臺灣博碩士論文加值系統

維梅爾（Johannes Vermeer, 1632-1675）是現今荷蘭十七世紀最偉大的繪畫大師之一，然而在其身後卻「被遺忘」超過一個世紀，直到十九世紀中葉才被法國藝評者竇黑（Théophile Thoré, 1807-1869）「再發現」。然而，維梅爾為何會被遺忘？又如何被再發現？直到成就今日地位。本論文將以維梅爾生前之名聲概況，十八世紀至十九世紀藝術市場收藏的品味，竇黑「再發現」的理念與推廣方式，以及二十世紀初至二十世紀末博物館舉辦的公共展覽等面向，理解藝術家地位變遷之過程，期望探究維梅爾如何從「被遺忘」到「被接受」的歷史，形塑成當代「典範」畫家。
第一章將以維梅爾的贊主與顧客，回溯十七世紀時他的地位與名聲，追溯最初的歷史脈絡，再探討維梅爾逝世後是否真的被遺忘，以及其被遺忘之可能因素。第二章則著重於維梅爾在十八至十九世紀初荷蘭本國以及英、法、中歐等外國藝術市場的收藏與販售狀況，說明重要收藏家、畫商等對維梅爾名聲的影響。其次，則探討十九世紀後半葉品味的轉變，對竇黑「再發現」維梅爾的影響，而其又如何重塑維梅爾聲名，並了解經由竇黑「再發現」後維梅爾地位的變化。第三章則以博物館的公共展覽為主，聚焦二十世紀三場重要的維梅爾展覽：1909年由大都會博物館舉辦的「哈德森與富爾頓紀念展」、1929年在英國皇家藝術學院舉辦的「荷蘭藝術展：1450-1990年」展覽，以及1995年由華盛頓國家藝廊與荷蘭莫里斯宮皇家藝廊聯合舉辦的維梅爾超級大展，說明其如何形塑與影響維梅爾的當代定位。

Johannes Vermeer is now acknowledged as one of the greatest Dutch painters of the 17th century, but was forgotten for over a century after his death. It was until the mid-19th century that Vermeer was rediscovered by French art critic Théophile Thoré (1807-1869). However, how was Vermeer forgotten? And how was he rediscovered? This research will explore the process of the change of an artist’s status from an overview of Vermeer’s reputation during his time, the taste of art market from the 18th century to the 19th century, Thoré’s idea and his way of promoting “Rediscovery”, and related exhibitions held by museums from the early 20th century to late 20th century in the hope of making a thorough inquiry into the way how Vermeer was shaped as a contemporary model painter from being forgotten and being rediscovered.
Chapter one traces back Vermeer’s status and reputation in the 17th century from his patrons and customers to clear out the original historical context. Subsequently we discuss if he was truly forgotten after his death and the possible reasons for being forgotten. Chapter two firstly focuses on the status of collection and sell of Vermeer’s work in the art market in Holland and foreign countries such as Britain, France and central Europe from the 18th century and early 19th century because it explains the impact of important collectors and art dealers on Vermeer’s reputation. Secondly, the influence of change of taste during late 19th century on Thoré’s rediscovery of Vermeer and on the reshaping of Vermeer’s reputation is discussed. Also, we have an insight into the change of Vermeer’s status after Thoré’s rediscovery. Chapter three is based on the public exhibitions in museums. Lastly we focas three important exhibitions of Vermeer in the 20th century, namely “The Hudson-Fulton Exhibition” in 1909 by Metropolitan Museum of Art, “Exhibition of Dutch Art, 1450-1900” in 1929 by Royal College of Art and Blockbuster Show in 1995 by National Gallery of Art and The Mauritshuis museum, to discuss how they shape and influence Vermeer’s contemporary positioning in the history of art.

