Seite - 224 - in Der Arkadenhof der Universität Wien und die Tradition der Gelehrtenmemoria in Europa

spatialisation in relation to the objects and audi- ences alongside which it will be housed. The por- trait functions as substitute for the scholar, as his or her memorial and as a guarantor of the con- tinued significance of the past within the con- stantly changing field of the present. The mo- tivations for commissioning a portrait are thus inextricably linked with collective memory and cultural tradition: both in terms of preserving and honouring existing patterns of commis- sioning and also in terms of their initiation. This paper will argue that the scholar’s monument acts as a reflexive object in which college sees the parameters of its own status identity delineated and, furthermore, that the social practice of por- trait commissioning occupies a performative role within the academic institution. The University of Hertfordshire attained University status in 1992, having been established as a technical college in 1952 and designated a Polytechnic since 1959. Darwin was established as a constituent college of Cambridge Univer- sity in 1964. While Darwin instituted a tradition of commissioning scholars’ monuments – that is, portraits of Masters – from its inception, the University of Hertfordshire began to commis- sion painted portraits of its Vice Chancellors in 2011, commencing with the portrait of Sir Tim Wilson. The case studies consider both institu- tions’ motivations for commissioning contem- porary scholars’ monuments and the nature of the collective, cultural investment this type of memorialisation represents. Fig. 2: Geoffrey Hayzer, Professor William Brown, 2012, 147 x 112 cm, oil on canvas. Darwin College, Cambridge. sara ayres224 Biography and Portraiture, in: The History and Poetics of Scientific Biography (ed. T. Söderqvist), Aldershot 2007, pp.71–92; L. Jordanova, Defining Features: Scientific and Medical Portraits 1660-2000, London 2000. 2 Creativeworks London is in turn supported by the Arts and Humanities Research Council in the UK. The Resear- cher in Residence scheme is one of a number of initiatives managed by Creativeworks London aimed at creating opportunities for collaboration between 38 London-based universities, colleges, museums, libraries and archives and London’s entrepreneurs in the digital media, advertising, music, performing or visual arts, publishing, design or fa- shion sectors. The schemes aim to create knowledge transfer between London’s creative economy and the academy, to spark synergies, growth and innovation. The Researcher in Residence scheme is particularly oriented towards unlocking the skills, knowledges and expertise of doctoral candidates and early career researchers for small cultural and creative companies, to enable these companies to solve a problem, undertake targeted research or to address a specific business need. It is also intended that the researcher gains, for example, the valuable experience of applying their skills and expertise to a ‘real-world’ scenario, or the opportunity to develop new perspectives on their own re- search questions. See <http://www.creativeworkslondon.org.uk/phd-in-residence-scheme/> 3 The Society was formed in 1891 and became the Royal Society of Portrait Painters in 1911, which continues today under the patronage of Queen Elizabeth II. Early members included John Everett Millais, John Singer Sargent, Lawrence Alma Tadema, George Frederick Watts and James McNeil Whistler. Open Access © 2018 by BÖHLAU VERLAG GMBH & CO.KG, WIEN KÖLN WEIMAR