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研究生: 嚴唯菁
論文名稱: 愛德華.伯恩-瓊斯(Edward Burne-Jones, 1833-1898)的藝術及其觀者群與唯美主義(Aestheticism)
指導教授: 王哲雄
學位類別: 碩士
Master
系所名稱: 美術學系
Department of Fine Arts
論文出版年: 2003
畢業學年度: 91
語文別: 中文
論文頁數: 279
中文關鍵詞: 愛德華.伯恩-瓊斯拉斐爾前派文藝復興唯美主義葛洛斯凡納藝廊私人藝術贊助收藏舊水彩協會為藝術而藝術
英文關鍵詞: Edward Burne-Jones, Pre-Raphaelite, Renaissance, Aestheticism, Grosvenor Gallery, private art partorn and collector, Old Water-Colour Society, art for art's sake
論文種類: 學術論文
相關次數: 點閱:642下載:35
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  • 愛德華‧伯恩-瓊斯(Edward Burne-Jones, 1833-1898)受到拉斐爾前派(Pre-Raphaelite)靈魂人物羅賽蒂(Dante Gabriel Rossetti)的藝術啟蒙,而成為拉斐爾前派第二代的佼佼者。伯恩-瓊斯本身並未接受長期正統美術訓練,藉著觀摩羅賽蒂作畫、臨摹義大利古代畫作展開藝術生涯,雖然初期藝術創作風格不被傳統學院中人所接受,於 1870年退出舊水彩協會(Old Water-Colour Society)展覽場域並蟄伏於個人創作,1877年再度受邀參與葛洛斯凡納藝廊(Grosvenor Gallery)開幕展,一夕之間成為藝壇矚目的焦點而被視為「唯美主義的領航者」。學界普遍認為拉斐爾前派後繼者,已將其原創精神轉變為唯美主義(Aestheticism)。伯恩-瓊斯早期承襲羅賽蒂的藝術特質,而後融合古典雕刻、義大利文藝復興等多樣藝術風格,與拉斐爾前派第一代所追求的自然寫實主義有著不同的藝術面貌,藉由伯恩-瓊斯個人藝術風格的並置排比,以檢視唯美主義藝術特質及其理念乃為本文首要之焦點。伯恩-瓊斯於1870年退出公開展覽之後,繪畫多為其藝術贊助者所委託製作。藝術家與贊助者兩造之間的關係,將述及贊助者如何看待藝術品,擴及當代審美觀點與審視藝術品的角度。再者,伯恩-瓊斯於1877年後再度於葛洛斯凡納藝廊公開展覽,該藝廊在伯恩-瓊斯藝術生涯中扮演關鍵性的角色,因此本文意欲探討的另一面向,便是透過伯恩-瓊斯私人藝術贊助者,瞭解唯美主義觀者群的視覺品味,並擴及伯恩-瓊斯於葛洛斯凡那藝廊公開展覽所獲得之評論與迴響,以獲悉觀者對於唯美藝術特質的觀感。然而鑑於唯美主義乃為一抽象的藝術思潮,是維多利亞整體變遷發展下的時代產物,在論述之時,不先行界定唯美主義的理念特質,而是著眼於伯恩-瓊斯具體風格呈顯,及其藝術觀者群的藝術品味與價值觀,逐步抽絲剝繭以瞭解唯美思潮的實質表現,歸結檢視唯美主義的具體成果。

    緒論.......................................................i 第一章 拉斐爾前派之後-伯恩-瓊斯藝術風格形塑..............1 第一節 拉斐爾前派與伯恩-瓊斯邁向藝術之路..................1 第二節 羅賽蒂之徒-伯恩-瓊斯藝術風格的啟蒙...............12 第三節 自中古邁向古典-伯恩-瓊斯藝術風格的精鍊...........24 第二章 個人風格的開展-1870年代間伯恩-瓊斯的藝術創作.....38 第一節 詩畫同境:中世紀文學與當代詩文題材...............40 第二節 神蹟與寓意:宗教與神話主題.......................52 第三節 唯美抒情:純幻想無敘事性作品.....................63 第四節 唯「美」至上:伯恩-瓊斯的藝術特質................75 第三章 伯恩-瓊斯的私人藝術贊助收藏圈.....................87 第一節 伯恩-瓊斯的交遊圈與初期藝術贊助者.................87 第二節 公開展覽評價與新的藝術贊助收藏者..................96 第三節 贊助收藏圈的階級與其藝術價值觀...................117 第四章 伯恩-瓊斯邁向世界的舞台-葛洛斯凡納藝廊..........118 第一節 葛洛斯凡納藝廊的創建及其理念.....................119 第二節 葛洛斯凡納藝廊的展覽政策與當代展覽景況...........127 第三節 葛洛斯凡納藝廊的觀者、展品風格與當代藝術品味.....136 第四節 伯恩-瓊斯與葛洛斯凡納藝廊........................151 第五章 從伯恩-瓊斯的藝術探討唯美主義....................165 第一節 唯美思潮的緣起及理念.............................166 第二節 伯恩-瓊斯的唯美主義..............................178 第三節 伯恩-瓊斯的藝術觀者群與唯美主義..................189 第四節 唯美主義對視覺藝術的啟示.........................199 結論.....................................................207 參考書目.................................................214 伯恩-瓊斯年表............................................221 圖版目次.................................................228 圖版.....................................................238 索引.....................................................274

    I. 書籍
    (一)伯恩-瓊斯與拉斐爾前派
    Adams, Steven. The Art of the Pre-Raphaelites (London: Quintet Publishing Limited, 1988)
    Ash, Russell. Sir Edward Burne-Jones (London: Pavilion Books Ltd, 1993)
    Barnes, Pachel. The Pre-Raphaelites and Their World (London: Tate Gallery Publishing, 1998)
    Barring, Tim. Reading the Pre-Raphaelites (London: The Orion Publishing Group, 1998)
    Bell, Malcom. Sir Edward Burne-Jones: A Record and Review (London: George Bell & Sons, 1892)
    Bell, Quentin. A New and Nobel School: the Pre-Raphaelites (London: Macdonald and Co. Ltd., 1982)
    Bill, Waters. Sir Edward Burne-Jones: Laus Veneris (Newcastle upon Tyne: Laing Art Gallery, 1973)
    Bullen, J. B., The Pre-Raphaelite Body: Fear Desire in Painting, Poetry, and Criticism (Oxford: Clarendon Press, 1998)
    Burne-Jones, Georgiana. Memorials of Edwards Burne-Jones (London: Macmillan & Co., 1904)
    Bryden, Inga. ed. The Pre-Raphaelites Writings and Sources (London: Routledge/ Thoemmes Press, 1998)