論文摘要 i
Abstract ii
致謝辭 iii
導論 1
研究動機與問題意識 1
文獻回顧 2
章節概述 7
第一章 曾被遺忘的巨匠維梅爾 9
第一節 維梅爾的藝術養成與生平名聲 9
第二節 所謂的「被遺忘」？ 19
第二章 維梅爾的名聲拓展與地位崛起 29
第一節 十八至十九世紀初維梅爾畫作在拍賣市場的迴響 29
一、在荷蘭獲得的賞識 29
二、外國的收藏與注目 34
第二節 十九世紀中葉維梅爾地位轉變契機 41
一、「再發現」的楔子 41
二、竇黑的維梅爾的研究、收藏、推廣與爭議 45
第三章 維梅爾定位確立：公共展覽之論述與演變 51
第一節 二十世紀初美國博物館的維梅爾收藏與展示：以1909年「哈德森與富爾頓紀念展」為例 51
第二節 維梅爾後續大展之演變與評論 60
一、從老大師展到國際借展 60
二、1929年英國皇家藝術學院「荷蘭藝術展」之維梅爾作品評價與隱憂 61
三、個展的極致：1995-96年維梅爾超級大展的展覽策略、回應與研究 64
結論 70
參考書目 74
【附錄一】1696年阿姆斯特丹拍賣目錄維梅爾作品一覽 80
【附錄二】1929年英國皇家藝術學院「荷蘭藝術展」維梅爾作品一覽 84
圖版 85

十九世紀文獻
Blanc, Charles, Histoire des peintres de toutes les écoles, Vve J. Renouard, 1864.
Bürger, William (Thoré, Théophile). “Van der Meer de Delft,” Gazette des Beaux-Arts, Vol. 21 (1866), pp. 297-330, 458-470, 542-575.
——. Galerie d'Arenberg, à Bruxelles avec le catalogue complet de la collection, Paris, 1859.
——. Musées de la Hollande: Amsterdam et La Haye, Paris, 1858.
Bürger, William (Thoré, Théophile) and Waagen, Gustav. Galerie Suermondt à Aix-la-Chapelle, Études sur les peintres hollandais et flamands, Paris, Aix-la-Chapelle and Amsterdam, 1860.
van Eynden, Roeland, and van der Willigen, Adriaan, Geschiedenis der vaderlandsche schilderkunt sedert de helft der XVIII eeuw,4 vols., Haarlem 1816-40.
Smith, John. Catalogue Raisonné of the Works of the Most Eminent Dutch, Flemish and French Painters, vol. 4, London, 1833.
西文書目
Aillaud, Gilles, Blankert, Albert and Montias, John Michael. Vermeer, New York: Rizzoli, 1988.
Arasse, Daniel. Vermeer, faith in painting, translated by Terry Grabar, Princeton, N.J.: Princeton University Press, 1994.
Bailey, Anthony. A View of Delft, New York: Henry Holt and Co., 2001.
Barker, Emma ed. “Exhibiting the Canon: the Blockbuster Show,” in Emma Barker, ed. Contemporary Cultures of Display, New Haven and London: Yale University Press, 1999, pp. 127‐146.
Barker, Emma, “The Making of a Canonical Artist: Vermeer,” in Emma Barker, Nick Webb, and Kim Woods eds., The Changing Status of the Artist, New Haven: Yale University Press, 1999, pp. 193-219.
Binstock, Benjamin. Vermeer's Family Secrets: Genius, Discovery, and the Unknown Apprentice, New York: Routledge, 2009.
Blankert, Albert. Vermeer of Delft: Complete Edition of the Paintings, Oxford: Phaidon; New York: Dutton, 1978.
Boschloo, Anton W.A. ‘Caravaggio and the “Copying of Nature,”’ in The Limits of Artistic Freedom: Criticism of Art in Italy from1500 to 1800, Leiden: Primavera Pers, 2008, pp. 122-139.
Charles Caffin, Story of Dutch Painting, New York: The Century Co., 1909.
Chapman, H. Perry. “Imagined Studios of Rembrandt & Vermeer,” in Michael Cole & Mary Pardo eds., Inventions of the Studio, Renaissance to Romanticism, Chapel Hill: University of North Carolina Press, 2005, pp. 108-146.
Edwards, Steve ed. Art and Its Histories: A Reader New Haven: Yale University Press in association with the Open University, 1999.
Flescher, Sharon. Zacharie Astruc, critic, artist, and Japoniste, New York: Garland Pub., 1978.
Franits,Wayne E., ed. The Cambridge Companion to Vermeer, Cambridge, New York: Cambridge University Press, 2001.
