题名

收藏、流通、展示與傳播：對二十世紀末以來西方藝術史研究取徑的一些觀察

并列篇名

Collecting, Circulation, Display and Dissemination: Some Observations on the Approaches of Western Art History Research Since the Late Twentieth Century

作者

謝佳娟(Chia-Chuan Hsieh)

关键词

西方藝術史 ； 收藏史 ； 藝術市場 ； 美術館史 ； 展覽史 ； 圖像複製與傳播 ； 接受史 ； Western art history ； History of collecting ； Art market ； History of art museums ； Exhibition history ； Image reproduction and dissemination ； Reception history

期刊名称

藝術學研究

卷期/出版年月

29期（2021 / 12 / 01）

页次

1 - 69

内容语文

繁體中文
中文摘要

自從十九世紀中葉藝術史在歐洲成為學科以來，在藝術家生平傳記、鑑定學、風格分析與圖像學主流方法下，西方藝術史研究已建立對歷代作品風格内涵與文化意義的豐厚詮釋傳統。1980年代以來在各種批判理論衝擊下，更興起多種研究視角探究藝術品與藝術家創作面向的社會文化脈絡。值得注意的是，於此同時，西方學界也積極展開了對藝術流通與接受面向的探索，對藝術／藝術史在社會中的價值形塑與演變，提供更多重的觀照視角。本文將聚焦在藝術收藏史、藝術市場、美術館史與藝術展覽史、圖像複製與傳播及接受史等四個面向，觀察二十世紀末以來西方近現代藝術史的研究進展，梳理出研究概念與議題發展的脈絡，以作為藝術史學史反思的基礎。
英文摘要

