畫家約翰‧威廉‧沃特豪斯(John William Waterhouse,1849-1917)為維多利亞時代的藝術家。當時的英國，在文化與經濟上都呈現相當繁榮的景象，繪畫藝術在此時期比過去更為迅速的發展，藝術品已不在只有王公貴族才能欣賞與擁有的，這時候的英國藝術市場大量出現新興資產階級的贊助者，他們關注藝術展覽，對於藝術品的收藏與藝術家的贊助更是不遺餘力，使得英國藝術品的流動性更大而不在侷限在貴族階級中。
沃特豪斯身為維多利亞時代後期的藝術家，他的作品融合了此時期的流派與自身的繪畫風格，使他擁有忠實的贊助者，本篇論文所要討論的即是他藝術生涯前後時期的重要贊助者-艾爾德與亨德森家族，從贊助者所購買的作品來探討藝術家的創作是否受到其影響抑或是單純的跟隨著市場潮流，進而瞭解此時期的藝術趨勢。
沃特豪斯在世時，他的作品一直都不缺乏關注，但是在 1917 年沃特豪斯過世後，他的作品就逐漸地在市場上消失，筆者期望能夠從贊助者所收藏的作品類型來探析沃特豪斯不同時期的畫作以及轉變的原因，並從中釐清此時期英國的藝術環境，進而更瞭解英國藝術發展最蓬勃以及影響日後其藝術市場深遠的一個時代。

On the Artistic Patronage of Victorian era-
Waterhouse and his Patronage
Hung I-Yi
Wu Yi-Fang
Institute of Art Studies
SUMMARY
John William Waterhouse (1849-1917) was a painter of the Victorian Age. At that time the culture and economy of England appeared to be extremely prosperous. Painting art at this age had faster development than in the past. Works of art were not only appreciated and owned by kings, princes and aristocrats. In the English art market of this time, there appeared a large number of newly emerged sponsors belonging to bourgeoisie. They paid attention to art exhibitions, and put great efforts on collection of artworks and sponsorship for artists, increasing the mobility of the English artworks and no longer confining ownership of the English artworks to the nobility.
As an artist in the later part of the Victorian Age, Waterhouse had his works presenting a fusion of the genre of that age and his own painting style, thus making him own a group of loyal sponsors. This paper intends to discuss about the important sponsors of Waterhouse before and after his artistic career–Aird and Henderson family. From the works purchased by the sponsors, the paper explores whether the works of the artist were affected by the sponsors, or whether his works simply followed the trend of the market. Furthermore, the paper attempts to understand the artistic tendency of this age.
Key words: Waterhouse, art sponsorship, Victorian Age, Aird, Henderson family

INTRODUCTION

By the time Waterhouse was alive, his works never lacked attention. But after he died in 1917, his works gradually disappeared from the market. From the categories of his works collected by the sponsors, the researcher hopes to explore and analyze the works of Waterhouse at different periods and the reasons of the change. Furthermore, we can clarify the English artistic environment at this age, and further understand such a great age in which the English art developed most prosperously and the art development affected the art market of the later days profoundly.
The literature review of this paper is mainly divided into two parts: one is about Waterhouse himself, and the other is about the commercial background of art in England and the social background of that time. Taking these two parts as the core references, the paper explores art sponsorship in the Victorian Age, in which the artistic and cultural environment developed most prosperously in the history of England, investigates the relationship between the artist of this age, Waterhouse, and his sponsors, and find out how his works gained popularity among sponsors, and allowed him to live a wealthy life when he earned his livelihood by selling his artworks.
The main problem awareness of the paper contains three issues as follows:
1. Investigation of the significance of sponsors to the artists of the late Victorian Age.
2. Investigation of the factors for the change of style of Waterhouse’s works.
3. Investigation of whether the sponsors of Waterhouse have influence on him.

MATERIALS AND METHODS

He paper uses several research methods, including historical research method, research method of sociology of art, and image analysis method, to carry out discussion of the entire paper.

RESULTS AND DISCUSSION
The paper explores the artistic environment of the late Victorian age (1860-1917), and focuses its discussion on Waterhouse and his sponsors, John Aird and Henderson family. From the works sponsored by them, the paper explores and analyzes how great the influence the sponsors had on the artist, or whether the artist could determine his creation style. These two sponsors of Waterhouse belonged to a group of people who typically became upper-class people through their endeavors and mobility of class in the past. Nevertheless, the researcher is very curious about the art market of that time. Comparing to the earlier ages and other countries, the art commerce of England in the Victorian Age appeared to be unusually vigorous. Behind the artistic environment that seemed so prosperous at that time, people were so suppressed in their hearts, so that they indirectly presented their minds through artistic and literary symbols. Did the bourgeois, and even the upper class people, who appreciated and sponsored these works really understood the meanings that the works were delivering, or did they purely want to follow the trend to buy these works? These queries and questions are just the motives of the researcher in studying this topic.
Since the references about sponsors collected in Taiwan are limited, the paper seems to have incomplete discussion in this part. In the aspect of research area and targets, the researcher attempts to focus on exploration of the relationship between the artist, Waterhouse and his sponsors, as well as the reasons for the change of style of Waterhouse’s works. The time frame of the study is from the time that Waterhouse started to paint, around the 1860’s, to his death in 1917. This period was also the same period of the late Victorian Age.
The works of Waterhouse were once printed for commercial use. Hitherto many people may have seen the paintings of Waterhouse, but does not know who Waterhouse is. Just as what John Russell Taylor said, “No one really forgets Waterhouse, only that no one remembers him.” From these words, we can know that the works of Waterhouse seem to be found everywhere in our daily life. But we do not know those are the works of Waterhouse, and we even do not know him. We are even not aware that his works were supported by many sponsors in the Victorian Age.
Sponsors like Aird and Henderson family had certain influence on Waterhouse. The sponsorship of Aird made the reputation of the artist rise gradually. Henderson family, in the role of sponsor, not only supported the creation of Waterhouse, but also accompanied the artist by his dying bed at the latter part of his life. This surpassed the sponsorship by money and praise of his paintings, this relationship was a great friendship between them.

CONCLUSION

At this age the sponsors and the artist were very familiar with each other. Such a prosperous scene had also established a solid foundation for the art market of England in the later days. No matter in art auctions or contemporary art, English art gradually developed, making England become an important art town in the contemporary days. We can see the extremely important context that the art market of the Victorian Age has linked to the contemporary art development.

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