Abstract
This article brings together the social history of art collections and the history of vision in a discussion of the debates surrounding the National Gallery of London's display of art in the nineteenth century. It is argued that behind the ideas of Charles Eastlake regarding the arrangement of the National Gallery lay a new understanding of visuality, which corresponded to contemporary developments in commercial art exhibitions and the increasing attention of physiologists to subjective aspects of perception. Simultaneously, a new notion of individuality arrived via the German Romantic movement, which led to a new conception of art's value and history.
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