Exemplary Women: Portraits of Female Patrons in Oxford and Cambridge Colleges

模范女性：牛津和剑桥大学女性赞助人的肖像

• 批准号: 2255373
• 金额: --
• 依托单位: University of Oxford
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2019
• 资助国家: 英国
• 起止时间: 2019 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-2255373
• 关键词: Exemplary; Women; Portraits; Female; Patrons; Exemplary; Women; Portraits; Female; Patrons

This doctoral project will investigate the function and legacy of portraits of sixteenth- and seventeenth-century women in an institutional context. The thesis will address issues of acquisition, display, and conservation of such paintings in colleges at the Universities of Oxford and Cambridge, including the commissioning of copies and prints of the portraits for wider dissemination. The extent of early modern women's role in patronage of both the arts and educational institutions has been increasingly recognised. However, whilst current understanding includes both the commissioning, financing, and production of art objects, and the foundation of and donation to scholarly institutions, these two avenues of female patronage are often considered separately. This project will provide an integrated assessment, evaluating women's circulation of their own images in both painting and print in universities, moving towards a more comprehensive understanding of the identities and agendas constructed by these women, and the impact of their involvement on the institutions they supported.Initial research identifies a broad range of female patronage at the Universities of Oxford and Cambridge in the sixteenth and seventeenth centuries, a time of rapid growth for both institutions. It was not uncommon for women donors to include evidence of their involvement through portraiture. Many of these portraits remain in colleges and their archives. Case studies will form a large part of the source base for this project, including the colleges' archival records relating to benefactors' portraits, their acquisition, display and conservation. Further study will be undertaken using the national records relating to portraiture in the Heinz Archive at the National Portrait Gallery.The project will consider the function of these portraits, using an approach that integrates current trends in scholarship on Renaissance selfhood, where portraits are seen as more than simple commemorations, with the methodologies of art history. By developing an understanding of the iconography involved in these portraits, I hope to untangle the complex web of competing consciously created identities. Do references to family suggest women were proxies for larger dynastic endeavours? Religious devotion might motivate women to present an public model of female virtue. Portraits could additionally be a useful device to project a stable, idealised image of public womanhood, in a space in which their active involvement was prohibited. Portraits might actively subvert the homosocial spaces they occupied, or perhaps their iconography reinforced gendered societal roles.The project will address the reciprocal relationship between portraits and the spaces in which they are hung. Did portraits of sixteenth- and seventeenth-century female patrons perform their original function when the paintings were moved, with other paintings placed in proximity, or with changes to the colleges over time? The mutable identities of the sitters might have been perceived differently in the original painting in comparison to its copies, prints, and reproductions.An investigation into the legacy and afterlives of these portraits will aim to uncover the ways in which these portraits were understood by observers, and the extent to which this changed over time. The project aims to demonstrate how this has impacted the institutional identity of the colleges of Oxford and Cambridge.This project is an exciting opportunity to pursue a multidisciplinary approach to a subject on which there is very little scholarship. Combining local collegiate archives and the national records on portraiture, this thesis aims to expand our understanding of early modern women's articulation of their own identity and their complicated relationship with universities and institutional identity in this period.

该博士项目将在制度背景下研究16世纪和十七世纪妇女的肖像的功能和遗产。该论文将解决牛津大学和剑桥大学上此类绘画的获取，展示和保护问题，包括调试肖像的副本和印刷品，以进行更广泛的传播。早期现代女性在艺术和教育机构的赞助中的作用范围越来越多地得到认可。但是，尽管目前的理解包括艺术品的调试，融资和生产，以及向学术机构捐款的基础和捐赠，但经常将这两种女性赞助途径分开考虑。该项目将提供一项综合评估，评估妇女在大学中绘画和印刷品中自己的图像的流通，朝着对这些妇女建立的身份和议程的更全面的了解，以及她们参与对她们支持的机构的影响。专业研究对牛津大学和六号女性的广泛范围都广泛地确定了六个女性顾客的范围。机构。女性捐助者包括通过肖像参与的证据并不少见。这些肖像中有许多留在大学及其档案中。案例研究将构成该项目的很大一部分，包括与恩人肖像有关的档案记录，其收购，展示和保护。将使用与亨氏档案库中的肖像画有关的国家记录进行进一步的研究。该项目将使用这些肖像的功能来考虑这些肖像的功能，该方法将当前的奖学金趋势整合在文艺复兴时期的自我身份方面，其中肖像被视为不仅仅是简单的纪念活动，而不是艺术历史方法。通过对这些肖像所涉及的肖像的理解，我希望解开复杂的竞争有意识地创造身份的复杂网络。对家庭的参考表明，妇女是更大的王朝努力的代理？宗教奉献可能会激发妇女提出女性美德的公共模式。在禁止其积极参与的空间中，肖像可能是投影稳定，理想化的公共女性形象的有用手段。肖像可能会积极颠覆他们所占据的同性社会空间，或者他们的肖像画增强了性别的社会角色。该项目将解决肖像与悬挂的肖像之间的相互关系。当绘画被移动时，十六世纪和十七世纪的女性顾客的肖像是否执行了其原始功能，其他绘画的距离邻近，或者随着时间的流逝而变化？与其副本，印刷品和复制品相比，在原始绘画中，保姆的可变身份可能有所不同。对这些肖像的遗产和来世的研究将旨在揭示观察者对这些肖像理解的方式，以及随着时间的推移而改变的程度。该项目旨在证明这如何影响牛津大学和剑桥大学的机构身份。该项目是一个令人兴奋的机会，可以追求多学科的方法来实现很少的奖学金。本文结合了当地的大学档案和肖像画的国家记录，旨在扩大我们对现代妇女对自己身份的表达以及在此期间与大学和机构身份的复杂关系的理解。