• 8 March 2019
  • 1:00 – 2:00 pm
  • Light lunch provided, free booking essential.
  • Seminar Room , Paul Mellon Centre

After the establishment of the Royal Academy in 1768, London experienced an ‘age of exhibitions’, a new social culture that changed the artistic economy. In response, artist’s roles, motivations and inspiration were changing. So to their studios adapted to accommodate patrons, exhibit work, mould their identity and reflect their professionalism, and be a location of creativity. Due to a lack of research, landscape paintings are currently interpreted, potentially inaccurately, based on understandings of the studios of artists of other genres. This thesis explores what scholarship has overlooked: the irony that rural landscapes were being painted in urban London, the outside world being created inside the limits of a room. By building a visual, material and theoretical understanding of the landscape artist’s studio we can reshape the foundation on which we interpret the landscapes produced in those spaces. Where were their studios situated? What were their studios like? How did the artists adapt them for landscape painting and, in turn, how did this impact the landscape paintings themselves?

This talk will focus on the first stage of the research: the creation of a database and map to explore the locations and movements of landscape artists on a macro scale. The talk will explore the intentions and methodology in relation to the wider thesis, key findings and visualisations of the results, and an assessment of what more can be done with this data and how the analysis can be taken further.

 

 

Image: Richard Horwood’s 1792-99 map of London – British Library Maps.Crace.V 174, 1799.

Image through kind permission of Dr Matthew Sangster, taken from http://www.romanticlondon.org

 

About the speaker

  • Head and shoulders portrait of Rhian Addison4424col

    Rhian is an AHRC collaborative PhD student between the University of York and Tate Britain. Her research focuses on landscape artists’ studios in London, between 1780 and 1850. Rhian has been awarded a Research Council Policy Internship at the National Archives where she will be writing a briefing paper for DCMS on how policy can evolve to protect digital cultural assets. Rhian’s most recent post was as Curator (Historic Fine Art) at the Whitworth, University of Manchester where she curated Cozens and Cozens and South Asian Modernists, 1953-63, and oversaw the care and management of the historic collection. Rhian was formerly Assistant Curator at Watts Gallery – Artists’ Village where she project managed the exhibition programme and cared for the permanent collection. Rhian curated multiple exhibitions including Liberation Fashion: Aesthetic Dress in Victorian Portraits and Close Up & Personal: Victorians & Their Photographs. In 2016 Rhian was awarded the Associateship of the Museum Association.