今日湯瑪斯．瓊斯（Thomas Jones, 1742-1803）被視為十八世紀末重要的英國戶外畫家，但二十世紀中葉以前他還只是理查德．威爾森（Richard Wilson, 1714-1782）的模仿者。直到家人賣出私藏的風景油彩速寫後才改寫其藝術史定位。然而，是什麼原因使瓊斯的風景油彩速寫消失在先前的藝術史論述中？十九世紀又有哪些發展，使瓊斯的風景油彩速寫能迅速地在二十世紀受到收藏家與美術館員的賞識？此外，二十世紀以後的評論，又呈現了哪些觀看瓊斯油彩速寫的方式？
首章透過瓊斯的職涯，回溯他先前的名聲。再從瓊斯多樣的油彩速寫中選出主要的討論對象。第二章分析風景油彩速寫的身分與發展，為瓊斯的油彩速寫找出不被藝術史關注的理由與它們在風景油彩速寫史的位置。接著從十九世紀的歐洲風景畫變革，探究瓊斯油彩速寫在二十世紀被納入收藏並成為展示品的可能。第三章經由瓊斯與其他風景油彩速寫的拍賣、收藏與展示，顯示風景油彩速寫在瓊斯案例之後，受到重視與研究的狀況。最後，在瓊斯油彩速寫的相關論述中，體察藝術研究的各種框架。

Thomas Jones (1742-1803) is now acknowledged as a primary open-air painter in late 18th century Britain, but before the mid-20th century he had been an imitator of Richard Wilson (1714-1782). His status in art history was not changed until his family sold his landscape oil sketches to the markets. However, what caused the absence of his works in earlier art-historical narratives? What led to the rapid recognition of his landscape oil sketches by collectors and curators in the mid-20th century? Furthermore, what perspectives did they adopt to look at his landscape oil sketches?
Chapter one traces his development in art history by considering the changes of his career path and reputation, and then looks at his landscape oil sketches in details. Chapter two explores the development and significance of landscape oil sketches and tries to find out the reasons why Jones’s works did not attract much attention. Next, by examining the evolution of landscape painting in the 19th century, the second part of chapter two investigates the possibility of Jones’s sketches being collected as exhibits. Chapter three points out that since the mid-20th century landscape oil sketches have become prominent through increasing sales, exhibitions and collections in the art institutions. Finally, this study analyzes the conceptual frameworks of discourses on Jones’s oil sketches.

西文書籍
Ben Elwes Fine Art, ed. First Impressions: Landscape Oil Sketches, 1780-1860, from the John Lishawa Collection. London: Ben Elwes Fine Art, 2012.
Bindman, David, ed. The History of British Art. Vol. 2. London: Tate Pub., 2008.
Black, Jonathan. Abstraction and Reality: The Sculpture of Ivor Roberts-Jones. London: Philip Wilson Publishers Ltd., 2014.
Boime, Albert. The Academy and French Painting in the Nineteenth Century. London: Phaidon, 1971.
Broughton, Michael, William Clarke and Joanna Selborne. The Spooner Collection of British Watercolours at the Courtauld Institute Gallery. London: Courtauld Institute of Art, 2005.
Brown, David Blayney. Oil Sketches from Nature: Turner and His Contemporaries. London: Tate Gallery Pub, 1991.
Conisbee, Philip and Lawrence Gowing, Painting from Nature: The Tradition of Open-air Oil Sketching from the 17th to the 19th Centuries. London: Arts Council of Great Britain, 1980.
Conisbee, Philip. Claude-Joseph Vernet, 1714-1789. London: The Council, 1976.
Conisbee, Philip, et al. In the Light of Italy: Corot and Early Open-air Painting. Washington: National Gallery of Art; New Haven: Yale University Press, 1996.
Edwards, Ralph, et al. Thomas Jones (1742-1803): First Exhibition of the Artist’s Recently Discovered Oil Sketches of Wales, Rome and Naples. London: Greater London Council, 1970.
Evans, Mark, Nicola Costaras and Clare Richardson. John Constable: Oil Sketches from the Victoria and Albert Museum. London: V&A Pub., 2011.
Gage, John. A Decade of English Naturalism, 1810-1820. Norwich: Norwich Castle Museum, 1969.
Galassi, Peter. Before Photography: Painting and the Invention of Photography. New York: Museum of Modern Art, 1981.
—. Corot in Italy: Open-air Painting and the Classical-landscape Tradition. New Haven: Yale University Press, 1991.
