Tate Papers
Tate Papers
Tate Papers
Tate Papers is an online research journal that publishes scholarly articles on British and modern international art, and on museum practice today. These areas reflect the breadth of Tate’s collection, exhibition programme and activities, but articles do not need to refer specifically to Tate or to works in its collection to be deemed suitable for submission to the journal. Leading specialists from around the world contribute to Tate Papers, as do researchers working at Tate, and the journal aims to showcase a range of disciplinary approaches to the study of art and museums.
To ensure the journal maintains the highest standards of scholarship all articles are subjected to a rigorous ‘double blind’ peer review process conducted by specialists. Articles published in Tate Papers are deemed by UK research councils to be suitable for submission to the Research Excellence Framework.
Occasionally the journal also publishes Tate strategy documents and reports. These are not peer reviewed but are included in the journal as they offer information on and insights into the work of museums today.
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Item type:Journal article, William Hazlitt’s Account of ‘Mr Angerstein’s Collection of Pictures’(2015)Avery-Quash, SusannaHazlitt’s account of the Angerstein Collection was published anonymously in 1822, two years before Lord Liverpool purchased thirty-eight pictures from it to form the nucleus of the National Gallery. This paper considers Hazlitt’s essay within the wider context of writing about art collections in the early nineteenth century, which was then a new and developing field, and compares it with other publications on Angerstein’s pictures to highlight the distinctive qualities of Hazlitt’s art criticism. - Some of the metrics are blocked by yourconsent settings
Item type:Journal article, John Gibson’s Friendship with Charles Eastlake and its Importance in Securing Gibson’s Reputation in London(2018)Avery-Quash, SusannaThis article traces the fifty-year friendship between John Gibson and the artist and writer Charles Eastlake. It focuses on their views on sculptural theory and practice, how Eastlake helped to secure Gibson’s reputation in London, and the impact their friendship had on the development of several British art institutions.