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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse. -
Letters by Antoine Morillon (Around 1520–1556). and Stephanus Pighius (1520– 1604) to Antoine Perrenot De Granvelle in Madrid
THE ORIGINS OF A LIBRARY AND AN ART COLLECTION: LETTERS BY ANTOINE MORILLON (AROUND 1520–1556). AND STEPHANUS PIGHIUS (1520– 1604) TO ANTOINE PERRENOT DE GRANVELLE IN MADRID (Wrede, Henning) Altogether the correspondence of Antoine Perrenot, bishop of Arras, Cardinal de Granvelle, minister of Charles V and Philipp II, viceroy of Naples and Sicily is extensive. A large part of it is still kept in Madrid. Here we will focus on just 19 letters written to Perrenot by Antoine Morillon (17) and Stephanus Pighius (2). They are located in the manuscripts II/2253, II/2297, II/2298 of the Real Biblioteca and in 20212 of the Biblioteca Nacional. They provide a sense of Perrenot as a rather young bishop prior to establishing his later well-known library and art collection. In the 16th century Stephanus Pighius was a particularly famous antiquarian scholar of Roman history. His native city Kampen in the Netherlands still celebrates him among its outstanding sons. By contrast his Belgian contemporary, Morillon, born in Leuven, was initially held in high esteem as an archaeologist and classic philologist but fell into obscurity due to his early death and thus absence of publications. He is now only remembered for calling attention to the Codex Argenteus, the Gothic translation of the Gospels by Ulfilas, which he discovered in Werden (today a part of Essen) though it is now kept in Uppsala. Apart from that achievement, he is remembered for several medals, engraved by himself, and by specialists of Greek and Roman epigraphy. Little is known about his life save the 17 letters in his own hand now archived in Madrid. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
Lowell Libson Limited
LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised -
What Is an Emblem Book
A brief introduction to the Stirling Maxwell Collection of Emblem Books at the University of Glasgow. David Weston April 2011 The last forty years have witnessed an increasing interest in emblem literature as a potential key to a fuller understanding of the Renaissance and Baroque mind. At an early stage in this development the importance of the collection of emblem books formed in the 19th century by Sir William Stirling Maxwell was recognised as a major resource for anyone pursuing research in this area. With some 1200 emblem books in the collection in 1958, it proved an invaluable source of information to Mario Praz in the production of his Studies in seventeenth century imagery, especially the bibliography, where he frequently refers to copies seen at Nether Pollok, the country house of the Maxwell family now within the boundaries of Glasgow. Since then few works published in emblematics fail to mention the Stirling Maxwell Collection and frequently they are illustrated with prints taken from copies in the collection. Sir William Stirling Maxwell, writer on Spanish art and history, a discerning and tireless collector of paintings, books and porcelain, a poet, politician, distinguished public figure, and last but not least, a breeder of short-horn cattle and Clydesdale horses, was without doubt a most remarkable figure. Born on the 8th of March, 1818, into the ancient Scottish family of Stirling, plain William Stirling as he was then, was educated privately in Buckinghamshire and later at Trinity College Cambridge. As the only son of Archibald Stirling of Keir, he inherited his father's estates in 1847, and subsequently, on the death of his uncle Sir John Maxwell of Pollok, he inherited the title, acquiring the additional name of Maxwell. -
The Surrender of Montreal to General Amherst De Francis Hayman Et L’Identité Impériale Britannique Laurent Turcot
Document generated on 09/28/2021 7:19 p.m. Mens Revue d'histoire intellectuelle et culturelle The Surrender of Montreal to General Amherst de Francis Hayman et l’identité impériale britannique Laurent Turcot Volume 12, Number 1, Fall 2011 Article abstract In this article, I examine a painting representing the 1760 victory of the British URI: https://id.erudit.org/iderudit/1010567ar Empire over France in North America, namely The Surrender of Montreal to DOI: https://doi.org/10.7202/1010567ar General Amherst by Francis Hayman. I seek to understand the origins of this piece ordered by Jonathan Tyers, owner of London’s Vauxhall, the recreational See table of contents space where The Surrender of Montreal was exhibited, and to understand the meaning that it sought to convey to the public regarding the events surrounding the fall of New France. The piece sought to convey a strong Publisher(s) message regarding the apparent greatness of the British Empire, but it also sought to show that Britain had emerged as Europe’s only truly great power; Centre de recherche en civilisation canadienne-française the only power able to govern colonial populations through the universal – and typically British – values of humanity, clemency, and charity. These values ISSN allowed Britain to impose and legitimise the “Pax Britannica” in North America. 1492-8647 (print) 1927-9299 (digital) Explore this journal Cite this article Turcot, L. (2011). The Surrender of Montreal to General Amherst de Francis Hayman et l’identité impériale britannique. Mens, 12(1), 91–135. https://doi.org/10.7202/1010567ar Tous droits réservés © Mens, 2012 This document is protected by copyright law. -
