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Bernard Fleetwood-Walker (1893-1965) By
The Social, Political and Economic Determinants of a Modern Portrait Artist: Bernard Fleetwood-Walker (1893-1965) by MARIE CONSIDINE A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham April 2012 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT As the first major study of the portrait artist Bernard Fleetwood-Walker (1893- 1965), this thesis locates the artist in his social, political and economic context, arguing that his portraiture can be seen as an exemplar of modernity. The portraits are shown to be responses to modern life, revealed not in formally avant- garde depictions, but in the subject-matter. Industrial growth, the increasing population, expanding suburbs, and a renewed interest in the outdoor life and popular entertainment are reflected in Fleetwood-Walker’s artistic output. The role played by exhibition culture in the creation of the portraits is analysed: developing retail theory affected gallery design and exhibition layout and in turn impacted on the size, subject matter and style of Fleetwood-Walker’s portraits. -
Anecdotes of Painting in England : with Some Account of the Principal
C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : ANECDOTES OF PAINTING IN ENGLAND; WITH SOME ACCOUNT OF THE PRINCIPAL ARTISTS; AND INCIDENTAL NOTES ON OTHER ARTS; COLLECTED BY THE LATE MR. GEORGE VERTUE; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME. -
British Art Studies June 2020 British Art Studies Issue 16, Published 30 June 2020
British Art Studies June 2020 British Art Studies Issue 16, published 30 June 2020 Cover image: Bill Brandt, Family Supper (recto), 1937, printed ca. 1943, photographic print.. Digital image courtesy of Bill Brandt and the Bill Brandt Archive Ltd. Photography by Richard Caspole and Robert Hixon. PDF generated on 21 July 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents “The Bold Adventure of All”: Reconstructing the Place of Portraits in Interregnum England, Helen Pierce “The Bold Adventure of All”: Reconstructing the Place of Portraits in Interregnum England Helen Pierce Abstract In terms of art production and patronage, a long-held line of thought established at the Restoration cast the 1650s as the dull decade of seventeenth-century England, with a glittering Caroline court replaced by the austere rule of Oliver Cromwell and his Puritan-dominated government. -
Stuart Debauchery in Restoration Satire
Stuart Debauchery in Restoration Satire Neal Hackler A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for the PhD degree in English Supervised by Dr. Nicholas von Maltzahn Department of English Faculty of Arts University of Ottawa © Neal Hackler, Ottawa, Canada, 2015. ii Contents Acknowledgements ............................................................................................................ iii Abstract .............................................................................................................................. iv List of Figures and Illustrations.............................................................................................v List of Abbreviations .......................................................................................................... vi Note on Poems on Affairs of State titles ............................................................................. vii Stuart Debauchery in Restoration Satire Introduction – Making a Merry Monarch...................................................................1 Chapter I – Abundance, Excess, and Eikon Basilike ..................................................8 Chapter II – Debauchery and English Constitutions ................................................. 66 Chapter III – Rochester, “Rochester,” and more Rochester .................................... 116 Chapter IV – Satirists and Secret Historians .......................................................... 185 Conclusion -
A Countess Transformed: How Lady Susan Vere Became Lady Anne Clifford