Garlick, Kenneth J., ed. Eighteenth Century Master Drawings from the Ashmolean. Washington, D.C.: International Exhibitions Foundation, 1979.
Gowing, Lawrence. The Originality of Thomas Jones. New York: Thames and Hudson Inc., 1985.
Hargraves, Matthew. ‘Candidates for Fame’: the Society of Artists of Great Britain, 1760-1791. New Haven: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 2005.
Herrmann, Luke. British Landscape Painting of the Eighteenth Century. New York: Oxford University Press, 1973.
—. Nineteenth Century British Painting. London: Giles de la Mare, 2000.
Hoozee, Robert, ed. British Vision: Observation and Imagination in British Art, 1750-1950. New York: Cornell University Press, 2007.
Johnston, Catherine. Baltic Light: Early Open-air Painting in Denmark and Northern Germany. New Haven: Yale University Press in association with National Gallery of Canada, Ottawa, 1999.
Jones, Stephen et al. Frederic, Lord Leighton: Eminent Victorian Artist. New York: Harry N. Abrams; London: Royal Academy of Arts, 1996.
Maser, Edward. Image and Imagination: Oil Sketches of the Baroque. Los Angeles: Los Angeles County Museum of Art, 1968.
Miller, Asher Ethan, ed. The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785-1850. New York: The Metropolitan Museum of Art, 2013.
Mongan, Agnes. Drawings & Oil Sketches by P. P. Rubens from American Collections. Cambridge, Mass: Fogg Art Museum, Harvard University, 1956.
MonganAgnes. Drawings & Oil Sketches by P. P. Rubens from American Collections. Cambridge, Mass.: Fogg Art Museum, Harvard University, 1956.
Oppé, Paul, ed. The Thirty-Second Volume of the Walpole Society, 1946-1948: Memoirs of Thomas Jones, Penkerrig, Radnorshire. Oxford: Printed for the Walpole Society by Oliver Burridge, 1951.
Ottani Cavina, Anna. Geometries of Silence: Three Approaches to Neoclassical Art. New York: Columbia University Press, 2004.
Ottani Cavina, Anna, ed. Paysages d’Italie: Les Peintres du Plein Air (1780-1830). Paris: Réunion des musées nationaux, 2001.
—. Un Paese Incantato: Italia Dipinta da Thomas Jones à Corot. Milan: Electa, 2001.
Parissien, Steven, ed. Turner and Constable Sketching from Nature: Works from the Tate. London: Tate Publishing, 2013.
Parris, Leslie. Landscape in Britain, c.1750-1850. London: Tate Gallery, 1973.
Postle, Martin and Robin Simon eds, Richard Wilson and the Transformation of European Landscape Painting. New Haven: Yale University Press, 2014.
Reynolds, Graham. The Early Paintings and Drawings of John Constable. Vol. 1. New Haven: Published for the Paul Mellon Centre for Studies in British Art by Yale University Press, 1996.
Reynolds, Joshua. Discourses on Art. Ed. Robert R. Wark. New Haven: Published for the Paul Mellon Centre for Studies in British Art, 1997.
Riopelle, Christopher and Xavier Bray eds., A Brush with Nature: The Gere Collection of Landscape Oil Sketches. London: National Gallery, 2003.
Rosenthal, Michael. British Landscape Painting. Oxford: Phaidon, 1982.
Schuster, Peter-Klaus. Carl Blechen: Zwischen Romantik und Realismus. Berlin: Nationalgalerie Berlin, 1990.
Solkin, David H., ed. Art on the Line: the Royal Academy Exhibitions at Somerset House, 1780-1836. New Haven: Published for the Paul Mellon Centre for Studies in British Art and the Courtauld Institute Gallery by Yale University Press, 2001.
Sumner, Ann and Greg Smith eds. Thomas Jones (1742-1803): An Artist Rediscovered. New Haven: Yale University Press in Association with National Museums & Galleries of Wales, Cardiff, 2003.
The Pierpont Morgan Library. The Thaw Collection: Master Drawings and Oil Sketches Acquisitions Since 1994. New York: The Pierpont Morgan Library, 2002.
Tonkovich, Jennifer, ed. Studying Nature: Oil Sketches from the Thaw Collection. New York: The Morgan Library & Museum, 2011.
Turner, Nicholas. European Drawings: Catalogue of the Collections. Ed. J. Paul Getty Museum. Vol. 4. Los Angeles: J. Paul Getty Museum, 2001.