Catalogue of the Eleventh Annual Exhibition of Engravings, Etchings, Woodcuts of the Xv and Xvi Centuries
CATALOGUE OF THE ELEVENTH ANNUAL EXHIBITION OF ENGRAVINGS, ETCHINGS, WOODCUTS OF THE XV AND XVI CENTURIES MARCH 3RD TO MARCH 2IST, 1936 M. KNOEDLER & COMPANY, INC. 14 EAST FIFTY-SEVENTH STREET NEW YORK ILLUSTRATED BOOKS AND NEWSPAPERS Discourse was deemed Man's noblest attribute, And written words the glory of his hand; Then followed Printing with enlarged command For thought — dominion vast and absolute For spreading truth, and making love expand. Now prose and verse sun\ into disrepute Must lacquey a dumb Art that best can suit The taste of this once-intellectual hand. A backward movement surely have we here, From manhood — bac\ to childhood; for the age — Bac\ towards caverned life's first rude career. U Avaunt this vile abuse of pictured page. Must eyes be all in all, the tongue and ear Nothing? Heaven keep us from a lower stage. WILLIAM WORDSWORTH ARTISTS REPRESENTED IN THIS EXHIBITION GERMANY ANONYMOUS (1425-1450) DOTTED PRINT 5 MASTER E. S 6 MARTIN SCHONGAUER 7 ANONYMOUS NORTH GERMAN (About 1480) 9 MASTER B. G 10 SCHOOL OF MARTIN SCHONGAUER 10 ISRAHEL VAN MECKENEM 10 MASTER M Z 13 AUGUSTIN HIRSCHVOGEL 14 HANS SEBALD LAUTENSACK 14 HANS BURGKMAIR 15 JOHANN ULRICH WECHTLIN (Pilgrim) 15 LUCAS CRANACH r6 NETHERLANDS MASTER F VB (F. van Brugge?) j$ LUCAS VAN LEYDEN Xo DIRICK JACOBSZOON VELLERT 21 ITALY NIELLO PRINT (Attributed to Francesco Francia) ....... 22 ANONYMOUS FLORENTINE: THE SIBYLS 22 CRISTOFANO ROBETTA 2, ANONYMOUS NORTH ITALIAN: "THE TAROCCHI CARDS" 24 DOMENICO BECCAFUMI (Master H-E) 2K ANONYMOUS XVI CENTURY: ROMAN SCHOOL 25 ANDREA MANTEGNA . _- -*5 SCHOOL OF ANDREA MANTEGNA 26 BARTOLOMEO DA BRESCIA 27 NICOLETTO ROSEX DA MODENA 28 JACOPO DE' BARBARI ... -
Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010
The Brilliant Line: Following the Early Modern Engraver, 1480-1650 September 18, 2009-January 3, 2010 When the first engravings appeared in southern Germany around 1430, the incision of metal was still the domain of goldsmiths and other metalworkers who used burins and punches to incise armor, liturgical objects, and jewelry with designs. As paper became widely available in Europe, some of these craftsmen recorded their designs by printing them with ink onto paper. Thus the art of engraving was born. An engraver drives a burin, a metal tool with a lozenge-shaped tip, into a prepared copperplate, creating recessed grooves that will capture ink. After the plate is inked and its flat surfaces wiped clean, the copperplate is forced through a press against dampened paper. The ink, pulled from inside the lines, transfers onto the paper, printing the incised image in reverse. Engraving has a wholly linear visual language. Its lines are distinguished by their precision, clarity, and completeness, qualities which, when printed, result in vigorous and distinctly brilliant patterns of marks. Because lines once incised are very difficult to remove, engraving promotes both a systematic approach to the copperplate and the repetition of proven formulas for creating tone, volume, texture, and light. The history of the medium is therefore defined by the rapid development of a shared technical knowledge passed among artists dispersed across Renaissance and Baroque (Early Modern) Europe—from the Rhine region of Germany to Florence, Nuremberg, Venice, Rome, Antwerp, and Paris. While engravers relied on systems of line passed down through generations, their craft was not mechanical. -
Che Si Conoscono Al Suo Già Detto Segno Vasari's Connoisseurship In