Brief Chronicles Vol. IV (2012-13) 117 A Countess Transformed: How Lady Susan Vere Became Lady Anne Clifford Bonner Miller Cutting ince the sixteenth century, Wilton House has been the ancient country manor home of the Earls of Pembroke, and among its treasures is a large Spainting centered on the wall of the majestic Double Cubed Room (Figure One). In fact, the Double Cubed Room was specifically designed by the eminent seventeenth century architect Inigo Jones to display this very painting, which spans seventeen feet across and is eleven feet high. Considered “a perfect school unto itself”1 as an example of the work of Sir Anthony Van Dyck, it contains ten figures, all life size with the exception of the Earl himself. who is slightly larger in scale than the rest, a subtle tribute to his dominance of the family group.2 However, it is not the unique place of this painting in art history or the brilliance of the painter that is called into question, but the identity of the woman in black sitting to the left of the 4th Earl of Pembroke. The official twentieth century catalogue of the Pembroke family’s art collection flatly identifies her as the Earl’s second wife, Anne Clifford.3 The purpose of this paper is to determine if this attribution can stand up to scrutiny when the portrait is placed in its historical and cultural context. The official reason for the identification of Lady Anne Clifford is the fact that Philip, the 4th Earl of Pembroke, was married to her when the portrait was painted. -
William Dobson
William Dobson (1611-1646) MARY DONE, c.1635-38 Oil on canvas 64 x 84 cm Purchased with support from the Grosvenor Museum Society, V&A Purchase Grant Fund 2000.24 Framed with support from John Davies Framing Ltd., Grosvenor Museum Society, North West Museums Service The Sitter Mary Done was the second daughter of Sir John Done and Dorothy, Lady Done. One of eight children, she was born in 1604 at Utkinton Hall, ten miles from Chester, and was baptised at Tarporley. In 1636 she married John Crewe M.P. (1603-70), second son of Sir Randulph Crewe of Crewe Hall. They had four children, born between 1637 and 1641: the youngest was Sir John Crewe, whose portrait also hangs in the Art Gallery. In 1639 she became 22nd Chief Forester of Delamere and Mondrem, and her symbol of office, the Delamere Horn, is displayed in the Silver Gallery. On her death at Utkinton in 1690 her son wrote: “This day died my mother, the best parent, the truest friend, the greatest housekeeper of her rank, and the most pious Christian of her time.” 1 The Artist The portrait painter William Dobson was born and died at London. He was apprenticed to William Peake and studied with Francis Cleyn. This picture, whose composition is based on Sir Anthony van Dyck’s 1635 triple portrait of King Charles I, was painted around 1635-38 and is one of Dobson’s earliest surviving works. Dobson was the heroic portraitist of the Royalist cause during the English Civil War, filling the role of the king’s principal painter at the court of Charles I in Oxford between 1642 and 1646. -
A Historical and Technical Investigation of Sir Peter Lely's Cimon and Efigenia from the Collection at Doddington Hall
A Historical and Technical Investigation of Sir Peter Lely’s Cimon and Efigenia from the Collection at Doddington Hall. Introduction German Westphalia. The name of Lely, under which he would become famous as an artist, stems from the The Conservation and Art Historical Analysis Project lily, which adorned the gable of his father’s house in 1 at the Courtauld Institute Research Forum aimed to Soest. carry out technical investigation and art historical re- In emulation of Vasari and the Netherlandish search on Sir Peter Lely’s painting Cimon and Efigenia. artist-biographer Karel van Mander, Houbraken wrote The painting came to the Courtauld Gallery in 2012 on the lives of the most famous Dutch artists. Peter for the Lely: A Lyrical Vision exhibition, which focused Lely proves an interesting case, as he seems as much – on Lely’s subject pictures from his earlier years in Eng- or perhaps even more – an English artist. When Lely’s land. After the exhibition, Cimon and Efigenia was soldier-father noticed that his son preferred wielding brought to the conservation department for conser- the brush over the sword and the art of painting over vation treatment. Cimon and Efigenia’s conservation the art of warfare, he sent his 18-year-old son to the treatment, along with previous technical examination Dutch city of Haarlem to study under the painter Frans 2 of the Courtauld Gallery’s Peter Lely subject pictures, Pieter de Grebber. Hardly any work from the time he provided a unique opportunity to further investigate spent in Haarlem is known, however, and it seems that the history of this painting and its place within Lely’s Lely’s career only became truly established when he practice and oeuvre. -