Walch, Peter. French Oil Sketches and the Academic Tradition: Selections from A Private Collection on Loan to the University Art Museum of the University of New Mexico, Albuquerque. New York: American Federation of Arts, 1994.
Wilcox, Timothy. Francis Towne. London: Tate Gallery Publishing, 1997.
Wilton, Andrew and Anne Lyles. The Great Age of British Watercolours, 1750-1880. London: Royal Academy of Arts and Munich: Prestel-Verlag, 1992.
Wollheim, Richard. Painting as an Art. London: Thames and Hudson, 1987.
中文書籍
修．歐納（Hugh Honour）、約翰．弗萊明（John Fleming）（著），吳介禎等（譯），《世界藝術史》（A World History of Art），臺北縣：木馬文化事業公司，第五版，2001。
日文書籍
静岡県立美術館編集，《イタリアの光景，1780-1850：印象派への道》，靜岡市：靜岡県立美術館，2004。
西文期刊
Conisbee, Philip. “Pre-Romantic Plein-air Painting,” Art History, Vol. 2, Issue 4 (1979), pp. 413-428.
Egerton, Judy. “The Originality of Thomas Jones by Lawrence Gowing,” The Burlington Magazine, Vol. 128, No. 1000 (Jul., 1986), p. 508-509.
Gere, John. “An Oil-Sketch by Thomas Jones,” The British Museum Quarterly, Vol.21, No.4 (Oct., 1959), pp.93-94.
Gere, John, “Thomas Jones: An Enghteenth-century Conundrum,” Apollo, 91 (Jun., 1970), p. 469-470.
Herrmann, Luke. “George Lambert and Thomas Jones: Two London Exhibitions,” The Burlington Magazine, Vol. 112, No. 809 (1970), pp. 548-552.
James, Merlin. “Painting from Nature,” Modern Painters, Vol. 16, Issue 4 (Winter, 2003), pp. 106-112.
Meeson, Philip. “Painting as an Art: Richard Wollheim,” British Journal of Aesthetics, Vol. 28, Issue 3(1988), pp.281-284
Morgan, Pry. “Thomas Jones of Pencerrig,” The Radnorshire Society Transactions, Vol. 57 (1987), pp. 49-62.
Oliver, R. C. B.. “The Account Book of Mr. Thomas Jones, Pcnkerrig,” The Radnorshire Society Transactions, Vol. 70 (2000), pp. 104-110.
Penny, Nicholas. “Painting as an Art by Richard Wollheim,” London Review of Books, Vol. 10, No. 4 (1988), pp.19-20.
中文期刊
謝佳娟，〈設計的化身、繪畫的文法——十七至十八世紀中葉英國素描概念的演變與意義〉，《新史學》，21：4（台北，2010），頁57-139。
日文期刊
ピーター・ガラシ（Peter Galassi）（著），〈写真以前――絵画と写真の発明2〉，山梨絵美子、大日方欣一（訳），《美術手帖》，646（1991，11），頁215-226。
學位論文
李昀，《論Grosvenor Gallery展覽對於英國藝術的推展，1877-1890》，國立中央大學藝術學研究所，碩士論文，2013年。
網路資源
1.Art UK〈http://artuk.org〉
2.BBC News〈http://www.bbc.com/news/〉
3.Biodiversity Heritage Library〈http://www.biodiversitylibrary.org〉
4.Dictionary of Art Historians〈https://dictionaryofarthistorians.org〉
5.Internet Archive〈https://archive.org〉
6.Musée du Louvre〈http://cartelen.louvre.fr〉
7.Museum of the Shenandoah Valley〈https://www.themsv.org〉
8.Österreichische Galerie Belvedere〈http://digital.belvedere.at〉
9.Oxford Art Online〈http://www.oxfordartonline.com〉
10.Sue Bond Public Relations〈http://www.suebond.co.uk〉
11.The Tate Britain〈http://www.tate.org.uk〉
12.The Guardian〈https://www.theguardian.com〉
13.The Independent〈http://www.independent.co.uk〉
14.The Morgan Library & Museum, New York, founded by Pierpont Morgan〈http://www.themorgan.org〉
15.The National Gallery〈http://www.nationalgallery.org.uk〉
16.The National Library of Wales 〈https://www.llgc.org.uk〉
17.The World According to Art〈http://rijksmuseumamsterdam.blogspot.tw〉
18.Yale Center for British Art〈http://collections.britishart.yale.edu〉
19.You Tube〈https://www.youtube.com〉