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99 NSC 99-2410-H-008-045 1754 1778 2011 12 3-4 2011 2012 3 22 Tokyo Woman’s Christian University E-mail: [email protected]. 2020 06 57-142
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1768 Royal Academy of Arts RA 1 〈 〉 Royal Society of Arts RSA
1754 Society for the Encouragement of Arts, Manufactures, and Commerce 2 3
1 」 12 Sidney C. Hutchison, The History of the Royal Academy, 1768–1968, 2nd edition (London: Robert Royce, 1986); James Fenton, School of Genius: A History of the Royal Academy of Arts (London: Royal Academy of Arts, 2006); Charles Saumarez Smith, The Company of Artists: The Origins of the Royal Academy of Arts in London (London: Modern Art Press, 2012). Smith 2 1760 “Society of Arts” 1908 “Royal Society of Arts” RSA 3
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cobalt 30 madder 30 14 14 17 15 1755 1 4 17 most ingenious and best fancied Designs 5 1757 60 1758 122 polite arts 6 4 London Evening Post, May 11, 1754. 5 Public Advertiser, April 21, 1755. 6 1758 1759 Premiums for improving arts, & 1760 Premiums for promoting polite arts Premiums Offered by the Society Instituted at London for the
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1758 122 22 33 1759 152 40 1758 1766 7 8 9 1760 Joshua Reynolds, 1723-1792 1769 1 2
Encouragement of Arts, Manufactures, and Commerce (London: printed by order of the Society, 1758, 1759, 1760). 7 1758 1775 D. G. C. Allan, “Artists and the Society in the Eighteenth Century,” The Virtuoso Tribe of Arts & Sciences: Studies in the Eighteenth-Century Work & Membership of the London Society of Arts, eds. D. G. C. Allan and John L. Abbott (Athens and London: The University of Georgia Press, 1992), pp. 91-119, 102, 106, 112. 8 Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 1 (London: J. Nourse, 1768), p. 27. 9 1755 104 5 1758 708 22 1764 2136 99 1773 650 1800 600 1764 D. G. C. Allan and John L. Abbott eds., The Virtuoso Tribe of Arts & Sciences, Appendix 2, “Membership and Subscriptions, 1755-1800,” pp. 365-366. 54
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arts of design 11
1760 Society of Artists of Great Britain, 1761 Free Society of Artists, 1763 12
10 Joshua Reynolds, Discourses on Art, ed. Robert R. Wark (New Haven: Yale University Press, 1997), p. 13. 21 4 2010.12 82-85 11 Giorgio Vasari, 1511-1574 “disegno” 61-66 93-96 12 1759 1760 1761 Society of Artists 1765 200 1768 40 1791 William T. Whitley, Artists and Their Friends in London, 1700-1799, vol. 1 (New York and London: Benjamin Blom, 1968 [1928]), pp. 166-167, 171-174, 185-187; Ronald Paulson, Hogarth: Art and Politics 1750-1764 (Cambridge: The Lutterworth Press, 1993), pp. 315-335; Brandon Taylor, Art for the Nation: Exhibitions and the London Public 1747-2001 (New Brunswick, New Jersey: Rutgers University Press, 1999), pp. 7-14; Matthew
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13 1960 14 D. G. C. Allan William Shipley, 1715-1803 15 1758 1775 16
Victoria & Albert Museum Moira Thunder 2004
Hargraves, ‘Candidates for Fame’: The Society of Artists of Great Britain, 1760-1791 (New Haven: Yale University Press, 2005). 13 Sir Henry Trueman Wood, A History of the Royal Society of Arts (Cambridge: Cambridge University Press, 2011 [1913]); D. Hudson and K. W. Luckhurst, The Royal Society of Arts 1754-1954 (London: John Murray, 1954). 14 Journal of Royal Society of Arts (1963-1986) RSA Journal 1987 A. E. Musson and Eric Robinson, Science and Technology in the Industrial Revolution (Manchester: Manchester University Press, 1969); Max Louis Kent, “The British Enlightenment and the Spirit of the Industrial Revolution: The Society for the Encouragement of Arts, Manufactures and Commerce (1754-1815),” PhD dissertation (University of California, Los Angeles, 2007). Kent 15 D. G. C. Allan, William Shipley: Founder of the Royal Society of Arts; a Biography with Documents (London: Hutchinson, 1968). 16 Allan, “Artists and the Society in the Eighteenth Century,” pp. 91-119. Journal of Royal Society of Arts 132 (Feb., Mar., Apr., May 1984): 204-205, 271-276, 339-341, 401-406. Allan Susan Bennett The History of The RSA: A Bibliography (London: The William Shipley Group for RSA History, 2007).