Art history emerged as a discipline in Europe in the mid-nineteenth century and established a rich research tradition by employing the methodologies of biographical studies, connoisseurship, stylistic analysis, and iconology so as to better understand the stylistic and cultural significance of the artworks of the past centuries. Since the 1980s, under the impact of the various critical theories, a variety of research perspectives have emerged to explore the social and cultural contexts of artworks and their creation/ production by artists. It is worth noting that, about the same time, Western scholarship also began to investigate issues of circulation and the reception of artworks, thus providing multiple new perspectives on the shaping of the value of art/ art history and its evolution in society. This article observes the progress of Western art history research since the end of the twentieth century with a focus on the following four aspects: the history of collecting; the art market; the history of art museums and exhibitions; and history of image reproduction, dissemination and reception. It aims to trace contextual developments of the research concepts and issues so as to provide a basis for further reflection on art historiography.
主题分类 人文學 > 藝術
参考文献
  1. 謝佳娟(2021)。「看見」藝術品:十八世紀後期至十九世紀初英國圖解藝術書籍的發展。國立臺灣大學美術史研究集刊，50，223-286+290。
    連結：
  2. 謝佳娟(2019)。自然之美與藝術經典的國家品味/十八至十九世紀初印刷文化對英國貴族鄉間別墅形象的塑造))。藝術學研究，25，1-91。
    連結：
  3. Bloomsbury Publishing 出版社官網:
  4. 世界文化之家網站： （2021年7月7日檢索），
  5. 巴黎藝術市場數位地圖網站：Géographie du marché de l’art parisien （2021年7月3日檢索）。
  6. 倫敦國家藝術官網：British Sales 1680-1800: The Rise of the Lond on Art Market, 網址：（2021年7月3日檢索）。
  7. 華勒斯典藏館「收藏史講論會」官網：（2021年6月27日檢索）。
  8. Routledge 出版社官網： （2012年6月27日檢索）。
  9. Artl@s Bulletin官網: (2021年7月3日檢索)。
  10. 倫敦大學瓦堡研究中心官網：Online BilderAtlas MnemosyneҔ （2021年7月7日檢索）。
  11. Brepols 出版社官網: <
  12. 弗利克典藏館「收藏史中心」官網：（2021年6月27日檢索）。
  13. 倫敦大學歷史研究中心「收藏與展示講論會」官網：（2021年6月27日檢索）。
  14. Agincourt, Jean-Baptiste Séroux d’. Histoire de l’art par les monumens, depuis sa décadence au IVe siècle jusqu’à son renouvellement au XIVe, 6 vols. Paris: Treuttel et Würtz, 1823.
  15. Alexander, David(1983).After-Images’: A Review of Recent Studies of Reproductive Print-Making.Oxford Art Journal,6(1),11-17.
  16. Alsop, Joseph(1982).The Rare Art Traditions: The History of Art Collecting and Its Linked Phenomena Wherever These Have Appeared.London:Thames and Hudson.
  17. Altshuler, Bruce(2008).Salon to Biennial: Exhibitions that Made Art History, Vol. 1, 1863-1959.London:Phaidon.
  18. Altshuler, Bruce(2013).Biennials and Beyond: Exhibitions that Made Art History, 1962-2002.London:Phaidon.
  19. Anonymous, Sculptura-Historico-Technica, or, The History and Art ofIngraving ... extracted from Baldinucci, Florent le Comte, Faithorne,the Abcedario pittorico, and Other Authors. London: S. Harding, 1747.
  20. Armstrong-Totten, Julia(2008).The Rise and Fall of a British Connoisseur: The Career of Michael Bryan (1757-1821), Picture Dealer Extraordinaire.Auctions, Agents and Dealers: The Mechanisms of the Art Market, 1660-1830,Oxford:
  21. Avery-Quash, Susanna(ed.),Huemer, Christian(ed.)(2019).London and the Emergence of a European Art Market, 1780-1820.Los Angeles:Getty Publications.
  22. Avery-Quash, Susanna(ed.),Pezzini, Barbara(ed.)(2021).Old Masters Worldwide: Markets, Movements and Museums.New York:Bloomsbury Visual Arts.
  23. Baetens, Jan Dirk(2016).The General Exhibition of Pictures of 1851: National Schools and International Trade in the Mid-Victorian Art Market.Visual Culture in Britain,17(3),270-289.
  24. Baetens, Jan Dirk,Lyna, Dries(2019).Art Crossing Borders: The Internationalisation of the Art Market in the Age of Nation States, 1750-1914.Leiden:Brill.
  25. Bailey, Colin B.(2002).Patriotic Taste: Collecting Modern Art in Pre-revolutionary Paris.New Haven:Yale University Press.
  26. Bal, Mieke(1994).Telling Objects: A Narrative Perspective in Collecting.The Cultures of Collecting,London:
  27. Barker, Emma(ed.)(1999).Contemporary Cultures of Display.New Haven:Yale University Press.
  28. Bartsch, Adam von. Le Peintre-Graveur, 21 vols. Vienna, 1802-1821.
  29. Baskett, John(2007).Paul Mellon’s Legacy: A Passion for British Art: Masterpieces from the Yale Center for British Art.New Haven:Yale University Press.