Gaskell, Ivan and Jonker, Michiel, eds. Vermeer studies, Washington: National Gallery of Art; New Haven; London: Distributed by Yale University Press, 1998.
Gowing, Lawrence. Vermeer, Berkeley, Calif.: University of California Press, 1997.
Griffiths, Antony, ed. Landmarks in print collecting: connoisseurs and donors at the British Museum since 1753, London: Published by the British Museum Press and the Parnassus Foundation in association with The Museum of Fine Arts, Houston, 1996.
Grijzenhout, Frans and van Veen, Henk, eds. The Golden Age of Dutch Painting in Historical Perspective, New York: Cambridge University Press, 1999.
de Groot, Hofstede. A catalogué raisonne of the works of the most eminent Dutch painters of the seventeenth century, based on the works of John Smith, Teaneck, N.J.: Chadwyck-Healey, 1976.
Hale, Philip Leslie. Vermeer, Boston; New York: Hale, Cushman & Flint, 1937.
Haskell, Francis. The Ephemeral Museum: Old Master Paintings and the Rise of the Art Exhibition, New Haven: Yale University Press, 2000.
——. “Old Master Exhibitions and the Second 'Rediscovery of the Primitives',” Hommage à Michel Laclotte: Etudes sur la peinture du Moyen Age et de la Renaissance, Paris, 1994, pp. 552-564.
——. Rediscoveries in Art: Some Aspects of Taste, Fashion, and Collecting in England and France, Cornell University Press, 1976.
Hertel, Christiane. Vermeer: Reception and Interpretation, Cambridge; New York: Cambridge University Press, 1996.
Holmes, Charles John. Commemorative catalogue of the exhibition of Dutch art held in the galleries of the Royal Academy, Burlington House, London, January-March 1929, London: Oxford University Press, 1930.
Jowell, Frances Suzman. “Thoré-Bürger and Vermeer: Critical and Commercial Fortunes,” in Shop Talk: Studies in Honor of Seymour Slive, Cambridge, Mass.: Harvard University Art Museums, 1995, pp. 124-27.
Kok, Jan Piet Filedt et al. “The World of the 17th-Century Artist,” in Netherlandish Art in the Rijksmuseum, 1600-1700, Amsterdam: Waanders, 2001, pp. 21-40.
Liedtke, Walter. Vermeer: The Complete Paintings, Ghent, Belgium: Ludion Press; New York: Distributed in North America by Harry N. Abrams, 2008.
——. A view of Delft: Vermeer and his contemporaries, Zwolle: Waanders Publishers, 2000.
Liedtke, Walter. Plomp, Michiel C. and Rüger, Axel. Vermeer and the Delft school, New York: Metropolitan Museum of Art; New Haven: Yale University Press, 2001.
Lyna, Dries. Vermeylen, Filip and Vlieghe, Hans, eds. Art auctions and dealers: the dissemination of Netherlandish art during the Ancien Régime, Turnhout: Brepols, 2009.
Mansfield, Elizabeth, ed. Art history and its institutions: foundations of a discipline, London; New York: Routledge, 2002.
Montias, John Michael. Vermeer and His Milieu: A Web of Social History, Princeton, N.J.: Princeton University Press, 1989.
——. Artists and Artisans in Delft: a Socio-Economic Study of the Seventeenth Century, Princeton, N.J.: Princeton University Press, 1982.
Netta, Irene. Vermeer's World: an Artist and His Town, New York: Prestel, 2001.
North, Michael. Art and commerce in the Dutch Golden Age, translated by Catherine Hill, New Haven, Conn.: Yale University Press, 1997.
North, Michael and Ormrod, David, eds. Art markets in Europe, 1400-1800, Aldershot; Brookfield: Ashgate, 1998.
Perry, Gill and Cunningham, Colin, eds. Academies, Museums, and Canons of Art, New Haven: Yale University Press in association with the Open University, 1999.
Pomian, Krzysztof. Collectors and Curiosities: Paris and Venice 1500-1800, Cambridge, U.K.: Polity Press; Cambridge, Mass., USA: Basil Blackwell, 1990.
