典藏館中的18 世紀法國藝術，從典藏到特展在英國的推展與研究發展。
;The Wallace Collection in London is the gathering of art collections of generations of the Hertford Family. Starting from the 4th Marquess of Hertford, Richard Seymour-Conway (1800-1870), the family acquired plenty of 18th-century French pieces into their collection, which became the core of the Wallace Collection today. The abundant collection descended to the hands of Sir Richard Wallace (1818-1890), and was settled in the Hertford House in 1872. Eventually, it was donated to the British government by Wallace’s widow, and was managed by the nation since then. The Hertford House was no longer a private property of the magnificent family since 1900, but has become a museum, opened for the public to visit. This dissertation discusses the taste of the Hertford Family’s collection all the way to the management of the Wallace Collection in the 20th and 21st centuries, so as to reflect on the position of the museum and the promotion of its own collection.
The first chapter starts from the establishment of the Hertfort Collection, focusing on the effect the 18th-century French artworks brought to 19th-century Britain, the gathering and donation of the collection, and the installing of the museum afterwards, so as to illuminate the processes by which this aristocratic collection transformed into a public museum. Chapter two shows how the museum creates its own distinct character through the display of works and the settlement and management of the spaces in the 20th and 21st centuries. The third chapter spotlights on the most distinctive category of the collection: 18th-century French paintings, and on the special loan exhibitions of French drawings in the 21st century. Extending the observation of display strategies from chapter two, this dissertation hopes to gain a clear perspective on how the Wallace Collection creates a distinctive space in which 18th-century French art is promoted and studied in Britain. |