  30. Bätschmann, Oskar(1997).The Artist in the Modern World: The Conflict between Market and Self-expression.New Haven:Yale University Press.
  31. Baudrillard, Jean(1994).The System of Collecting.The Cultures of Collecting,London:
  32. Bayer, Thomas M.,Page, John R.(2011).The Development of the Art Market in England: Money as Muse, 1730-1900.London:Pickering & Chatto.
  33. Bennett, Shelley(2013).The Art of Wealth: The Huntingtons in the Gilded Age.San Marino, California:Huntington Library, Art Collections, and Botanical Gardens.
  34. Berg, Maxine,Clifford, Helen(1998).Graphic Display and Selling New Consumer Goods in 18th-century England.Art Markets in Europe, 1400-1800,Aldershot:
  35. Bermingham, Ann(ed.),Brewer, John(ed.)(1995).The Consumption of Culture, 1600-1800: Image, Object, Text.New York:Routledge.
  36. Bielecki, Emma(2011).The Collector in Nineteenth-century French Literature: Representation, Identity, Knowledge.Oxford:Peter Lang.
  37. Bindman, David(2007).The Orléans Collection and Its Impact on British Art.La Circulation des OEuvres d’Art. The Circulation of Works of Art in the Revolutionary Era, 1789-1848,Rennes:
  38. Bishop, Janet(ed.),Debray, Cécile(ed.),Rabinow, Rebecca(ed.)(2011).The Steins Collect: Matisse, Picasso, and the Parisian Avant-garde.San Francisco:San Francisco Museum of Modern Art.
  39. Bowron, Edgar Peters(ed.)(2017).Buying Baroque: Italian Seventeenth-century Paintings Come to America.University Park, Pa:The Pennsylvania State University Press.
  40. Bredekamp, Horst,Brown, Allison(Trans.)(1995).The Lure of Antiquity and the Cult of the Machine: The Kunstkammer and the Evolution of Nature, Art, And Technology.Princeton:M. Wiener Publishers.
  41. Brilliant, Virginia(2010).A History of Taste: Collecting French & Italian Old Master Paintings for America.London:Robilant + Voena.
  42. Brown, Jonathan(1995).Kings & Connoisseurs: Collecting Art in 17th-Century Europe.New Haven:Yale University Press.
  43. Bryan, Michael. A Biographical and Critical Dictionary of Painters and Engravers: From the Revival of the Art Under Cimabue, and the Alledged Discovery of Engraving by Finiguerra, to the Present Time, 2 vols. London, 1816.
  44. Bury, Michael(1993).On Some Engravings by Giorgio Ghisi Commonly Called ‘Reproductive.Print Quarterly,10(1),4-19.
  45. Campbell, Sara(2010).Collector without Walls: Norton Simon and His Hunt for the Best.New Haven:Yale University Press.
  46. Cardinal, Roger(1994).Collecting and Collage-Making: The Case of Kurt Schwitters.The Cultures of Collecting,London:
  47. Carrier, David(2006).Museum Skepticism: A History of the Display of Art in Public Galleries.Durham:Duke University Press.
  48. Casid, Jill H.(ed.),D’Souza, Aruna(ed.)(2014).Art History in the Wake of the Global Turn.Williamstown, Massachusetts:Sterling and Francine Clark Art Institute.
  49. Cavazzini, Patrizi(2008).Painting as Business in Early Seventeenth-century Rome.University Park, Pa.:The Pennsylvania State University Press.
  50. Claerbergen, Ernst Vegelin van(ed.)(2006).David Teniers and the Theatre of Painting.London:Courtauld Institute of Art Gallery.
  51. Colomer, José Luis(ed.),Reist, Inge(ed.)(2012).Collecting Spanish Art: Spain’s Golden Age and America’s Gilded Age.New York:Frick Collection.
  52. Conforti, Michael(2006).The Clark Brothers Collect: Impressionist and Early Modern Paintings.Williamstown, Mass.:Sterling and Francine Clark Art Institute.
  53. Cooper, Robyn(1978).The Popularization of Renaissance Art in Victorian England: the Arundel Society.Art History,1(3),263-292.
  54. Cowan, Brian(1998).Arenas of Connoisseurship: Auctioning Art in Later Stuart England.Art Markets in Europe, 1400-1800,Aldershot:
  55. Cowan, Brian(2006).Art and Connoisseurship in the Auction Market of Later Seventeenth-Century London.Mapping Markets for Paintings in Europe 1450-1750,Turnhout, Belgium:
  56. Diels, Ann(2009).The Shadow of Rubens: Print Publishing in 17th-Century Antwerp.Turnhout:Harvey Miller Publishers.
  57. Duncan, Carol(1995).Civilizing Rituals: Inside Public Art Museums.London:Routledge.
  58. Elkins, James(2007).Is Art History Global?.New York:Routledge.
  59. Elsner, John(1994).A Collector’s Model of Desire: The House and Museum ofSir John Soane.The Cultures of Collecting,London:
  60. Elsner, John(ed.),Cardinal, Roger(ed.)(1994).The Cultures of Collecting.London:Reaktion Books.
  61. Emery, Elizabeth(2020).Reframing Japonisme: Women and the Asian Art Market in Nineteenth-Century France, 1853-1914.New York:Bloomsbury Visual Arts.
  62. Faroult, Guillaume(2014).Delicious Decadence: The Rediscovery of French Eighteenth-century Painting in the Nineteenth Century.Burlington:Ashgate.
  63. Feigenbaum, Gail(ed.)(2014).Display of Art in the Roman Palace, 1550-1750.Los Angeles:Getty Research Institute.
  64. Filipová, Marta(ed.)(2015).Cultures of International Exhibitions 1840-1940: Great Exhibitions in the Margins.Farnham:Ashgate.
  65. Fletcher, Pamela(2011).The Grand Tour on Bond Street: Cosmopolitanism and the Commercial Art Gallery in Victorian London.Visual Culture in Britain,12(2),139-153.
  66. Fletcher, Pamela(ed.),Helmreich, Anne(ed.)(2011).The Rise of the Modern Art Market in London, 1850-1939.Manchester:Manchester University Press.
  67. Fletcher, Pamela,Helmreich, Anne(2018).Networked: The Art Market in the Nineteenth Century.A Companion to Nineteenth-century Art,Hoboken:
  68. Fletcher, Pamela and David Israel. London Gallery Project, 2007; revised September 2012. 網址：（2021年7月3日檢索）。
  69. Force, Christel(ed.)(2021).Pioneers of the Global Art Market: Paris-Based Dealer Networks, 1850-1950.New York:Bloomsbury Visual Arts.
  70. Forrester, John(1994).‘Mille e tre’: Freud and Collecting.The Cultures of Collecting,London:
  71. Francescato, Simone(2010).Collecting and Appreciating: Henry James and the Transformation of Aesthetics in the Age of Consumption.New York:Peter Lang.
  72. Fyfe, Gordon(2000).Art, Power and Modernity: English Art Institutions, 1750-1950.London:Leicester University Press.
  73. Gaehtgens, Thomas W.(ed.),Marchesano, Louis(ed.)(2011).Display & Art History: The Düsseldorf Gallery and Its Catalogue.Los Angeles:The Getty Research Institute.
  74. Gahtan, Maia Wellington(ed.),Pegazzano, Donatella(ed.)(2018).Monographic Exhibitions and the History of Art.London:Routledge.
  75. Gardner, Anthony,Green, Charles(2016).Biennials, Triennials, and Documenta: The Exhibitions that Created Contemporary Art.Chichester, West Sussex:Wiley-Blackwell.
  76. Glendinning, Nigel(ed.),Macartney, Hilary(ed.)(2010).Spanish Art in Britain and Ireland, 1750-1920: Studies in Reception in Memory of Enriqueta Harris Frankfort.Woodbridge:Tamesis.
  77. Goodyear, William Henry. A History of Art. New York and Chicago: A.S. Barnes & Company, 1888.
  78. Gould, Charlotte(ed.),Mesplède, Sophie(ed.)(2012).Marketing Art in the British Isles, 1700 to the Present: A Cultural History.Farnham, Surrey:Ashgate Publishing.
  79. Graciano, Andrew(ed.)(2015).Exhibiting Outside the Academy, Salon and Biennial, 1775-1999: Alternative Venues for Display.Farnham:Ashgate.
  80. Gramaccini, Norberto,Meier, Hans Jacob(2003).Die Kunst der Interpretation;Die französische Reproduktionsgraphik von 1648 bis 1792.Berlin:Deutscher Kunstverlag.
  81. Gramaccini, Norberto,Meier, Hans Jacob(2009).Die Kunst der Interpretation; Italienische Reproduktionsgraphik 1485-1600.Berlin:Deutscher Kunstverlag.
  82. Greenberg, Reesa(Ed.),Ferguson, Bruce W.(Ed.),Nairne, Sandy(Ed.)(1996).Thinking about Exhibitions.London:Routledge.
  83. Greenhalgh, Paul(2011).Fair World: A History of World’s Fairs and Expositions, from London to Shanghai, 1851-2010.Winterbourne:Papadakis.
  84. Guerzoni, Guido(2011).Apollo & Vulcan: The Art Markets in Italy, 1400-1700.East Lansing:Michigan State University Press.
  85. Hallett, Mark,Turner, Sarah Victoria(2018).The Great Spectacle: 250 Years of the Royal Academy Summer Exhibition.London:Royal Academy of Arts.
  86. Hamber, Anthony(2011).Facsimile, Scholarship, and Commerce: Aspects of the Photographically Illustrated Art Book (1839-1880).Art and the Early Photographic Album,Washington, D.C.:
  87. Hamber, Anthony(2003).Photography in Nineteenth-Century Art Publications.The Rise of the Image: Essays on the History of the Illustrated Art Book,Aldershot:
  88. Hanson, Craig Ashley(2009).The English Virtuoso: Art, Medicine, and Antiquarianism in the Age of Empiricism.Chicago:University of Chicago Press.
  89. Haskell, Francis(1963).Patrons and Painters: A Study in the Relations between Italian Art and Society in the Age of the Baroque.New Haven:Yale University Press.
