{"title":"19世纪英国的中世纪艺术品与文艺复兴艺术品的对比:罗斯金,莫里斯,詹姆斯","authors":"Sezen Ünlüönen","doi":"10.1080/08905495.2022.2086025","DOIUrl":null,"url":null,"abstract":"In an episode of Italian Hours from 1877 , Henry James mentions his dislike of Bargello, the former Florentine prison recently converted to a museum, because “ it smells too strongly of restoration ” (1909, 186). Artworks uprooted from suppressed religious orders fi ll the museum, and James notes how even the most devoted art lover is still “ uncomfortably conscious of the rather brutal process by which [the items have] been collected ” (1909, 186). James concludes these ruminations with a broader judgment on Italian museum-building practices: “ One can hardly envy young Italy the number of odious things she has had to do ” (1909, 186). James is particularly attentive to paradoxes surrounding art acquisition and appreciation because, in the nineteenth century, Italy was far from being the only country that had to make di ffi cult decisions about the removal, display, and restoration of artworks.","PeriodicalId":43278,"journal":{"name":"Nineteenth-Century Contexts-An Interdisciplinary Journal","volume":null,"pages":null},"PeriodicalIF":0.3000,"publicationDate":"2022-05-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"1","resultStr":"{\"title\":\"Medieval artwork contra Renaissance artwork in nineteenth-century Britain: Ruskin, Morris, James\",\"authors\":\"Sezen Ünlüönen\",\"doi\":\"10.1080/08905495.2022.2086025\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"In an episode of Italian Hours from 1877 , Henry James mentions his dislike of Bargello, the former Florentine prison recently converted to a museum, because “ it smells too strongly of restoration ” (1909, 186). Artworks uprooted from suppressed religious orders fi ll the museum, and James notes how even the most devoted art lover is still “ uncomfortably conscious of the rather brutal process by which [the items have] been collected ” (1909, 186). James concludes these ruminations with a broader judgment on Italian museum-building practices: “ One can hardly envy young Italy the number of odious things she has had to do ” (1909, 186). James is particularly attentive to paradoxes surrounding art acquisition and appreciation because, in the nineteenth century, Italy was far from being the only country that had to make di ffi cult decisions about the removal, display, and restoration of artworks.\",\"PeriodicalId\":43278,\"journal\":{\"name\":\"Nineteenth-Century Contexts-An Interdisciplinary Journal\",\"volume\":null,\"pages\":null},\"PeriodicalIF\":0.3000,\"publicationDate\":\"2022-05-27\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"1\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Nineteenth-Century Contexts-An Interdisciplinary Journal\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1080/08905495.2022.2086025\",\"RegionNum\":4,\"RegionCategory\":\"社会学\",\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Nineteenth-Century Contexts-An Interdisciplinary Journal","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1080/08905495.2022.2086025","RegionNum":4,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
Medieval artwork contra Renaissance artwork in nineteenth-century Britain: Ruskin, Morris, James
In an episode of Italian Hours from 1877 , Henry James mentions his dislike of Bargello, the former Florentine prison recently converted to a museum, because “ it smells too strongly of restoration ” (1909, 186). Artworks uprooted from suppressed religious orders fi ll the museum, and James notes how even the most devoted art lover is still “ uncomfortably conscious of the rather brutal process by which [the items have] been collected ” (1909, 186). James concludes these ruminations with a broader judgment on Italian museum-building practices: “ One can hardly envy young Italy the number of odious things she has had to do ” (1909, 186). James is particularly attentive to paradoxes surrounding art acquisition and appreciation because, in the nineteenth century, Italy was far from being the only country that had to make di ffi cult decisions about the removal, display, and restoration of artworks.
期刊介绍:
Nineteenth-Century Contexts is committed to interdisciplinary recuperations of “new” nineteenth centuries and their relation to contemporary geopolitical developments. The journal challenges traditional modes of categorizing the nineteenth century by forging innovative contextualizations across a wide spectrum of nineteenth century experience and the critical disciplines that examine it. Articles not only integrate theories and methods of various fields of inquiry — art, history, musicology, anthropology, literary criticism, religious studies, social history, economics, popular culture studies, and the history of science, among others.