Julian Opie Unveils New Works As Van Dyck's Self
News Release Wednesday 2 August 2017 JULIAN OPIE UNVEILS NEW WORKS AS VAN DYCK’S SELF- PORTRAIT RETURNS TO NATIONAL PORTRAIT GALLERY FOLLOWING THREE-YEAR UK TOUR George. by Julian Opie, 2014; Courtesy Julian Opie and Lisson Gallery, London; Self-portrait by Anthony van Dyck, c. 1640 © National Portrait Gallery, London npg.org.uk/vandyck; Faime. by Julian Opie, 2016; Courtesy Julian Opie and Lisson Gallery, London Artist Julian Opie has made new work to display alongside the National Portrait Gallery’s self-portrait of Sir Anthony van Dyck (1599-1641), acquired in 2014 after a major public fundraising appeal, as it returns to the Gallery following a three-year nationwide tour. In Julian Opie after Van Dyck (6 October 2017 - 7 January 2018) one of Britain’s foremost contemporary artists has been invited to present his work in dialogue with Van Dyck's self-portrait (c.1640) in the seventeenth-century galleries. The powerful new and recent works shown in this free display include Faime. (2016), Lucia, back 3. (2017) and Beach Head, 6. (2017). While, at first glance, Opie’s portraits are distinctly modern in their concise and abstracted forms, the style, composition and media are inspired by a variety of historic and contemporary visual sources. These range from ancient Egyptian and Roman art, and Dutch and British painted portraits of the seventeenth and eighteenth centuries, to eighteenth- and nineteenth-century Japanese prints, and the symbolic language of modern signage. The influence of seventeenth-century British portraiture on the works in this display is evident in the elegant pose of several of the sitters, and the turning postures that playfully reference Van Dyck’s self-portrait. -
Diploma Lecture Series 2012 Absolutism to Enlightenment
Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Charles II and the restoration Lorraine Kypiotis 15 / 16 February 2012 Lecture summary: The Restoration had an exhilarating bravado characterised by a lavish and flamboyant court. It saw the return of the theatre, a flourishing of the arts and the founding of the Royal Society in a court that was the glamorous and often scandalous centre of a London that would rise from the flames like a phoenix. The return of Charles II to the throne in 1660 marked a moment of political and cultural change almost as dramatic as that brought about by his father’s execution 11 years earlier. After the repressions of the interregnum and the uncertainties and poverty of the exiled court, there was an appetite for exuberance, indulgence and transgression – an appetite that the king came to symbolize. After the puritanical sobriety of Cromwell’s parliament, England once again flourished in the arts and sciences. Charles, and his court patronised a number of scientists, architects, poets and dramatists whose influences were felt far beyond the reign of the “Merry Monarch”. Most importantly in the field of the fine arts, Charles was responsible for the recovery of many of the great paintings in the British Royal Collection that had been sold by the Commonwealth after his father’s execution; for the acquisition of a number of fine works by the great artists of the Baroque; and in his patronage of portraitists such as Sir Peter Lely. Charles and the artists he patronised were responsible for the enduring images of a monarchy restored. -
Court Patronage and Corruption in Early Stuart England
