This presentation introduces a selection of paintings in the picture room of Sir John Soane's Museum in London. A specialty of the picture room is its exceptional hanging with the openable panels. In this way the room that actually measures about 13 to 12 feet can grasp over a hundred paintings. Another advantage of the panels is that like this it is possible to see the paintings in different angles. Most of the paintings were bought by Soane on auctions, some are also commissions by himself.
Inhaltsverzeichnis (Table of Contents)
- INTRODUCTION
- GANDY
- CANALETTO
- HOGARTH
- Short Introduction to the Rake's Progress
- AN ELECTION
- First Painting: An Election Entertainment
- Second Painting: Canvassing for votes, shows political corruption
- Third Painting: The Polling
- Fourth Painting: Chairing the Member
- Rehanging
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
The presentation aims to provide an overview of the paintings in the picture room of Sir John Soane's Museum in London, focusing on the artist's purpose behind their inclusion and the themes they convey.
- The unique arrangement of the paintings in the picture room
- Sir John Soane's collection as a reflection of his professional and personal interests
- The use of paintings as a tool for advertising and promoting Soane's architectural work
- The themes of satire, social commentary, and political corruption in Hogarth's works
- The evolution of Soane's collecting interests over time
Zusammenfassung der Kapitel (Chapter Summaries)
The presentation begins with an introduction to the picture room, highlighting its unique hanging system and Soane's acquisition process for the paintings.
The section on Gandy discusses his role as Soane's draughtsman and the use of paintings to showcase Soane's architectural designs. The "Selection of public and private buildings" painting is presented as an example, illustrating how Soane integrated personal and professional elements into his collection.
The Canaletto section explores Soane's early purchases, highlighting their focus on Venetian landscapes and their ability to immerse the viewer in the depicted scene. The paintings' meticulous detail and bright colors are also discussed.
The Hogarth section dives into Soane's later collecting interests, focusing on his support of British art and his acquisition of works by contemporary artists. The presentation then delves into Hogarth's "Rake's Progress" series, detailing the narrative of Tom Rakewell's descent into ruin and the social commentary embedded within the series.
The "An Election" series is then explored, highlighting Hogarth's use of caricature and playful details to criticize political corruption. The four paintings are analyzed individually, revealing their satirical elements and the artist's intent to engage the viewer's mind.
The presentation concludes with a brief section on the rehanging of the collection, mentioning adjustments made to the original arrangement and the significance of returning the Canaletto paintings to their original position.
Schlüsselwörter (Keywords)
This presentation revolves around Sir John Soane's Museum, the picture room, architectural drawings, paintings, satire, social commentary, political corruption, William Hogarth, Canaletto, British art, and the "Rake's Progress" and "An Election" series.
- Citation du texte
- Sandra Kuberski (Auteur), 2012, Gandy, Canaletto & Hogarth in the “Picture Room” of the Sir John Soane's Museum in London, Munich, GRIN Verlag, https://www.grin.com/document/286020