    Casters, Susan P. & Faxon, Alicia Craig. eds. Pre-Raphaelite Art in its European Context (London: Associated University Presses, 1995)
    Cecil, David. Visionary and dreamer: two poetic painters: Samuel Palmer and Edward Burne-Jones (New Jersey: Princeton University Press, 1979)
    Christian, John. ed. Burne-Jones: The Paintings, Graphic, and Decorative Work of Sir Edward Burne-Jones, 1833-98 (London: The Arts Council of Great British, 1975)
    Christian, John. & Stevens, Mary Anne. eds. The Last Romantics- the Romantics Tradition in British Art: Burne-Jones to Stanley Spencer (London: Barbican Art Gallery, 1993)
    Dean, Ann S. Edward Burne-Jones (London: Pitkin Guldes Ltd, 1998)
    Fitzgerald, Penelope. Edward Burne-Jones (London: Sutton Publishing Limited, 1997)
    Garnett, Oliver. Burne-Jones: dal preraffaellismo a cura di Maria Teresa Benedetti e Gianna Piantoni (Roma, Galleria Nazionale d’Arte Moderna, 1986)
    Hardin, Terri. The Pre-Raphaelites: Inspiration from the Past (New York: Todtri Productions Limited, 1996)
    Hardwick, Paul. & Campbell, Elaine. eds. Edward Burne-Jones: 1833-1898 (Birmingham: The Pre-Raphaelite Society, 1998)
    Harrison, Martin. & Waters, Bill. Burne-Jones (London: Barrie & Jenkins Ltd., 1973)
    Hewison, Robert. Ed., Ruskin’s Artists: Studies in the Victorian Visual Economy (London: Ashgate Publishing Company, 2000)
    Hilton, Timothy. The Pre-Raphaelites (London: Thames and Hudson Ltd, 1970)
    Johnson, May. Burne-Jones, all colour paperback (New York: Rizzoli International Publication, Inc, 1979)
    Lago, Mary. ed. Burne-Jones Talking: His Conversations 1895-1898 preserved by his studio assistant Thomas Rooke (Columbia: University of Missouri Press, 1981)
    Mancoff, Debra N. Burne-Jones (California: Pomegranate, 1998)
    Marsh. Jan. Pre-Raphaelite Women: Images of Femininity in Pre-Raphaelite Art (London: Weidenfeld and Nicolson Ltd, 1987)
    Nahum, Peter. ed. Burne-Jones, the Pre-Raphaelites and their century (London: Peter Naham Ltd, 1989)
    Parris, Leslie. ed. Pre-Raphaelite Papers (London: Tate Gallery, 1984)
    Pointon, Marcia. ed. Pre-Raphaelites Re-viewed (London: Manchester University Press, 1989)
    Prettejohn, Elizabeth. ed. After the Pre-Raphaelites (Manchester: Manchester University Press, 1999)
    , Rossetti and his Circle (London: Tate Gallery, 1997)
    Rossetti, Dante Gabriel.The Rossetti-Leyland Letters: The Correspondence of an Artist and his Patron Francis ed. by L. Fennell Jr., (Ohio: Ohio University Press, 1978)
    Waters, William. Laus Veneris: Sir Edward Coley Burne-Jones (Laing Art Gallery, Newcastle upon Tyne 1973)
    Watson, Margaretta Frederick. ed. Collecting the Pre-Raphaelites: the Anglo-American enchantment. (London: Ashgate Publishing Limited, 1997)
    Wilton, Andrew. & Upstone, Robert. eds. The Age of Rossetti, Burne-Jones & Watts (London: Tate Gallery Publishing, 1997)
    Wildoman, Stephen. and Christian, John. Edward Burne-Jones, Victorian artist-dreamer(New York, The Metropolitan Museum of Art, 1998)
    Wood, Christopher. Burne-Jones (London: Orion Publishing Group Ltd, 1998)
    (二)其他相關資料
    Archambault, Michele. The Grosvenor Gallery, 1877-1890 (London: Courtauld Institute of Art, 1978)
    Barnard, Malcolm. Art, Design and Visual Culture: An Introduction (New York, St. Martin’s Press, Inc., 1998)
    Baxandall, Michael. Painting and Experience in fifteenth Century: A primer in the social history of pictorial style (Oxford: Oxford University Press, second edition, 1988)
    Bell, Clive. Art (New York: Oxford University Press, 1987)
    Bell, Quentin. Victorian Artists (Cambridge, Mass.: Harvard University Press, 1967)