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17 John Batchelor 18 Anne Puetz 2008 1754 1778 1758 27 1759 15 1760 14 1761 1762 9.6 9.1 1763 10.8 1778 「 19 high art “academic” bias 20
17 Moira Thunder, “Improving Design for Woven Silks: The Contribution of William Shipley’s School and the Society of Arts,” Journal of Design History 17: 1 (2004): 5- 27. 18 Natalie Rothstein, Silk Designs of the Eighteenth Century: In the Collection of the Victoria and Albert Museum (London: Thames & Hudson, 1990), “Biographical Index,” pp. 302-303. 19 Anne Puetz, “The Society and the ‘Polite Art’ 1754-1778: ‘best drawing’, ‘High’ Art and Designs for the Manufactures,” Cultivating the Human Faculties: James Barry (1741-1806) and the Society of Arts, ed. Susan Bennett (Bethelehem: Lehigh University Press, 2008), pp. 26-49. 20 Puetz, “The Society and the ‘Polite Art’ 1754-1778,” p. 43.
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21 James Barry, 1741- 1806 1777 1783 Great Room The Progress of Human Culture and Knowledge 22 Martin Myrone 1760 《 23 1779
21 Susan Bennett ed., Cultivating the Human Faculties: James Barry (1741-1806) and the Society of Arts (Bethelehem: Lehigh University Press, 2008). 22 Orpheus A Grecian Harvest Home Crowning the Victors at Olympia 。 Commerce, or the Triumph of the Thames The Distribution of Premiums in the Society of Arts Elysium, or the State of Final Retribution William L. Pressly, James Barry’s Murals at the Royal Society of Arts: Envisioning a New Public Art (Cork: Cork University Press, 2014). 23 Martin Myrone, “Patriotism, Virtue, and the Problem of the Hero: The Society’s Promotion of High Art in the 1760s,” Cultivating the Human Faculties: James Barry (1741-1806) and the Society of Arts, ed. Susan Bennett, pp. 50-63.
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24 Ronald Paulson, Hogarth: High Art and Low, 1732-1750 (Cambridge: Lutterworth Press, 1991). 25 《
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1660 Royal Society Society of the Virtuosi of St. Luke, 1689-1768 The Rose and Crown Club, c.1704-1745 The Academy in Great Queen Street, 1711-1720 St Martin’s Lane Academy, 1720-1724; 1735-1768 〉 26 1707 Society of Antiquaries 1734 Society of Dilettanti Grand Tour 27
1730 1731 Dublin Society for Promoting Husbandry and other Useful Arts 28 1754 26 Ilaria Bignamini, “Art Institutions in London, 1689-1768: A Study of Clubs and Academies,” Walpole Society 54 (1988): 19-148. 27 Susan Pearce ed., Visions of Antiquity: the Society of Antiquaries of London 1707– 2007 (London: Society of Antiquaries of London, 2007); Bruce Redford, Dilettanti: the Antic and the Antique in Eighteenth-century England (Los Angeles: J. Paul Getty Museum and the Getty Research Institute, 2008). 28 The Royal Dublin Society, RDS
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29 * 1754 Edinburgh Society for the Encouragement of Arts, Sciences, Manufactures, and Agriculture 30 31
32 1747 Northampton drawing master Northampton Philosophical Society Board of Trade George Montagu-Dunk, 2nd Earl of Halifax, 29 Allan, William Shipley, pp. 47-48. 30 * * Edinburgh Select Society Alastair Smart, The Life and Art of Allan Ramsay (London: Routledge & Kegan Paul, 1952), pp. 74-75; Roger L. Emerson, “The Social Composition of Enlightened Scotland: the ‘Select Society of Edinburgh’, 1754-1764,” Studies on Voltaire and the Eighteenth Century 114 (1973): 291-330; Davis Dunbar McElroy, Scotland’s Age of Improvement: A Survey of Eighteenth-century Literary Clubs and Societies (Washington: Washington State University Press, 1969). 31 D. G. C. Allan, “The Society of Arts and Government, 1754-1800: Public Encouragement of Arts, Manufactures, and Commerce in Eighteenth-Century England,” Eighteenth-Century Studies 7: 4 (Summer 1974): 434-452. 32 Jonathan Shipley, 1676-1719 Martha Davies, d. 1757 Twyford William Davies, 1658-1727 Allan, William Shipley, pp. 1-6.