  90. Haskell, Francis(1987).The Painful Birth of the Art Book.London:Thames and Hudson.
  91. Haskell, Francis(1976).Rediscoveries in Art: Some Aspects of Taste, Fashion, and Collecting in England and France.Ithaca, N.Y.:Cornell University Press.
  92. Haskell, Francis(2000).The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition.New Haven:Yale University Press.
  93. Helmreich, Anne(2013).Dynamic Networks of Circulation and Exchange in Edwardian Art.Visual Culture in Britain,14(1),36-54.
  94. Hemingway, Andrew(1995).Art Exhibitions as Leisure-class Rituals in Early Nineteenth-century London.Towards a Modern Art World,New Heaven:
  95. Higonnet, Anne(2009).A Museum of One’s Own: Private Collecting, Public Gift.Pittsburgh, PA:Periscope Pub.
  96. Holst, Niels von(1960).Publikum: ein Buch für Kunst- und Museumsfreunde.Darmstadt:Luchterhand.
  97. Holst, Niels von,Battershaw, Brian(trans.),Read, Herbert(into.)(1967).Collectors and Connoisseurs: The Anatomy of Artistic Taste from Antiquity to the Present Day.London:Thames and Hudson.
  98. Hooper-Greenhill, Eilean(1992).Museums and the Shaping of Knowledge.London:Routledge.
  99. Horowitz, Noah(2011).Art of the Deal: Contemporary Art in a Global Financial Market.Princeton, N.J.:Princeton University Press.
  100. Howarth, David(ed.)(1993).Art and Patronage in the Caroline Courts: Essays in Honour of Sir Oliver Millar.Cambridge:Cambridge University Press.
  101. Hults, Linda C.(1996).The Print in the Western World: An Introductory History.Madison, Wis.:University of Wisconsin Press.
  102. Humfrey, Peter(2013).The Reception of Titian in Britain: From Reynolds to Ruskin.Turnhout:Brepols.
  103. Humfrey, Peter(2019).The Stafford Gallery: The Greatest Art Collection of Regency London.Norwich:Unicorn Press.
  104. Impey, Oliver(1977).Chinoiserie: The Impact of Oriental Styles on Western Art and Decoration.London:Oxford University Press.
  105. Impey, Oliver(ed.),MacGregor, Arhtur(ed.)(1985).The Origins of Museums: The Cabinet of Curiosities in Sixteenth- and Seventeenth-Century Europe.Oxford:Clarendon Press.
  106. Ivins, William M. Jr. “An Exhibition of Reproductive Prints.” The Metropolitan Museum of Art Bulletin 26:10 (1931): 236-239.
  107. Ivins, William M. Jr.(1953).Prints and Visual Communication.Cambridge, Mass.:Harvard University Press.
  108. Jackson-Stops, Gervase(ed.)(1985).The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting.Washington:National Gallery of Art.
  109. Johns, Christopher M.S.(1998).Antonio Canova and the Politics of Patronage in Revolutionary and Napoleonic Europe.Berkeley:University of California Press.
  110. Jones, Pamela M.(1993).Federico Borromeo and the Ambrosiana: Art Patronage and Reform in Seventeenth-century Milan.Cambridge:Cambridge University Press.
  111. Kaufmann, Thomas(2015).Reflections on World Art History.Circulations in the Global History of Art,Farnham:
  112. Kaufmann, Thomas(1994).From Treasury to Museum: The Collections of the Austrian Habsburgs.The Cultures of Collecting,London:
  113. Kaufmann, Thomas DaCosta(2004).Toward a Geography of Art.Chicago:The University of Chicago Press.
  114. Kelly, Simon(2021).Théodore Rousseau and the Rise of the Modern Art Market: An Avant-Garde Landscape Painter in Nineteenth-Century France.New York:Bloomsbury Visual Arts.
  115. Kent, F.W.(ed.),Simons, Patricia(ed.)(1987).Patronage, Art, and Society in Renaissance Italy.Canberra:Humanities Research Centre Australia.
  116. Lambert, Susan(1987).The Image Multiplied: Five Centuries of Printed Reproductions of Paintings and Drawings.London:Trefoil Publications.
  117. Lammertse, Friso,van der Veen, Jaap(2006).Uylenburgh & Son: Art and Commerce from Rembrandt to De Lairesse, 1625-1675.Zwolle:Waanders Publishers.
  118. Leca, Benedict(2005).An Art Book and its Viewers: The ‘Recueil Crozat’ and the Uses of Reproductive Engraving.Eighteenth-Century Studies,38(4),623-649.
  119. Levell,Nicky(2000).Oriental Visions: Exhibitions, Travel, and Collecting in the Victorian Age.London:Horniman Museum and Gardens.
  120. Lyna, Dries(ed.),Vermeylen, Filip(ed.),Vlieghe, Hans(ed.)(2009).Art Auctions andDealers: The Dissemination of Netherlandish Art during the Ancien Régime.Turnhout:Brepols.