Quodbach, Esmée Quodbach. “Collecting Vermeer, 1887-1919,” in Esmée Quodbach ed., Holland's golden age in America: collecting the art of Rembrandt, Vermeer, and Hals, New York: The Frick Collection; University Park, Pennsylvania: The Pennsylvania State University Press, 2014, pp. 94-107.
Rosenberg, Jakob, Slive, Seymour and ter Kuile, E. H. Dutch Art and Architecture: 1600 to 1800, London: Yale University Press, 1977.
Shawe-Taylor, Desmond and Scott, Jennifer. “‘Ten Thousand Graphic Details’ Reading Dutch Landscapes,” in Dutch Landscapes, London: Royal Collection, 2010, pp. 7-31.
Snow, Edward. A study of Vermeer, Berkeley: University of California Press, 1994.
Tummers, Anna and Jonckheere, Koenraad, eds. Art market and connoisseurship: a closer look at paintings by Rembrandt, Rubens and their contemporaries, Amsterdam: Amsterdam University Press, 2008.
Turner, Jane, ed. From Rembrandt to Vermeer: 17th-century Dutch artists, New York: Groveart, 2000.
Waiboer, Adriaan E. “‘Why Buy a Vermeer When a Metsu is Available?’ The Relationship between Two Dutch Genre Painters,” in Gabriel Metsu, New Haven: Yale University Press, 2010, pp. 29-52.
Wheelock, Arthur K. Jan Vermeer, New York: Abrams, 1988.
Wheelock, Arthur K., ed. Johannes Vermeer, Washington: National Gallery of Art ; The Hauge: Royal Cabinet of Paintings Mauritshuis; New Haven: Yale University Press, 1995.
Valentiner, W. R. “Paintings by Dutch Master: Preface,” in The Hudson-Fulton Celebration: Catalogue of an Exhibition Held in the Metropolitan Museum of Art, New York: the Metropolitan Museum of Art, 1909.
Zimmermann, Michael F. ed. The art historian: national traditions and institutional practices, Williamstown, Mass.: Sterling and Francine Clark Art Institute; New Haven: Distributed by Yale University Press, 2003.
西文期刊
Alpers, Svetlana. “The Strangeness of Vermeer,” Art in America, vol. 84 (May, 1996), pp. 63-68.
van der Bas, Cornelis, “The Muilman Collection: The Progressive Taste of an Eighteenth-Century Banking Family,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 32, No. 2/3 (2006), pp. 156-181.
Boone, Elizabeth M. “Gilded Age Values and a Golden Age Painter: American Perceptions of Jan Vermeer,” Rutgers Art Review 12-13 (1991-1992), pp. 47-68.
Brown, Christopher, “Revising the Canon: The Collector's Point of View,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 26, No. 3 (1998), pp. 201-212.
Chapman, Perry H. “Persona and Myth in Houbraken's Life of Jan Steen,” The Art Bulletin, Vol. 75, No. 1 (Mar., 1993), pp. 135-150.
Cornelis, Bart. “Arnold Houbraken's ‘Groote Schouburgh’ and the Canon of Seventeenth-Century DutchPainting,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 26, No. 3 (1998), pp. 144-161.
——. “A Reassessment of Arnold Houbraken's ‘Groote schouburgh,’” Simiolus: Netherlands Quarterly for the History of Art, Vol. 23, No. 2/3 (1995), pp. 163-180.
Cortissoz, Royal. “Old Dutch Masters,” from the Tribune, September 19, 1909 in The Metropolitan Museum of Art Bulletin, Vol. 4, No. 10 (Oct., 1909), pp. 161-167, 176-178.
Cox, Kenyon. “Dutch Pictures in the Hudson-Fulton Exhibition-II,” The Burlington Magazine for Connoisseurs, Vol. 16, No. 82 (Jan., 1910), pp. 244-246.
Fry, Roger. “At the Dutch Exhibition,” The Burlington Magazine for Connoisseurs, Vol. 54, No. 311 (Feb., 1929), pp. 52, 54-55, 57-59, 62-64, 66-67.
Gardner, Elizabeth E. “Thoré's Sphinx,” The Metropolitan Museum of Art Bulletin, New Series, Vol. 7, No. 3 (Nov., 1948), pp. 73-78.