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1716-1771 1752 1753 Dr. Stephen Hales, 1677-1761 33 Jacob Bouverie, 1st Viscount Folkestone, 1694-1761 Robert Marsham, 2nd Baron Romney, 1712-1794 1754 3 22 Rawthmell’s Coffee House 1755 2 5 34 1758 708 35
1753 6 36 ornaments 37 33 D. G. C. Allan, “Hales, Stephen,” Oxford Dictionary of National Biography (Published online 23 Sep. 2004, This version: 28 Sep. 2006). 34 1768 Maidstone 35 Allan and John L. Abbott eds., The Virtuoso Tribe of Arts & Sciences, “Appendix 2,” pp. 365-366. 1755 1800 1764 2136 1772 1300 1400 1773 1800 300 600 2 guineas 20 Rules and Orders of the Society, Established at London, for the Encouragement of Arts, Manufacturers, and Commerce (London, 1758), p. 13 36 1753 Thomas Mortimer, A Concise Account of the Rise, Progress, and Present State of the Society for the Encouragement of Arts, Manufactures, and Commerce (London, 1763), pp. 9-18 Allan, William Shipley, pp. 42-46. 37 William Shipley, Proposals for Raising by Subscription a Fund to be Distributed in Premiums for the Promoting of Improvements in the Liberal Arts and Sciences, Manufactures, &. Mortimer, A Concise Account, p. 9.
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38 William Shipley, A Scheme for Putting the Proposals in Execution. Mortimer, A Concise Account, p. 17. 39 74-86
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drawing 16 40
1754 5 11
1756 Gentleman’s Magazine
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42 40 Allan, William Shipley, pp. 188-189. 41 Gentleman’s Magazine 26 (Feb. 1756): 61-62. 42 11
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Mechanics Fancy Variety 43
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51 45
43 Gentleman’s Magazine 26 (Feb. 1756): 61-62. 82 44 1758 Premiums (1758), p. 16. 45 Gentleman’s Magazine 26 (Feb. 1756): 62.
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1763 Thomas Mortimer, 1730-1810 46
a branch of education 47
1758 1759 ⋯⋯ 48
46 Thomas Mortimer, A Concise Account of the Rise, Progress, and Present State of the Society for the Encouragement of Arts, Manufactures, and Commerce. 47 Mortimer, A Concise Account, p. 52. 48 Premiums (1758), p. 13.
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49 1758 24 21 Duke of Richmond 1762 17 50
. s. d. 50 Mr. John Taylor 8 8 0 24 Mr. John Mortimer 7 7 0 Mr.Edward Edwards 6 6 0 Mr. William Pars 5 5 0 51 Mr. Richard Earlom 12 12 0 21 Mr. John Gresse 8 8 0 Mr. William Lawrenson 5 5 0 52 Mr. William Parry 7 7 0 20 Mr. John Parker 4 4 0 Mr. William Chinnery 3 3 0
49 1758 1772 1778 1782 William Bailey, The Advancement of Arts, Manufactures, and Commerce (London: William Adlard, 1772), pp. 338-400; A Register of the Premiums and Bounties Given by the Society Instituted at London for the Encouragement of Arts, Manufactures, and Commerce (London: James Phillips, 1778); Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London: Nourse, 1782), pp. 391-446. 1778 1754 1776 50 Premiums (1761); A Register of the Premiums and Bounties, pp. 37-38; Bailey, The Advancement of Arts, Manufactures, and Commerce, pp. 357-360.
