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(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'

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posted on 2024-04-19, 13:21 authored by Dawn KanterDawn Kanter

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.


1. Chronological distribution of case study portraits.

2. Case study portraits by collection.

3. The relative quantity of portraits exhibited at the RA.

4. The relative quantity of portraits exhibited at the RA between 1780 and 1960, with revised figures.

5. The relative quantity of portraits exhibited at the RA between 1780 and 2000.

6. Consistent decline in the relative quantity of portraits exhibited at the RA between 1940 and 1990.

7. Relative stability in the quantity of portraits shown at the RA (as a percentage of all works), between 1870 and 1950.

8. Pattern of artistic production by Collier.

9. Pattern of artistic production by Lavery.

10. Pattern of artistic production by Sickert.

11. Pattern of artistic production by Nicholson.

12. Pattern of artistic production by Orpen.

13. Pattern of artistic production by John.

14. Pattern of artistic production by Bell.

15. Pattern of artistic production by Kelly.

16. Pattern of artistic production by Epstein.

17. Pattern of artistic production by Gertler.

18. Pattern of artistic production by Sutherland.

19. Numbers of paintings and photographs in the NPG collection for each decade between 1900 and 1990.

20. The relative quantities of portraits and miniatures exhibited at the RA.

21. The quantity of miniatures exhibited at the RA as a percentage of the quantity of portraits.

22. Inferences as part of an iterative design process and layered ontology architecture.

23. Methodology for constructing a portrait-sitting ontology.

24. Methodology for constructing a portrait-sitting ontology in practice.

25. Initial dataset.

26. Revised dataset.

27. My top-level ontological structure.

28. Two roles played by John.

29. Roles in portrait production.

30. Factors in portrait production.

31. Design Factors in portrait production.

32. Logistical Factors in portrait production.

33. Roles in portrait production, including Given Roles.

34. Selected objects and events relating to the production of a portrait of Montgomery by Salisbury.

35. Relationships between Suggia and Hudson in two events.

36. Power relations between Tempest and Nicholson.

37. Bibliographic information about the portrait-sitting account PSA001, displayed on the Portrait-Sitting Database website.

38. Bibliographic information about the source from which the account PSA001 is taken, displayed on the Portrait-Sitting Database website.

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).

40. An interpretative layer to the ontology (not implemented)

41. Exchanges relating to the production of Nicholson’s portrait of Tempest.

42. Object properties of two versions of Collier’s portrait of Foster.

43. Object properties of Collier’s portrait of Foster (P024), displayed on the Portrait-Sitting Database website.

44. Painted and sculpted portraits in the NPG Primary Collection, by decade of their production.

45. Sittings in the portrait-sitting database, by decade of their production.

46. [Redacted]

47. Relationships in the production of Collier’s Foster.

48. Relationships in the production of Sickert’s Churchill.

49. Networks of relationships and exchanges in the production of Nicholson’s Tempest.

50. Networks of relationships and exchanges in the production of John’s Thomas.

51. The chronology of presentation portraits.

52. Trends in the exhibition of portrait medallions at the RA.

53. Medallions in the NPG collection.

54. Painted portraits in the NPG collection 1900s-2000s.

55. Portraits as a percentage of works exhibited at the RA 1900-2000.

56. Trends in Tate portraits, 1840-2020.

Funding

Open-Oxford-Cambridge AHRC DTP

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