Che si conoscono al suo già detto segno Vasari’s connoisseurship in the field of engravings Stefano Pierguidi The esteem in which Giorgio Vasari held prints and engravers has been hotly debated in recent criticism. In 1990, Evelina Borea suggested that the author of the Lives was basically interested in prints only with regard to the authors of the inventions and not to their material execution,1 and this theory has been embraced both by David Landau2 and Robert Getscher.3 More recently, Sharon Gregory has attempted to tone down this highly critical stance, arguing that in the life of Marcantonio Raimondi 'and other engravers of prints' inserted ex novo into the edition of 1568, which offers a genuine history of the art from Maso Finiguerra to Maarten van Heemskerck, Vasari focused on the artist who made the engravings and not on the inventor of those prints, acknowledging the status of the various Agostino Veneziano, Jacopo Caraglio and Enea Vico (among many others) as individual artists with a specific and recognizable style.4 In at least one case, that of the Martyrdom of St. Lawrence engraved by Raimondi after a drawing by Baccio Bandinelli, Vasari goes so far as to heap greater praise on the engraver, clearly distinguishing the technical skills of the former from those of the inventor: [...] So when Marcantonio, having heard the whole story, finished the plate he went before Baccio could find out about it to the Pope, who took infinite 1 Evelina Borea, 'Vasari e le stampe', Prospettiva, 57–60, 1990, 35. 2 David Landau, 'Artistic Experiment and the Collector’s Print – Italy', in David Landau and Peter Parshall, The Renaissance Print 1470 - 1550, New Haven and London: Yale University Press, 1994, 284. -
THE EARLY MODERN BOOK AS SPECTACLE by PAULINE
THROUGH A GLASS DARKLY: THE EARLY MODERN BOOK AS SPECTACLE by PAULINE E. REID (Under the Direction of Sujata Iyengar) ABSTRACT This dissertation approaches the print book as an epistemologically troubled new media in early modern English culture. I look at the visual interface of emblem books, almanacs, book maps, rhetorical tracts, and commonplace books as a lens for both phenomenological and political crises in the era. At the same historical moment that print expanded as a technology, competing concepts of sight took on a new cultural prominence. Vision became both a political tool and a religious controversy. The relationship between sight and perception in prominent classical sources had already been troubled: a projective model of vision, derived from Plato and Democritus, privileged interior, subjective vision, whereas the receptive model of Aristotle characterized sight as a sensory perception of external objects. The empirical model that assumes a less troubled relationship between sight and perception slowly advanced, while popular literature of the era portrayed vision as potentially deceptive, even diabolical. I argue that early print books actively respond to these visual controversies in their layout and design. Further, the act of interpreting different images, texts, and paratexts lends itself to an oscillation of the reading eye between the book’s different, partial components and its more holistic message. This tension between part and whole appears throughout these books’ technical apparatus and ideological concerns; this tension also echoes the conflict between unity and fragmentation in early modern English national politics. Sight, politics, and the reading process interact to construct the early English print book’s formal aspects and to pull these formal components apart in a process of biblioclasm. -
Representations of the Child, Displayed at Vauxhall Gardens and the Foundling Hospital R06572 Represent
Representations of the Child, displayed at Vauxhall Gardens and the Foundling Hospital R06572 Representations of the Child, displayed at Vauxhall Gardens and the Foundling Hospital by Miriam Al Jamil Essay for MA in EighteenthCentury Studies King’s College, London, 2013 1 Representations of the Child, displayed at Vauxhall Gardens and the Foundling Hospital R06572 Interesting comparisons can be made between the visual display experienced from the 1740's by the 'pleasureseeker' at Vauxhall Gardens and the 'polite spectator' at the Foundling Hospital. This essay will discuss the context and a few of the representations of the child chosen by Francis Hayman for his supperbox paintings at Vauxhall Gardens, alongside his possible sources. One of Samuel Wale's prints of the Foundling Hospital and the display of art there will then be considered. I will also explore aspects of the visibility or otherwise of children at each venue, and the disconnect which could occur. Both venues could form part of a day's pleasurable excursions,1 as they were for John Loveday who listed them in his diary in 1754.2 The venues chosen were enterprises organised in different ways to elicit money from visitors, either for commercial gain or as charitable subscription. Loveday went to the studio of Rysbrack during his day in London, a sculptor who was an influential part of the circle including Hogarth, Hayman and Highmore, all involved in the decorative schemes at Vauxhall Gardens or the Foundling Hospital. He can be characterised as typically part of the developing associative public sphere in the eighteenth century, participating as an informed citizen in the life of the capital.