Aristocratic Politeness on Display:The Earl of Derby’s Patronage and Art Collecting in Early Eighteenth-Century England
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By the end of the seventeenth century, it was rather common for members of the English aristocracy to engage in some form of art patronage and collecting. It is in the eighteenth century, however, that a distinct discourse of ‘collection’ emerged and became widespread. Of course, a collection of pictures is an assemblage of a few or more pictures owned by the same person or held in the same place. But this is not how the term was understood by the mid eighteenth‐century when a collection was taken to mean a part of its owner’s self‐expression. The purpose of this paper is to explore the emergence of art patronage and collecting in the early eighteenth century as a distinctive way of fashioning aristocratic identity and of patrician politeness in particular. Through a detailed examination of the activities of James Stanley, tenth Earl of Derby, this paper proposes to revisit some critical but largely forgotten passages in the history of English art, and seeks to argue for the significance of his practice as a patron and collector in this pivotal period in the cultural history of England.
Abstract
By the end of the seventeenth century, it was rather common for members of the English aristocracy to engage in some form of art patronage and collecting. It is in the eighteenth century, however, that a distinct discourse of ‘collection’ emerged and became widespread. Of course, a collection of pictures is an assemblage of a few or more pictures owned by the same person or held in the same place. But this is not how the term was understood by the mid eighteenth‐century when a collection was taken to mean a part of its owner’s self‐expression. The purpose of this paper is to explore the emergence of art patronage and collecting in the early eighteenth century as a distinctive way of fashioning aristocratic identity and of patrician politeness in particular. Through a detailed examination of the activities of James Stanley, tenth Earl of Derby, this paper proposes to revisit some critical but largely forgotten passages in the history of English art, and seeks to argue for the significance of his practice as a patron and collector in this pivotal period in the cultural history of England.
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