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|Title: ||Artists' colonies in Staithes and Runswick Bay c.1880-1914|
|Authors: ||Slater, Robert Ernest Gregory|
|Supervisors: ||Ekserdjian, David|
|Award date: ||19-Jan-2011|
|Presented at: ||University of Leicester|
|Abstract: ||This is the first scholarly study of the artists' colonies of Staithes and Runswick Bay on the
north Yorkshire coast from c.1880 to 1914. Artists who worked in both locations have
attracted attention, but their work until now has not been considered as part of a wider
painting community. It has not been recognised that Runswick Bay was a separate colony.
Such a topic requires an interdisciplinary approach, drawing on the methods of social and
economic history, together with local history studies as well as art history.
Following an introduction establishing the motivations, approach and scope of the thesis,
each chapter addresses a range of key issues and images.
Chapter one examines the social and economic context in which the paintings were produced,
with particular emphasis on the fishing industry.
Chapter two examines the development of the artists' colonies, together with the relationship
between the fisherfolk and the artists. It compares Staithes and Runswick Bay with Newlyn
and Cullercoats as centres of cultural production.
Chapter three explores the representation of both villages and their inhabitants in the
paintings produced. Of particular concern is the depiction of fisherfolk as icons of a simpler
life and the embodiment of Englishness.
Chapter four discusses the exhibiting practices of the artists, particularly in London and
northern England. It also looks at the role of individual patrons.
Overall this work demonstrates that Staithes and Runswick Bay were two distinct artists'
colonies and that they were of greater significance than has previously been recognised
because of the number of artists who worked there and the paintings produced. A broader aim
of this thesis is to suggest that the development of artists’ colonies, such as Staithes and
Runswick Bay, contributed to definitions of Englishness and that the paintings produced
there were expressions of national identity.|
|Rights: ||Copyright © the author, 2011.|
|Description: ||Due to copyright restrictions a number of quotes and images have been removed from the electronic version of this thesis. The author has also corrected some typographical errors and altered some of the footnotes in the electronic version which now differs slightly from the original, unabridged version. The original, unabridged version can be consulted, on request, at the University of Leicester’s David Wilson Library.|
|Appears in Collections:||Theses, Dept. of History of Art and Film|
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