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53 Mr. Francis Wheatley 5 5 0 Mr. John Kitchingman 4 4 0 16 Mr. Thomas Collard 3 3 0 Mr. James Durno 2 2 0 Mr. John Henderson 1 1 0 54 20 Mr. John Parker 10 10 0 55 20 Mr. John Edwards 5 5 0 56 20 Miss Ann Jones 10 10 0 57 20 Miss Mary Pingo 6 6 0 Miss Mary-Ann 4 4 0 Hamilton 58 Miss Mary Fearon 3 3 0 18 59 Mr. Woodward 6 6 0 20 Mr. Matthew Stable 4 4 0 Mr. Boyle Arthur 3 3 0 Mr. John Taylor 2 2 0 60 Mr. Joseph Bellingham 9 9 0 16 Mr. Joseph Bumfries 6 6 0 61 Mr. David Sands 4 4 0 14 Mr. William Penny 1 11 6 62 Mr. Robert Dunkerton 2 12 6 14 Mr. Ralph Wewitzer 2 2 0 Mr. Thomas Brookes 1 1 0 63 14 Miss Alice Morrison 5 5 0 64 20 Mr. Christopher Finch 5 5 0 65 Mr. Johnson Carr 12 12 0 19 Mr. William Hodges 7 7 0 Mr. Arthur Nelson 5 5 0 Mr. John Hakewell 4 4 0
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66 Mr. Edward Stevens 18 18 0 」 Mr. James Gandon 12 12 0 30
《 1780 1774 drawing of machines 51
51 Chia-Chuan Hsieh, “The Emergence and Impact of the ‘Complete Drawing Book’ in Mid-Eighteenth-Century England,” Journal for Eighteenth-Century Studies 36: 3 (2013): 395-414.
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imitation of nature 〉
1757 Committee of Polite Arts ——1759 Allan Ramsay, 1713-1784 1780-1786 Valentine Green, 1739-1813 —— 52 1758 22 53
52 Allan, “Artists and the Society in the Eighteenth Century,” pp. 95- 115, Allan and John L. Abbott eds., The Virtuoso Tribe of Arts & Sciences “Appendix 1: Officers and Committee Chairmen of the Society, 1755-1800,” pp. 359-364. 」 53 William Shipley, Richard Dalton, Henry Cheere, Anthony Highmore, William Hogarth, Thomas Major, Gabriel Mathias, James McArdel, Joshua Reynolds, Joshua Kirby, Joseph Wilton, Francis Hayman, Thomas Stephen, Richard Hayward, Allan Ramsay, Robert Edge Pine, Francis Grosse, John Shackleton, Nicholas Anderson, Joachim Smith, William Bellers, James Basire. Allan, “Artists and the Society in the Eighteenth Century,” pp. 115-118.
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1764 99 54 55
William Hogarth, 1697-1764 Sir James Thornhill, 1675-1734 1735 56 1755 12 1756 54 1755 1799 133 3 1764 99 1765 「 1770 1755 5 1756 5 1757 5 1758 7 1759 5 1760 21 1761 15 1762 18 1763 8 1764 10 1765 2 1766 0 1767 1 1768 1 1769 0 1770 1 Allan, “Artists and the Society in the Eighteenth Century,” pp. 115-118. 55 William Hogarth, James Basire, Edward Burch, Giovanni Cipriani, John Collet, Richard Cosway, Richard Dalton, Richard Dubourg, Francis Hayman, Richard Hayward, Nathaniel Hone, Joshua Kirby, James McArdel, David Martin, Jeremiah Meyer, John Mortimer, George Moser, Frances Newton, William Pars, Francis Parsons, Allan Ramsay, Nicholas Read, Joshua Reynolds, Louis François Roubiliac, John Russell, John Shackleton, William Woollet. Allan, “Artists and the Society in the Eighteenth Century,” pp. 115-118 Ilaria Bignamini, “Art Institutions in London, 1689-1768: A Study of Clubs and Academies,” pp. 114-117 56 Michael Kitson, “Hogarth’s ‘Apology for Painters’,” Walpole Society 41 (1966- 1968): 46-111; Bignamini, “Art Institutions in London, 1689-1768,” pp. 95-124. Louis Chéron, 1660-1725 1676 Huguenot 1720 1724 John Vanderbank, 1694-1739 Ilaria Bignamini and Martin Postle, The Artist’s Model: Its Role in British Art from Lely to Etty (Nottingham: University Art Gallery, 1991).