  121. MacGregor, Arthur(2007).Curiosity and Enlightenment: Collectors and Collections from the Sixteenth to the Nineteenth Century.New Haven:Yale University Press.
  122. Marchi, Neil De(ed.),van Miegroet, Hans J.(ed.)(2006).Mapping Markets for Paintings in Europe 1450-1750.Turnhout, Belgium:Brepols.
  123. Marchi, Neil De,van Miegroet, Hans J.(2006).Transforming the Paris Art Market, 1718-1750.Mapping Markets for Paintings in Europe 1450-1750,Turnhout, Belgium:
  124. Marchi, Neil De,van Miegroet, Hans,Raiff, Matthew E.(1998).Dealer-dealer Pricing in the Mid 17th-century Antwerp-to-Paris Art Trade.Art Markets in Europe,Aldershot:
  125. Marciari, John(2017).Art of Renaissance Rome: Artists and Patrons in the Eternal City.London:Laurence King Publishing.
  126. Mazaroff, Stanley(2010).Henry Walters and Bernard Berenson: Collector and Connoisseur.Baltimore:Johns Hopkins University Press.
  127. McClellan, Andrew(2008).The Art Museum from Boullée to Bilbao.Berkeley, Calif.:University of California Press.
  128. McClellan, Andrew(1994).Inventing the Louvre: Art, Politics and the Origins of the Modern Museum in Eighteenth-Century Paris.Cambridge:Cambridge University Press.
  129. McClellan, Andrew(1996).Watteau’s Dealer: Gersaint and the Marketing of Art in Eighteenth-Century Paris.Art Bulletin,78(3),439-453.
  130. McCue, Maureen(2014).British Romanticism and the Reception of Italian Old Master Art, 1793-1840.Burlington:Ashgate.
  131. Meyer, Jonathan(2006).Great Exhibitions: London, New York, Paris, Philadelphia, 1851-1900.Woodbridge:Antique Collectors’ Club.
  132. North, Michael(1997).Art and Commerce in the Dutch Golden Age.New Heaven:Yale University Press.
  133. North, Michael(ed.)(2010).Artistic and Cultural Exchanges between Europe and Asia, 1400-1900: Rethinking Markets, Workshops and Collections.Farnham:Ashgate.
  134. North, Michael(ed.),Ormrod, David(ed.)(1998).Art Markets in Europe, 1400-1800.Aldershot:Ashgate.
  135. Ohrt, Roberto,Heil, Axel(2020).Aby Warburg: Bilderatlas Mnemosyne: The Original.Berlin:Hatje Cantz.
  136. Ormrod, David(1998).The Origins of the London Art Market, 1660-1730.Art Markets in Europe, 1400-1800,Aldershot:
  137. Patry, Sylvie(2015).Inventing Impressionism: Paul Durand-Ruel and the Modern Art Market.London:National Gallery.
  138. Paul, Carole(2008).The Borghese Collections and the Display of Art in the Age of the Grand Tour.Aldershot:Ashgate.
  139. Paul, Carole(ed.)(2012).The First Modern Museums of Art: The Birth of an Institution in 18th- and Early-19th-Century Europe.Los Angeles:Paul Getty Museum.
  140. Pearce, Susan M.(1998).Collecting in Contemporary Practice.London:SAGE Publications.
  141. Pearce, Susan M.(1995).On Collecting: An Investigation into Collecting in the European Tradition.London:Routledge.
  142. Pergam, Elizabeth A.(2011).The Manchester Art Treasures Exhibition of 1857: Entrepreneurs, Connoisseurs and the Public.Farnham:Ashgate.
  143. Perry, Gill(ed.),Retford, Kate(ed.),Vibert, Jordan(ed.)(2013).Placing Faces: The Portrait and the English Country House in the Long Eighteenth Century.Manchester:Manchester university press.
  144. Petropoulos, Jonathan(2000).The Faustian Bargain: The Art World in Nazi Germany.New York:Oxford University Press.
  145. Pierson, Stacey(2017).Private Collecting, Exhibitions, and the Shaping of Art History in London: The Burlington Fine Arts Club.London:Routledge.
  146. Pointon, Marcia(ed.)(1994).Art Apart: Art Institutions and Ideology Across England and North America.Manchester; New York:Manchester University Press.
  147. Pomian, Krzysztof(1987).Collectionneurs, amateurs et curieux: Paris, Venise, XVIe-XVIIIe siècle.Paris:Gallimard.
  148. Pomian, Krzysztof,Wiles-Portier, Elizabeth(Trans.)(1990).Collectors and Curiosities: Paris and Venice 1500-1800.Cambridge, U.K.:Polity Press.
  149. Pon, Lisa(2004).Raphael, Dürer, and Marcantonio Raimondi: Copying and the Italian Renaissance Print.New Haven:Yale University Press.
  150. Potvin, John(ed.),Myzelev, Alla(ed.)(2009).Material Cultures, 1740-1920: The Meanings and Pleasures of Collecting.Farnham, England:Ashgate.
  151. Quodbach, Esmée(ed.)(2014).Holland’s Golden Age in America: Collecting the Art of Rembrandt, Vermeer, and Hals.University Park, Pa.:The Pennsylvania State University Press.
