Hunter Matthew C
The Courtauld Institute of Art, Somerset House, Strand, London WC2R ORN, UK.
Notes Rec R Soc Lond. 2010 Sep 20;64(3):251-60. doi: 10.1098/rsnr.2009.0060.
The experimental philosopher Robert Hooke (1635-1703) is known to have apprenticed to the leading painter Peter Lely on his first arrival in London in the late 1640s. Yet the relevance of Hooke's artistic training to his mature draughtsmanship and identity has remained unclear. Shedding light on that larger interpretive problem, this article argues for the attribution to Hooke of a figural drawing now in Tate Britain (T10678). This attributed drawing is especially interesting because it depicts human subjects and bears Hooke's name functioning as an artistic signature, both highly unusual features for his draughtsmanship. From evidence of how this drawing was collected and physically placed alongside images by leading artists in the early eighteenth century, I suggest how it can offer new insight into the reception of Hooke and his graphic work in the early Enlightenment.
实验哲学家罗伯特·胡克（1635 - 1703）于17世纪40年代末首次抵达伦敦时，曾师从著名画家彼得·莱利当学徒，这是广为人知的。然而，胡克的艺术训练与他成熟的绘图技巧及身份之间的关联仍不明确。为阐明这一更大的解释性问题，本文主张将一幅现藏于泰特英国美术馆（编号T10678）的人物画归为胡克的作品。这幅被认定为胡克的画作特别有趣，因为它描绘了人物主体，且带有胡克作为艺术签名的名字，这两个特征在他的绘图作品中都极为罕见。从这幅画的收藏方式以及在18世纪早期与著名艺术家的画作一同摆放的实物证据来看，我提出它如何能为胡克及其绘画作品在启蒙运动早期的接受情况提供新的见解。