COURT PATRONAGE AND CORRUPTION IN EARLY STUART ENGLAND COURT PATRONAGE AND CORRUPTION IN EARLY STUART ENGLAND Linda Levy Peck London First published in 1990 by the Academic Division of Unwin Hyman Ltd. First published in paperback in 1993 by Routledge 11 New Fetter Lane, London EC4P 4EE This edition published in the Taylor & Francis e-Library, 2003. Simultaneously published in the USA and Canada by Routledge 29 West 35th Street, New York, NY 10001 © 1990, 1993 Linda Levy Peck All rights reserved. No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers. British Library Cataloguing in Publication Data Peck, Linda Levy Court patronage and corruption in early Stuart England. 1. Great Britain. Government. Patronage. History I. Title 354.420009 Library of Congress Cataloging in Publication Data Peck, Linda Levy. Court patronage and corruption in early Stuart England/Linda Levy Peck. p. cm. Originally published: Boston: Unwin Hyman, 1990. Includes bibliographical references and index. 1. Great Britain—Politics and government—1603–1649. 2. Great Britain—Court and courtiers—History—17th century. 3. Patronage, Political—Great Britain—History—17th century. 4. Political corruption—Great Britain—History—17th century. 5. England— Social conditions—17th century. I. Title. DA390.P43 1993 306.2′094l′09032–dc20 92–46114 -
British Art Studies June 2020 British Art Studies Issue 16, Published 30 June 2020
British Art Studies June 2020 British Art Studies Issue 16, published 30 June 2020 Cover image: Bill Brandt, Family Supper (recto), 1937, printed ca. 1943, photographic print.. Digital image courtesy of Bill Brandt and the Bill Brandt Archive Ltd. Photography by Richard Caspole and Robert Hixon. PDF generated on 26 February 2021 Note: British Art Studies is a digital publication and intended to be experienced online and referenced digitally. PDFs are provided for ease of reading offline. Please do not reference the PDF in academic citations: we recommend the use of DOIs (digital object identifiers) provided within the online article. Theseunique alphanumeric strings identify content and provide a persistent link to a location on the internet. A DOI is guaranteed never to change, so you can use it to link permanently to electronic documents with confidence. Published by: Paul Mellon Centre 16 Bedford Square London, WC1B 3JA https://www.paul-mellon-centre.ac.uk In partnership with: Yale Center for British Art 1080 Chapel Street New Haven, Connecticut https://britishart.yale.edu ISSN: 2058-5462 DOI: 10.17658/issn.2058-5462 URL: https://www.britishartstudies.ac.uk Editorial team: https://www.britishartstudies.ac.uk/about/editorial-team Advisory board: https://www.britishartstudies.ac.uk/about/advisory-board Produced in the United Kingdom. A joint publication by Contents “The Bold Adventure of All”: Reconstructing the Place of Portraits in Interregnum England, Helen Pierce “The Bold Adventure of All”: Reconstructing the Place of Portraits in Interregnum England Helen Pierce Abstract In terms of art production and patronage, a long-held line of thought established at the Restoration cast the 1650s as the dull decade of seventeenth-century England, with a glittering Caroline court replaced by the austere rule of Oliver Cromwell and his Puritan-dominated government. -
Cromwelliana
Cromwelliana The Journal of Series II 2006 No3 The Cromwell Association CROMWELLIANA 2006 President: Professor BARRY COWARD, PhD, FRHistS Editor Jane A. Mills Vice Presidents: Rt Hon MICHAEL FOOT, PC Rt Hon the LORD NASEBY, PC CONTENTS Rt Hon FRANK DOBSON, MP Professor JOHN MORRILL, DPhil, FBA, FRHistS Editor's note. 2 Professor IVAN ROOTS, l\L\, FSA, FRHistS Cromwell Day Address 2005. 3 Professor BLAIR WORDEN, FBA By Professor Charles Carlton PAT BARNES TRE\VIN COPPLESTONE, FRGS 1655: Year of Crisis. 9 Chairman: Dr PETER GAUNT, PhD, FRHistS By Dr Peter Gaunt Honorary Secretary: Dr JUDITH D. HUTCHINSON 52 East View, Barnet, Herts, ENS STN 'Crisis? What Crisis?' Was 1655 a 'Year of Crisis' for the 19 Honorary Treasurer: DAVID SMITH Cromwellian Protectorate? 3 Bowgrave Copse, Abingdon, Oxon, OX14 2NL By Professor Barry Coward THE CROMWELL ASSOCIATION was founded in 1937 by the late Rt Hon Year of Crisis or Turning Point? 1655 in its 'British' Context. 28 Isaac Foot and others to commemorate Oliver Cromwell, the great Puritan By Dr Patrick Little statesman, and to encourage the study of the history of his times, his achievements and influence. It is neither political nor sectarian, its aims being essentially Overseas Despatches IL Cromwell and the Waldensians. 44 historical. The Association seeks to advance its aims in a variety of ways, which By Richard Newbury have included: Robert Greville, Second Lord Brooke and the English Revolution: 49 a. the erection of commemorative tablets (e.g. at Naseby, Dunbar, Worcester, Comparisons with Oliver Cromwell. By Professor Ann Hughes Preston, etc); b.