  152. Quodbach, Esmée(ed.)(2020).America and the Art of Flanders: Collecting Paintings by Rubens, Van Dyck, and Their Circles.University Park, Pa:The Pennsylvania State University Press.
  153. Rampley, Matthew(2012).History and Visual Studies in Europe: Transnational Discourses and National Frameworks.Leiden:Brill.
  154. Reist, Inge(ed.)(2015).A Market for Merchant Princes: Collecting Italian Renaissance Paintings in America.University Park, Pa.:Pennsylvania State University Press.
  155. Reist, Inge(ed.)(2014).British Models of Art Collecting and the American Response: Reflections across the Pond.Burlington:Ashgate.
  156. Ridderbos, Bernhard(ed.),van Buren, Anne(ed.),van Veen, Henk(ed.)(2005).Early Netherlandish Paintings: Rediscovery, Reception, and Research.Amsterdam:Amsterdam University Press.
  157. Rix, Brenda D.(1983).Pictures for the Parlour: The English Reproductive Print from 1775 to 1900.Toronto:Art Gallery of Ontario.
  158. Saint-Raymond, Léa,de Maupeou, Félicie,Cavero, Julien(2016).Les rues des tableaux: The Geography of the Parisian Art Market 1815-1955.Artl@s Bulletin,5(1),119-159.
  159. Saltzman, Cynthia(2008).Old Masters, New World: America’s Raid on Europe’s Great Pictures, 1880-World War I.New York:Viking.
  160. Santori, Flaminia Gennari(2003).The Melancholy of Masterpieces: Old Master Paintings in America, 1900-1914.Milan:5 continents.
  161. Schmid, Vanessa I.(2018).The Orléans Collection.New Orleans. La.:New Orleans Museum of Art.
  162. Schnapper, Antoine(1988).Le géant, la licorne et la tulipe: collections et collectionneurs dans la France du XVIIe siècle.Paris:Flammarion.
  163. Schnapper, Antoine(1998).Probate Inventories, Public Sales and the Parisian Art Market in the 17th century.Art Markets in Europe, 1400-1800,Aldershot:
  164. Schnapper, Antoine(2012).Le géant, la licorne et la tulipe. Les cabinets de curiosités en France au XVIIe siècle.Paris:Flammarion.
  165. Seifert, Christian Tico(2018).Rembrandt: Britain’s Discovery of the Master.Edinburgh:National Galleries of Scotland.
  166. Sheehan, James J.(2000).Museums in the German Art World from the End of the Old Regime to the Rise of Modernism.Oxford:Oxford University Press.
  167. Shelton, Anthony Alan(1994).Cabinets of Transgression: Renaissance Collections and the Incorporation of the New World..The Cultures of Collecting,London:
  168. Sheriff, Mary D.(ed.)(2010).Cultural Contact and the Making of European Art Since the Age of Exploration.Chapel Hill:University of North Carolina Press.
  169. Sherman, Daniel J.(1989).Worthy Monuments: Art Museums and the Politics of Culture in Nineteenth-Century France.Cambridge, Mass.:Harvard University Press.
  170. Siebel, Sabine(2004).The Glory of Baroque Dresden: The State Art Collections Dresden.Dresden:State Art Collections Dresden.
  171. Smith, Charles Saumarez(2007).Narratives of Display at the National Gallery, London.Art History,30(4),611-627.
  172. Smith, Pamela H.(ed.),Findlen, Paula(ed.)(2002).Merchants & Marvels: Commerce, Science and Art in Early Modern Europe.New York, NY:Routledge.
  173. Solkin, David H.(ed.)(2001).Art on the Line: The Royal Academy Exhibitions at Somerset House, 1780-1836.New Haven:Yale University Press.
  174. Spear, Richard E.(2010).Painting for Profit: The Economic Lives of Seventeenth-Century Italian Painters.New Haven:Yale University Press.
  175. Stewart, Susan(1994).Death and Life, in that Order, in the Works of Charles Willson Peale.The Cultures of Collecting,London:
  176. Stourton, James,Sebag-Montefiore, Charles(2012).The British as Art Collectors: from the Tudors to the Present.London:Scala.
  177. Strutt, Joseph. A Biographical Dictionary; Containing an Historical Account of All the Engravers, from the Earliest Period of the Art of Engraving to the Present Time; And a Short List of Their Most Esteemed Works. ... With Several Curious Specimens of the Performances of the Most Ancient Artists. London: Robert Faulder, 1785-1786.
  178. Summers, David(2003).Real Spaces: World Art History and the Rise of Western Modernism.London:Phaidon.
  179. Swann, Marjorie(2001).Curiosities and Texts: The Culture of Collecting in Early Modern England.Philadelphia:University of Pennsylvania Press.
