Cantor Arts Center
328 Lomita Drive at Museum Way
Stanford, CA 94305-5060
<div class="col-lg-6 col-md-6 col-sm-12">Even before public and private art museums proliferated in Europe during the 19th century, artists illustrated the sites where art was made, exhibited, and sold. They reacted to the popularity of emerging public venues for art, and the excitement these sites generated about seeing, discussing, and collecting art. Beyond the familiar and visually rich subject of the artist’s studio, artists explored the academy’s exhibition spaces and classrooms, the auction house, commercial galleries, and the collector’s cabinet. Some draftsmen faithfully rendered these spaces, recording the details and interactions of an art world that was rapidly expanding and becoming increasingly international. In contrast, others used these places as the premise for a fantasy picture or a symbolic meditation on the greater significance of art production and appreciation.</div> <div class="col-lg-6 col-md-6 col-sm-12">The emergence of more new spaces for art had broad economic and social implications. Consequently, within this genre of images, great attention was paid to depictions of both artists and collectors. The images featured here consistently present artists as worthy of respect, emphasizing that they worked with their minds and not just with their skilled hands. They often appear dressed like wealthy gentleman, not lowly workers sullied by paint, printer’s ink, or dust. Connoisseurs are depicted as worldly brokers of cultural influence—or satirized as fools who squint at details rather than appreciate the entire work as the artist had intended. <em>Elizabeth Kathleen Mitchell, PhD, Burton and Deedee McMurtry Curator, and Director of the Curatorial Fellowship Program</em></div>
|Showing 1 to 15 of 15 Records||
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|Title||Artist||Medium & Support||Creation Date||Accession Number|
|A collector examining a drawing||Artist unknown||Brown wash over graphite on paper||c. 1790||
|A Peep at Christies; -or-Tally-ho, and his Nimeny-pimmeney taking the Morning Lounge||Gillray, James||Colored etching and aquatint||1796||
|Key to "The Royal Academy of Arts"||Artist unknown||Engraving||1794||
|The Engraver and the Etcher||Bosse, Abraham||Engraving and etching||1643||
|Trade Card of Henri-Louis Basan||Choffard, Pierre-Philippe||Etching||1803||
|Exhibition in the Louvre in 1787 (Exposition au Salon du Louvre en 1787)||Martini, Pietro Antonio||Etching and engraving||1787||
|A Catalogue of Plates||Jode, Arnold de||Etching and typeface||1675||
|Catalog of the various curiosities in the Cabinet of the late Mr. Quentin Lorangère (Catalogue raisonné des diverses curiosités du cabinet de feu M. Quentin de Lorangère)||Gersaint, Edmé François||Illustrated book with etching||1744||
|The Royal Academy of Arts||Earlom, Richard||Mezzotint||1773||
|Members of the Society of Dilettanti||Say, William||Mezzotint||1812-1816||
|Members of the Society of Dilettanti||Turner, Charles||Mezzotint||1800-1820||
|The Life Class of the Vienna Academy||Jacobé, Johann||Mezzotint||1790||
|Portrait of Jacob Moelaert||Verkolje, Nicolaas||Mezzotint||c. 1720||
|The Connoisseur and Tired Boy||Dawe, Philip||Mezzotint||1776||
|Study for the subscription ticket for an engraving after John Singleton Copley's "The Siege and Relief of Gibraltar, 14th September 1782"||Bartolozzi, Francesco||Pen and ink with brush and wash, over graphite on paper||1791||
Your current search criteria is: Portfolio is "Studio, Shop, Cabinet, Gallery: Spaces for Experiencing Art in Europe, 1600-1800".
Last updated: 04/20/2021
This record has been reviewed by the curatorial staff but may be incomplete. Our records are frequently revised and enhanced.
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