Hecht, Peter. “Rembrandt and Raphael Back to Back: The Contribution of Thoré,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 26, No. 3 (1998), pp. 162-178.
Jowell, Frances Suzman. “Thoré-Bürger - a Critical Rôle in the Art Market,” The Burlington Magazine, Vol. 138, No. 1115 (Feb., 1996), pp. 115-129.
——. “Thoré-Bürger's Art Collection: ‘A Rather Unusual Gallery of Bric-à-Brac’,” Netherlands Quarterly for the History of Art, Vol. 30, No. 1/2 (2003), pp. 54-119.
Littlejohn, David. “What's So Great about Vermeer?” The Hudson Review (June, 1996), pp. 259-272.
Maës, Gaëtane. “Dutch art collections and connoisseurship in the eighteenth century: the contributions of Dezallier d'Argenville and Descamps,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 34, No. 3/4 (2009/2010), pp. 226-238.
Melion, Walter S. “Karel van Mander’s Life of Goltzius: defining the paradigm of protean virtuosity in Haarlem around 1600,” Studies in the History of Art (1989), pp. 113-133.
Meltzoff, Stanley. “The Rediscovery of Vermeer,” Marysas, Vol. 2 (1942), pp. 145-166.
Michel, Patrick,”Dezallier d'Argenville's "Abrégé de la vie des plus fameux peintres": a guide for contemporarycollectors or a survey of the taste for paintings of the northern schools? ,” Simiolus: Netherlands Quarterly for the History of Art, Vol. 34, No. 3/4 (2009/2010), pp. 212-225.
Montias, John Michael. “Vermeer's Clients and Patrons,” The Art Bulletin, Vol. 69, No. 1 (Mar., 1987), pp. 68-76.
Priem, Ruud. “The ‘Most Excellent Collection’ of Lucretia Johanna van Winter: The Years 1809-22, with a Catalogue of the Works Purchased,” Netherlands Quarterly for the History of Art, Vol. 25, No. 2/3 (1997), pp. 103-196.
——. “Catalogue of Old Master Paintings Acquired by Lucretia Johanna van Winter,” Netherlands Quarterly for the History of Art, Vol. 25, No. 2/3 (1997), pp. 197-230.
Quodbach, Esmée, “The Age of Rembrandt: Dutch Paintings in the Metropolitan Museum of Art,” The Metropolitan Museum of Art Bulletin, New Series, Vol. 65, No. 1, The Age of Rembrandt: Dutch Paintings in the Metropolitan Museum of Art (Summer, 2007), pp. 1, 4-72.
Witt, Robert. “The Dutch Exhibition at the Royal Academy,” The Burlington Magazine for Connoisseurs, Vol. 54, No. 310 (Jan., 1929), pp. 2-5, 8-9, 11, 14, 17.
中文書目
Brook, Timothy（著），黃中憲（譯），《維梅爾的帽子：從一幅畫看十七世紀全球貿易》（Vermeer's Hat: The Seventeenth Century and The Dawn of The Global World），台北：遠流，初版，2008。
Eagleton, Catherine、Williams, Jonathan（著），周全（譯），《金錢的歷史》（Money a History），台北：博雅書屋，初版，2009。
Lopez, Jonathan（著），陳雅雯（譯），《不存在的維梅爾：偽畫家、藝術史家、犯罪集團和納粹合力搬演的世紀騙局》（The Man Who Made Vermeers: Unvarnishing the Legend of Master Forger Han van Meegeren），新北市：大家出版，初版，2012。
Zuffi, Stefano（著），謝佳娟（譯），《維梅爾》（Vermeer），台北：木馬文化，初版，2002。
學位論文
黃韻璇，《公共理念的實踐：1824至1865年早期倫敦國家畫廊的定位與革新》，國立中央大學藝術學研究所，碩士論文，2013年。
網站
1. Essential Vermeer < http://www.essentialvermeer.com/index.html >
2. Art History Unstuffed <http://www.arthistoryunstuffed.com>
3. American Libraries < https://archive.org/details/americana >
4. Oxford Art Online < http://www.oxfordartonline.com>