  180. Swenson, Astrid(ed.),Mandler, Peter(ed.)(2013).From Plunder to Preservation: Britain and the Heritage of Empire, c.1800-1940.Oxford:Oxford University Press.
  181. Szczerski, Andrzej(2015).Views of Albion: The Reception of British Art and Design in Central Europe, 1890-1918.Oxford:Peter Lang AG.
  182. Tedeschi, Martha(2005).Where the Picture Cannot Go, the Engravings Penetrate’: Prints and the Victorian Art Market.Art Institute of Chicago Museum Studies,31(1),9-19.
  183. Thomas, Nicholas(1994).Licensed Curiosity: Cook’s Pacific Voyages.The Cultures of Collecting,London:
  184. Tite, Catherine(2010).Portraiture, Dynasty and Power: Art Patronage in Hanoverian Britain, 1714-1759.Amherst, N.Y.:Cambria Press.
  185. Tite, Catherine(ed.)(2013).Patronage, Visual Culture, and Courtly Life: In Eighteenth-century Germany and England.Amherst, N.Y.:Cambria Press.
  186. Tummers, Anna(ed.),Jonckheere, Koenraad(ed.)(2008).Art Market and Connoisseurship in the Dutch Golden Age.Amsterdam:Amsterdam University Press.
  187. Vázquez, Oscar E.(2001).Inventing the Art Collection: Patrons, Markets, and the State in Nineteenth-Century Spain.University Park, Pa.:The Pennsylvania State University Press.
  188. Velthuis, Olav(2007).Talking Prices: Symbolic Meanings of Prices on the Market for Contemporary Art.Princeton, N.J.:Princeton University Press.
  189. Velthuis, Olav(ed.),Stefano Baia Curioni(ed.)(2015).Cosmopolitan Canvases: TheGlobalization of Markets for Contemporary Art.Oxford:Oxford University Press.
  190. Verhoogt, Robert(2007).Art in Reproduction: Nineteenth-century Prints After Lawrence Alma-Tadema, Jozef Israels and Ary Scheffer.Amsterdam:Amsterdam University Press.
  191. Verhoogt, Robert M.(2010).Free Access to the History of Art: Art Reproduction and the Appropriation of the History of Art in Nineteenth-Century Culture.Free Access to the Past: Romanticism, Cultural Heritage and the Nation,Leiden:
  192. Vermeulen, Ingrid R.(2010).Picturing Art History: The Rise of the Illustrated History of Art in the Eighteenth Century.Amsterdam:Amsterdam University Press.
  193. Von Lintel, Amy M.(2012).Wood Engravings, the ‘Marvellous Spread of Illustrated Publications’, and the History of Art.Modernism/Modernity,19(3),515-542.
  194. Von Lintel, Amy M.(2015).Art History as Spectacle: Blockbuster Exhibitions in 1850s England.Exhibiting Outside the Academy, Salon and Biennial, 1775-1999,Farnham:
  195. Warren, Jeremy(ed.),Turpin, Adriana(ed.)(2008).Auctions, Agents and Dealers: The Mechanisms of the Art Market, 1660-1830.Oxford:Beazley Archive: Archaeopress.
  196. Waterfield, Giles(2015).The People’s Galleries: Art Museums and Exhibitions in Britain, 1800-1914.New Haven:Yale University Press.
  197. Waterfield, Giles(ed.)(1991).Palaces of Art: Art Galleries in Britain 1790-1990.London:Dulwich Picture Gallery.
  198. Watson, Peter(1992).From Manet to Manhattan: The Rise of the Modern Art Market.London:Hutchinson.
  199. White, Harrison C.,White, Cynthia A.(1993).Canvases and Careers: Institutional Change in the French Painting World.New York:Wiley.
  200. Whitehead, Christopher(2009).Museums and the Construction of Disciplines: Art and Archaeology in Nineteenth-Century Britain.London:Duckworth.
  201. Wilson, Kristina(2009).The Modern Eye: Stieglitz, MoMA, and the Art of the Exhibition, 1925-1934.New Haven:Yale University Press.
  202. Woodson-Boulton, Amy(2012).Transformative Beauty: Art Museums in Industrial Britain.Stanford, Calif.:Stanford University Press.
  203. Wright, Gwendolyn(ed.)(1996).The Formation of National Collections of Art and Archaeology.Washington, D.C:National Gallery of Art.
  204. Wuestman, Gerdien(1996).Nicolaes Berchem in Print: Fluctuations in the Function and Significance of Reproductive Engraving.Simiolus: Netherlands Quarterly for the History of Art,24(1),19-53.
  205. Zijlmans, Kitt(ed.),van Damme, Wilfried(ed.)(2008).World Art Studies: Exploring Concepts and Approaches.Amsterdam:Valiz.
  206. Ziskin, Rochelle(2012).Sheltering Art: Collecting and Social Identity in Early Eighteenth-century Paris.University Park, Pa:The Pennsylvania State University Press.
  207. Zorach, Rebecca(ed.),Rodini, Elizabeth(ed.)(2005).Paper Museums: The Reproductive Print in Europe, 1500-1800.Chicago:University of Chicago.
  208. 曾少千(2007)。西洋藝術史熱門及前瞻議題。人文與社會科學簡訊，8(2)，50-51。
print cancel