    Bourdieu, Pierre. Distinction: A social critique of the judgement of taste, Richard Nice trans. (London & New York: Routledge & Kegan Paul, 1984)
    Büger, Peter. Theory of the Avant-Garde, trans. by Michael Shaw (Minneapolis: University of Minnesota Press, 1984)
    Casters, Susan P. & Denney, Colleen. eds. The Grosvenor Gallery: A Palace of Art in Victorian England.(New Haven: Yale University Press, 1996)
    Chadwick, Owen. The Spirit of the Oxford Movement (Cambridge: Cambridge University Press, 1990)
    Clark, Kenneth. The Nude: a study in ideal form (New Jersey: Princeton University Press, 1956)
    Denis, Cardoso Rafael. & Trodd, Colin. eds. Art and the Academy in the Nineteenth Century. (Manchester: Manchester University Press, 2000)
    Denny, Colleen. At the temple of Art: the Grosvenor Gallery, 1877-1890. (London: Associated University Presses, 2000)
    Fletcher, Ian. ed. Decadence and the 1890s (London: Edward Arnold, 1979)
    Gaunt, William. English Painting(London: Thames and Hudson, 1964)
    Gillett, Paula. World of Art: Painters in Victorian Society (New Brunswick, New Jersey: Rutgers University Press, 1990)
    Graves, Robert. The Greek Myth (Baltimore: Penguin Books, 1955)
    Harker, Richard., Mahar, Cheleen. and Wiljes, Chris. eds., An Introduction to the work of Pierre Bourdieu: The Practice of Theory (London: The Macmillan Press Ltd., 1990)
    Helmstadter, Richard J. and Lightman, Bernard. eds. Victorian Faith in Crisis: on Continuity and Change in Nineteenth-Century Religious Belief (Stanford: Stanford University Press, 1986)
    Houghton, Walter Edwards. The Victorian Frame of Mind 1830-1870 (New Haven and London: Yale University Press, 1957)
    James, Henry. The Painter’s Eye: Note and Essay on the Pictorial Arts, ed. by John L. Sweeney (London: The University of Wisconisn Press, 1989)
    Kandinsky, Wassily. Concerning the Spiritual in Art, trans by M. T. H. Sadler (New York: Dover Publication, Inc, 1981)
    Lambourne, Lionel. The Aesthetic Movement (London: Phaidon Press Limited, 1996)
    Macleod, Dianne Sachko. Art and Victorian Middle Class: Money and the Making of Cultural Identity (Cambridge: Cambridge University Press, 1996)
    Newall, Christopher. The Grosvenor gallery exhibitions: Change and continuity in the Victorian Art World(New York & Cambridge: Cambridge University Press, 1995)
    Pater, Walter. The Renaissance: Studies in Art and poetry (Oxford: Oxford University Press, 1986)
    Psomiades, Kathy Alexis. Beauty’s Body: Femininity and Representation in British Aestheticism (Stanford, California: Stanford University Press, 1997)
    Ruskin, John. Modern Painters, David Barrie ed., (New York: Alfred A. Knopf, Inc., 1987)
    Shaw, Michael. trans. Theorie der Avant-garde (Minneapolis : University of Minnesota Press, 1984)
    Spencer, Robin. The Aesthetic Movement: Theory and Practice(London & New York: Studio Vista/ Dutton, 1972)
    Swinburne, Algernon Charles. A Selection, ed. by Dame Edith Sitwell (London: Weidenfeld and Nicolson, 1960)
    Thomas, Julia. Victorian Narrative Painting (London: Tate Publishing, 2000)
    Treuherz, Julian. Victorian Painting (London: Thames and Hudson Ltd, 1993)
    Wölfflin, Heinrich. Principles of Art History, M. D. Hottinger trans. (New York: Dover Publications, INC., 1950)
    波特萊爾(Charles Baudelaire)著,《惡之華》(Les Fleurs du Mal),莫渝譯,(台北:志文出版社,1985)
    蘇利.賈伯立克(Suzi Gablik),滕立平譯,《現代主義失敗了嗎?》(Has Modernism Falled?),(台北:遠流出版公司,1991)
    邱天助,《布爾迪厄文化再製理論》(台北:桂冠圖書有限出版公司,1998)
    II. 期刊論文
    Attwood, Philip. “ Maria Zambaco: Femme Fatale of the Pre-Raphaelites,” Apollo vol.124, no.293, (July 1986), pp.31-37.
