(Public) Figures for 'Collecting and connecting portrait sittings: a re-evaluation of portrait-sitting accounts in enhancing knowledge and understanding of British portraiture 1900-1960'

<p dir="ltr">Figures for 'Collecting and connecting portrait sittings: a re-evaluation of portrait-sitting accounts in enhancing knowledge and understanding of British portraiture 1900-1960'. To be used in conjunction with the thesis.</p><p><br></p><p dir="ltr">1. Chronological distribution of case study portraits.</p><p dir="ltr">2. Case study portraits by collection.</p><p dir="ltr">3. The relative quantity of portraits exhibited at the RA.</p><p dir="ltr">4. The relative quantity of portraits exhibited at the RA between 1780 and 1960, with revised figures.</p><p dir="ltr">5. The relative quantity of portraits exhibited at the RA between 1780 and 2000.</p><p dir="ltr">6. Consistent decline in the relative quantity of portraits exhibited at the RA between 1940 and 1990.</p><p dir="ltr">7. Relative stability in the quantity of portraits shown at the RA (as a percentage of all works), between 1870 and 1950.</p><p dir="ltr">8. Pattern of artistic production by Collier.</p><p dir="ltr">9. Pattern of artistic production by Lavery.</p><p dir="ltr">10. Pattern of artistic production by Sickert.</p><p dir="ltr">11. Pattern of artistic production by Nicholson.</p><p dir="ltr">12. Pattern of artistic production by Orpen.</p><p dir="ltr">13. Pattern of artistic production by John.</p><p dir="ltr">14. Pattern of artistic production by Bell.</p><p dir="ltr">15. Pattern of artistic production by Kelly.</p><p dir="ltr">16. Pattern of artistic production by Epstein.</p><p dir="ltr">17. Pattern of artistic production by Gertler.</p><p dir="ltr">18. Pattern of artistic production by Sutherland.</p><p dir="ltr">19. Numbers of paintings and photographs in the NPG collection for each decade between 1900 and 1990.</p><p dir="ltr">20. The relative quantities of portraits and miniatures exhibited at the RA.</p><p dir="ltr">21. The quantity of miniatures exhibited at the RA as a percentage of the quantity of portraits.</p><p dir="ltr">22. Inferences as part of an iterative design process and layered ontology architecture.</p><p dir="ltr">23. Methodology for constructing a portrait-sitting ontology.</p><p dir="ltr">24. Methodology for constructing a portrait-sitting ontology in practice.</p><p dir="ltr">25. Initial dataset.</p><p dir="ltr">26. Revised dataset.</p><p dir="ltr">27. My top-level ontological structure.</p><p dir="ltr">28. Two roles played by John.</p><p dir="ltr">29. Roles in portrait production.</p><p dir="ltr">30. Factors in portrait production.</p><p dir="ltr">31. <i>Design</i> <i>Factor</i>s in portrait production.</p><p dir="ltr">32. <i>Logistical</i> <i>Factor</i>s in portrait production.</p><p dir="ltr">33. <i>Role</i>s in portrait production, including <i>Given Role</i>s.</p><p dir="ltr">34. Selected objects and events relating to the production of a portrait of Montgomery by Salisbury.</p><p dir="ltr">35. Relationships between Suggia and Hudson in two events.</p><p dir="ltr">36. Power relations between Tempest and Nicholson.</p><p dir="ltr">37. Bibliographic information about the portrait-sitting account <i>PSA001</i>, displayed on the Portrait-Sitting Database website.</p><p dir="ltr">38. Bibliographic information about the source from which the account <i>PSA001</i> is taken, displayed on the Portrait-Sitting Database website.</p><p dir="ltr">39. The role of Luke Fildes Junior in the production of a portrait of Fildes Senior by De László and in the production of a biography of Fildes Senior (which contains an account of the portrait’s production).</p><p dir="ltr">40. An interpretative layer to the ontology (not implemented)</p><p dir="ltr">41. Exchanges relating to the production of Nicholson’s portrait of Tempest.</p><p dir="ltr">42. Object properties of two versions of Collier’s portrait of Foster.</p><p dir="ltr">43. Object properties of Collier’s portrait of Foster (P024), displayed on the Portrait-Sitting Database website.</p><p dir="ltr">44. Painted and sculpted portraits in the NPG Primary Collection, by decade of their production.</p><p dir="ltr">45. Sittings in the portrait-sitting database, by decade of their production.</p><p dir="ltr">46. [Redacted]</p><p dir="ltr">47. Relationships in the production of Collier’s <i>Foster.</i></p><p dir="ltr">48. Relationships in the production of Sickert’s <i>Churchill.</i></p><p dir="ltr">49. Networks of relationships and exchanges in the production of Nicholson’s <i>Tempest.</i></p><p dir="ltr">50. Networks of relationships and exchanges in the production of John’s <i>Thomas.</i></p><p dir="ltr">51. The chronology of presentation portraits.</p><p dir="ltr">52. Trends in the exhibition of portrait medallions at the RA.</p><p dir="ltr">53. Medallions in the NPG collection.</p><p dir="ltr">54. Painted portraits in the NPG collection 1900s-2000s.</p><p dir="ltr">55. Portraits as a percentage of works exhibited at the RA 1900-2000.</p><p dir="ltr">56. Trends in Tate portraits, 1840-2020.</p>