THE INSTITUTIONALISATION OF ART IN EARLY VICTORIAN ENGLAND

Abstract

ABSTRACTThis article explores the political and intellectual circumstances which led to the efflorescence of cultural institutions between the foundation of the National Gallery in 1824 and the National Portrait Gallery in 1856: the transformation of institutions of public culture from haphazard and rather amateurish institutions to ones which were well organised, with a strong sense of social mission, and professionally managed. This transformation was in part owing to a group of exceptionally talented individuals, including Charles Eastlake, Henry Cole and George Scharf, accepting appointment in institutions to foster the public understanding of art. But it was not simply a matter of individual agency, but also of coordinated action by parliament, led by a group of MPs, including the Philosophical Radicals. It was much influenced by the example of Germany, filtered through extensive translation of German art historical writings and visits by writers and politicians to Berlin and Munich. It was also closely related to the philosophy of the utilitarians, who had a strong belief in the political and social benefits of the study of art. Only the Royal Academy refused the embrace of state control.