    Bullen, Barrie. “The Palace of Art: Sir Coutts Lindsay and the Grosvenor Gallery,” Apollo, no.102, (November 1975), pp.352-357.
    Cassidy, Brendan. ”Introduction: Iconography, Text, and Audience,” in Cassidy, ed., Iconography at the Crossroads (Princeton: Princeton University Press, 1993), pp.3-15.
    Casteras, Susan P. “Pre-Raphaelite Challenges to Victorian Canons of Beauty,” The Huntington Library Quarterly, vol. 55, (Winter 1992), pp. 13-35.
    Codell, Julie. “Expression over Beauty: Facial Expression, Body Language, and Circumstantiality in the Paintings of the Pre-Raphaelite Brotherhood,” Victorian Studies 29, vol.29, no.2 (winter 1986), pp.255-290.
    Corbett, David Peters. “Visuality and Unmediation in Burne-Jones’s Laus Veneris,” Art History, vol. 24, no. 1, (February 2001), pp. 83-102.
    Duval, M. Susan. “F. R. Leyland: A Maecenas from Liverpool,” Apollo, vol.124, no.294, (August 1986), pp.110-115.
    Editorial.” Victorian Cross-Currents,” Apollo, no.85, (January 1967), pp.2-11.
    Fagence, S. “Representations of Music in the Art of Burne-Jones,” Apollo, vol. 147, no. 435, (May 1998), pp. 9-14.
    Fenwick, Simon. “Working for Morris, Burne-Jones and Ruskin: the Memories of Thomas Rooke(1842-1942),” Apollo, no.416, (1996), pp.33-36.
    Fyfe, Gordon F. “Art Exhibitions and Power during the Nineteenth Century,” in Sociological Review Monograph 32. Power, Action and Belief: A New Sociology of Knowledge (London, Boston, and Henley: Routledge and Kegan Paul, 1986), pp. 30-38.
    Ferriday, Peter. “Peacock Room,” Architectural Review, vol.125, (June 1959), pp.407-414.
    Macleod, Dianne Sachko. “Private and Public Patronage in Victorian Newcastle,” Journal of the Warburg and Courtauld Institutes, vol. 52, pp.188-208.
    ________ , “Art Collecting and Victorian Middle-Class Taste,” Art History, vol.10, no.3, (September 1987), pp.328-50.
    Munro, Jane A. “’This hateful letter-writing’: selected correspondence of Sir Edward Burne-Jones in the Huntington Library,” The Huntington Library Quarterly, vol.55, (Winter 1992), pp.75-146.
    Nahum, Peter. & Waters, Bill. “Inner Vision: Edward Burne-Jones’s Dreamy Damsels of Myth and Legend Limned the Painter’s Stormy Emotional Life,” Art & Antique, vol.21, no.6, (June 1998), pp.54-61.
    Shaw, W. David. “Edward Burne-Jones and Pre-Raphaelite Melancholy,” University of Toronto Quarterly, Vol. 66, No.2, (Spring 1997), pp. 444-453.
    Shrimpton, Nicholas. “Pater and the ‘aesthetical sect’ in Comparative Criticism 17 (Cambridge: Cambridge University Press, 1995), pp. 61-84.
    Russell, Francis. “Advice for a young Traveller from Burne-Jones: Letters to Agnes Graham, 1876,” Apollo, no.108, (December 1978), pp. 424-427.
    Waters, Bill. “Painter and Patron: The Palace Green Murals,” Apollo, no.102, (November 1975), pp.338-341.
    Wollheim, Richard. “Walter Pater: from philosophy to art,” in Comparative Criticism 17 (Cambridge: Cambridge University Press, 1995), pp. 21 –39.

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