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.
Table of Contents
1. INTRODUCTION
2. GANDY
3. CANALETTO
4. HOGARTH
4.1 Short Introduction to the Rake’s Progress:
5. AN ELECTION
5.1 First Painting: An Election Entertainment
5.2 Second Painting: Canvassing for votes
5.3 Third Painting: The Polling
5.4 Fourth Painting: Chairing the Member
6. Rehanging
Research Objectives and Themes
This presentation explores the unique art collection within the "Picture Room" of Sir John Soane's Museum in London, examining how Soane curated his space and the specific narrative and political intentions behind the works he acquired, particularly those by Gandy, Canaletto, and Hogarth.
- The architectural and functional design of the "Picture Room" and its innovative panel system.
- The professional relationship between John Soane and the draughtsman Joseph Michael Gandy.
- The aesthetic and thematic significance of the Canaletto paintings in Soane’s collection.
- William Hogarth's satirical works and their role as social and political commentary.
- The historical narrative conveyed through the "An Election" series.
Excerpt from the Work
AN ELECTION
Hogarth loves it to integrate playful details or allusions in his paintings. It takes awhile to look at the paintings, and to discover every detail. It seems that Soane really enjoyed those works. This shows his sense of humour and political opinion.
An even better example is the second series called “An Election”, which hangs in pairs on the outer planes of the north and south cabinets.
The series alludes to the Oxfordshire election in 1754 and was painted in the same year. But it can be seen as depiction of a typical election in the 18th century. The series does not serve to show a specific historic event, but rather to unveil political and aristocratic wrongs.
Summary of Chapters
INTRODUCTION: Provides an overview of the "Picture Room" at Sir John Soane's Museum and the practical advantages of its unique hanging panel system for displaying numerous paintings.
GANDY: Examines the long-standing collaboration between John Soane and Joseph Michael Gandy, focusing on how Gandy’s theatrical architectural paintings helped promote Soane's projects.
CANALETTO: Discusses Soane’s acquisition of Canaletto paintings and their role in depicting the clarity and daily life of 18th-century Venice.
HOGARTH: Explores Soane’s interest in British contemporary art and details the narratives of "A Rake’s Progress" as a harsh social satire.
AN ELECTION: Analyzes the four-part series "An Election" as a critique of 18th-century political corruption and societal flaws through detailed, allegorical scenes.
Rehanging: Describes the historical movement of artworks within the museum, specifically the transition of the Canalettos to a new space and their subsequent return to the original fireplace setting in 2011.
Keywords
Sir John Soane, Picture Room, Joseph Michael Gandy, Canaletto, William Hogarth, A Rake's Progress, An Election, Art Collection, 18th Century, Architecture, Satire, Political Corruption, British School of Painting, Museum Curation.
Frequently Asked Questions
What is the primary focus of this work?
This work focuses on the selection of paintings within the "Picture Room" of Sir John Soane's Museum in London, analyzing how the space was utilized and the artistic themes of the collected works.
What are the central thematic areas covered?
The central themes include the unique architectural layout of the room, the role of patronage in Soane's commissions, the aesthetic of architectural fantasy, and the use of art as social and political satire.
What is the primary objective of the research?
The objective is to explain how Sir John Soane curated his collection to promote his own architectural career and reflect his personal sense of humor and political opinion.
Which scientific or historical methods are employed?
The work utilizes historical analysis and art historical observation to interpret the visual narratives in the paintings and the curatorial intent behind their specific hanging in the museum.
What is covered in the main section of the document?
The main section details the contributions of artists such as Gandy, Canaletto, and Hogarth, providing specific breakdowns of narrative series like "An Election."
Which keywords characterize this work?
Key terms include Sir John Soane, Museum Curation, 18th-century Satire, and British School of Painting.
Why did Soane develop the panel system in the Picture Room?
The panels were developed to maximize the display capacity of the small room and to allow visitors to view paintings from different angles, while also serving a practical function to restrict access to "racy" content for specific audiences.
What significance does the "An Election" series hold?
The series serves as a poignant critique of 18th-century political and aristocratic corruption, using humor and detailed allegory to engage the viewer's mind beyond mere aesthetic appreciation.
How does the "Rehanging" section impact the understanding of the museum?
It highlights the tension between Soane's original intent for his museum to remain static and the evolving needs of the institution to provide better access to the collection for researchers and artists.
- Quote paper
- Sandra Kuberski (Author), 2012, Gandy, Canaletto & Hogarth in the “Picture Room” of the Sir John Soane's Museum in London, Munich, GRIN Verlag, https://www.hausarbeiten.de/document/286020
