收藏家的自我形象塑造：嘉德納夫人與其同代繪畫收藏

Shaping the Self-Image of the Collector: Mrs. Gardner and her Collection of Contemporary Paintings

蔡昀真(Yun-Chen Tsai)

指導教授 ： 謝佳娟

國立中央大學/文學院/藝術學研究所/碩士(2014年)

摘要

嘉德納夫人(Isabella Stewart Gardner, 1840-1924)於20世紀初時建立了自己的收藏美術館，並將之開放給大眾參觀，作為少數由女性成立的捐贈人紀念館，嘉德納美術館是一個不可忽視的案例。不同於一般的公立博物館強調中立的展示，嘉德納美術館的收藏、展示及環境都是受她個人特質影響的結果。嘉德納夫人樂中於美術館創造，不論是收藏內容與展示、建築裝潢或是園藝造景，都有她獨到的理念。嘉德納美術館中的老大師收藏質量是備受肯定的，而同世代繪畫收藏是較不引人注目的分類，但是嘉德納夫人在安排這些作品時同樣付出許多心力。本文著重於嘉德納夫人的同代繪畫收藏的內容與展示，特別是出自同代畫家手下的嘉德納夫人肖像，以觀看美術館創立者的策略。

　　論文第一章環繞在嘉德納夫人收藏及贊助的活動，以及她在創立美術館時具備的理念，分成對國家、對創立者及對觀者三個面向來探討。嘉德納夫人對藝術家的贊助直接影響了她的同代繪畫收藏，由此延續到第二章。就同代繪畫的收藏內容及展示方式研究，推斷嘉德納夫人的收藏動機及展示目的，是否能與館內其他收藏互相驗證，或是有著獨特的策略。第三章聚焦於同代畫家所描繪的嘉德納夫人肖像，特別是薩金特及佐恩所描繪的作品，這些肖像描繪出嘉德納夫人不同的風貌，從中判斷她欲向大眾呈現何種形象。肖像的展示方式也隨著形象不同有所轉變，嘉德納夫人不只運用展示強化了作品的意義，更重要的是，突顯她的個人存在感及性格，向觀者主張她身為美術館創造者的地位。

關鍵字

依沙貝拉．史都華．嘉德納 ； 嘉德納美術館 ； 展示 ； 肖像 ； 薩金特 ； 佐恩

並列摘要

Isabella Stewart Gardner (1840-1924) created her own collection museum at the beginning of the 20th century, Gardner Museum is an important donor memorial museum, because it was founded by a woman, which makes it cannot be ignored. Compared to other public museums, the collections, display, and environment of Gardner Museum is completely affected by its creator. Mrs. Gardner, who enjoyed providing unique ideas about operating her museum. The quality of Old Master collections in the museum are highly applausive. On the other hand, although contemporary paintings are relatively not so striking, Mrs. Gardner paid a lot of effort in arranging these works. In order to understand the founder’s strategy of museum operation. This thesis focuses on the contents and displays of contemporary painting in Mrs. Gardner’s museum, especially the pieces of Mrs. Gardner’s portraits, depicted by contemporary painters.

　　The first chapter traces Mrs. Gardner’s collections and sponsorship activities, as well as her ideas in creation of the museum. This thesis divide the chapter into three aspects, for the country, for the founder, and for the viewers. Mrs. Gardner’s sponsorship of artists directly affected her contemporary collection of paintings. The second chapter examines the content and display of contemporary collections, suspect Mrs. Gardner’s motives and purposes of collecting works of art, whether mutually authentication with other collections in the museum, or by her own unique strategy. The third chapter focuses on Mrs. Gardner’s portraits, which depicted by the contemporary painters, especially Sargent and Zorn. Those portraits showed Mrs. Gardner in different styles, and we could suspect the image she wanted to appear to the public. Also, the display modes of portrait is changed with different personal image. Mrs. Gardner’s display strategy not only reinforces the meaning of the works, more importantly, she highlighted her personal presence and personality to audience, moreover, declared that she is the great founder of the museum.

並列關鍵字

Isabella Stewart Gardner ； Isabella Stewart Gardner Museum ； portrait ； John Singer Sargent ； Anders Leonard Zorn ； display

參考文獻

電子資料庫及網路資源

Carrier, David. Museum Skepticism: The History of the Display of Art in Public Galleries, Durham: Duke University Press, 2006.

Carter, Morris. Isabella Stewart Gardner and Fenway court, Boston; New York: Houghton Mifflin Company, 1925.

Chong, Alan and Lingner, Richard, eds. Eye of the Beholder: Masterpieces from the Isabella Stewart Gardner Museum, Boston, Mass.: Isabella Stewart Gardner Museum, in association with Beacon Press, 2003.

Duncan, Carol. Civilizing Rituals: Inside Public Art Museums, London; New York: Routledge, 1995.