The Aesthetic Cultural Significance of Samuel Rogers’ Museumification
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This essay examines the cultural position of Rogers and the aesthetic function of his domesticated museum salon, St. James’s Place in relation to the Romantic museum culture. Although Rogers has generally been classified as a minor poet, within the context of the flourishing Romantic exhibitionary culture, the aesthetic cultural significance of Rogers in this period was not insignificant at all. However, Rogers was not only an ardent Romantic art collector but also a great host who ran his own salon in London society. Most of all, his house, St. James’s Place was not an ordinary private dwelling. Instead, it was Rogers’ new concept of domestic museum salon existed as a crucial aesthetic and cultural space in London by offering the collector’s personal visual world to the public. This essay begins by exploring how Rogers constructed his artistic version of Romantic museum at his domestic space with his unique aesthetic taste, and how he utilized this domesticated art collections for his domestic breakfast gatherings. Although Rogers has still been regarded as a supporting actor for other canonical artists’ performances, this essay argues that Rogers was an important and influential cultural figure in the center of the Romantic visual culture.
Abstract
This essay examines the cultural position of Rogers and the aesthetic function of his domesticated museum salon, St. James’s Place in relation to the Romantic museum culture. Although Rogers has generally been classified as a minor poet, within the context of the flourishing Romantic exhibitionary culture, the aesthetic cultural significance of Rogers in this period was not insignificant at all. However, Rogers was not only an ardent Romantic art collector but also a great host who ran his own salon in London society. Most of all, his house, St. James’s Place was not an ordinary private dwelling. Instead, it was Rogers’ new concept of domestic museum salon existed as a crucial aesthetic and cultural space in London by offering the collector’s personal visual world to the public. This essay begins by exploring how Rogers constructed his artistic version of Romantic museum at his domestic space with his unique aesthetic taste, and how he utilized this domesticated art collections for his domestic breakfast gatherings. Although Rogers has still been regarded as a supporting actor for other canonical artists’ performances, this essay argues that Rogers was an important and influential cultural figure in the center of the Romantic visual culture.
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