今日湯瑪斯．瓊斯（Thomas Jones, 1742-1803）被視為十八世紀末重要的英國戶外畫家，但二十世紀中葉以前他還只是理查德．威爾森（Richard Wilson, 1714-1782）的模仿者。直到家人賣出私藏的風景油彩速寫後才改寫其藝術史定位。然而，是什麼原因使瓊斯的風景油彩速寫消失在先前的藝術史論述中？十九世紀又有哪些發展，使瓊斯的風景油彩速寫能迅速地在二十世紀受到收藏家與美術館員的賞識？此外，二十世紀以後的評論，又呈現了哪些觀看瓊斯油彩速寫的方式？ 首章透過瓊斯的職涯，回溯他先前的名聲。再從瓊斯多樣的油彩速寫中選出主要的討論對象。第二章分析風景油彩速寫的身分與發展，為瓊斯的油彩速寫找出不被藝術史關注的理由與它們在風景油彩速寫史的位置。接著從十九世紀的歐洲風景畫變革，探究瓊斯油彩速寫在二十世紀被納入收藏並成為展示品的可能。第三章經由瓊斯與其他風景油彩速寫的拍賣、收藏與展示，顯示風景油彩速寫在瓊斯案例之後，受到重視與研究的狀況。最後，在瓊斯油彩速寫的相關論述中，體察藝術研究的各種框架。 ;Thomas Jones (1742-1803) is now acknowledged as a primary open-air painter in late 18th century Britain, but before the mid-20th century he had been an imitator of Richard Wilson (1714-1782). His status in art history was not changed until his family sold his landscape oil sketches to the markets. However, what caused the absence of his works in earlier art-historical narratives? What led to the rapid recognition of his landscape oil sketches by collectors and curators in the mid-20th century? Furthermore, what perspectives did they adopt to look at his landscape oil sketches? Chapter one traces his development in art history by considering the changes of his career path and reputation, and then looks at his landscape oil sketches in details. Chapter two explores the development and significance of landscape oil sketches and tries to find out the reasons why Jones’s works did not attract much attention. Next, by examining the evolution of landscape painting in the 19th century, the second part of chapter two investigates the possibility of Jones’s sketches being collected as exhibits. Chapter three points out that since the mid-20th century landscape oil sketches have become prominent through increasing sales, exhibitions and collections in the art institutions. Finally, this study analyzes the conceptual frameworks of discourses on Jones’s oil sketches.
