約書亞．雷諾茲（Joshua Reynold）在1760年英國藝術協會第一次公開展覽的策展思維－淺談十八世紀英國皇家藝術學院的美學特徵

本文從約書亞．雷諾茲（Joshua Reynold）的繪畫修辭觀念，觀察雷諾茲從1760年英國藝術協會第一次公開展覽的作品直到1776年的展覽作品脈絡，探討雷諾茲的策展思維。雷諾茲意識到可透過描繪名人肖像作品，來激發公眾對展覽作品的潛在興趣；作品透過媒體作為展覽空間的一個重要載體和傳播行銷之手段。雷諾茲希望藉著展覽和描繪大眾所關注的主題吸引藝術贊助者的購買，在展覽場域中形成了新興名人經濟模式。雷諾茲在皇家藝術學院的教育方針發揮了核心作用，為提高英國藝術家繪畫技術，鼓勵藝術家擬模義大利文藝復興時期的宏偉風格（Grand Manner），利用展覽並配合15場的藝術論述去推廣新的繪畫思潮。當藝術作品的繪畫元素受到當代氛圍影響時，在推銷和與同行競爭的壓力下，畫家們會因為上述的原因改變繪畫的表現形式，提高繪畫技巧。因此，提升英國藝術家的繪畫技巧，翻轉英國肖像畫在藝術範疇中的地位與歷史繪畫相媲美，是雷諾茲最終的策展目的。

關鍵字

約書亞．雷諾茲；宏偉風格；修辭學；名人經濟

並列摘要

This article explores Joshua Reynolds' curatorial thinking from the text of Reynolds' artistic conception, and observes Reynolds' exhibition works from 1760 to 1776. Joshua Reynold realized that by depicting celebrity portraits, people could be stimulated to buy works in exhibitions; through the media, these works became a kind of communication culture for celebrity images. A new celebrity economic model has been formed in the exhibition field. Reynolds played a central role in the educational policy of the Royal Academy of Arts, in order to improve the painting skills of British artists, encourage artists to imitate the grand style of the Italian Renaissance (Grand Manner), use the exhibition and 15 art discussions to promote new painting thought. When the painting element of the artwork is influenced by the contemporary atmosphere, under the pressure of sales and competition with the peers, the painter will change the way of expression of the painting and improve the painting skills for the above reasons. Therefore, improving the painting skills of British artists and flipping the status of British portraits in the artistic category, comparable to history painting, is Reynolds' ultimate curatorial purpose.

並列關鍵字

Joshua Reynold ； Grand Manner ； Rhetoric ； celebrity economy

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