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1758 57 1758 1768 Charles Lennox, 3rd Duke of Richmond, 1735-1806 1756 1758 3 58 59 1769
1750 1755 Francis Hayman, 1708-1776 26 60
57 Allan, “Artists and the Society in the Eighteenth Century,” pp. 96-97. 58 John Kenworthy-Browne, “The Duke of Richmond’s Gallery in Whitehall,” The British Art Journal 10: 1 (2009): 40-49. 59 Gentleman’s Magazine 28 (1758): 141; Benjamin Ralph, The School of Raphael: or the Student’s Guide to Expression in Historical Painting (London: J. Boydell, 1759); Edward Edwards, Anecdotes of Painters Who Have Resided or Been Born in England (London: Leigh and Sotheby, 1808), pp. xvi-xix. 60 The Plan of an Academy for the Better Cultivation, Improvement and Encouragement of Painting, Sculpture, Architecture, and the Arts of Design in General (London, 1755). Brian Allen, Francis Hayman (New Haven and London: Yale University Press, 1987), p. 5; John Brewer, The Pleasures of the Imagination: English Culture in the Eighteenth Century (London: HarperCollins Publishers, 1997), p. 229; Bruce Redford, Dilettanti: The Antic and the Antique in Eighteenth-Century England (Los Angeles: J. Paul Getty Museum, 2008), p. 9.
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1768 62 1720 hierarchy of genres 63
1755 1759 64
61 The Plan of an Academy, pp. ix, xi. 62 Sidney C. Hutchison, “The Royal Academy Schools, 1768-1830,” Walpole Society 38 (1960-62): 123-191. 63 1756 【 Benjamin West, 1738-1820 1764 1794 Thomas Sandby Ozias Humphry Richard Cosway Francis Bartolozzi Valentine Green John Bacon 64 1761 Henry Pars, 1734-1806 William Pars, 1742-1782 1753 1761 1755 1761
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James Gandon, 1743-1823 1757-1760 65 Ozias Humphry, 1742-1810 66 Richard Cosway, 1742- 1821 Joseph Nollekens, 1737-1823 William Hodges, 1744-1797 Francis Wheatley, 1747-1801 William Pars, 1742- 1782 William Parry, 1743-1791 John Hamilton Mortimer, 1741-1779
Thomas Jones, 1742- 1803 1761 19
——
Allan, William Shipley, pp. 76-88, 211-218. 65 Allan, William Shipley, p. 85. 1753 1761 Richard Cosway*, Richard Crosse*, James Gandon*, John Alexander Gresse*, Francis Grosse, John Henderson*, William Hodges*, Ozias Humphry, John Kitchingham*, Barbara Marsden*, John Hamilton Mortimer*, Joseph Nollekens*, William Parry*, William Pars*, John Ashwood Porter*, George Robertson*, John Smart*, Nathaniel Smith*, Simon Taylor*, Francis Wheatley*, William Willis*. * Allan, William Shipley, pp. 211-212. 66 Allan, William Shipley, p. 81.
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⋯⋯1762 10 67
1763 3 Richard Wilson, 1714- 1782 1764 1765 1767 68
1764 historical drawing 1763 25 20 10 1767 「 1773
1764 1784
67 Thomas Jones, “Memoirs of Thomas Jones,” Walpole Society 32 (1946-1948): 7-8. 68 1776 1783 1789 Ann Sumner and Greg Smith eds., Thomas Jones (1742-1803): An Artist Rediscovered, exh. cat. (New Haven and London: Yale University Press, 2003).
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1762 John Edwards, 1742-1815 1764 〉 1757 1759 1760 1761 1763 1767 1771 69 1764 1791 Society of Artists 70 1769 1770 The British Herbal 1783 1795 71 Large Double Chinese Aster 1 Derby 2
69 A Register of the Premiums and Bounties, pp. 33, 34, 36, 37, 38, 40, 43, 44; Dossie, Memoirs, vol. 3, pp. 399, 409, 411-412, 414, 422; The Advancement of Arts, Manufactures, and Commerce, pp. 340, 344, 350, 354, 359, 365, 375, 394. 70 Algernon Graves, Society of Artists of Great Britain 1760-1791, the Free Society of Artists, 1761-1783: A Complete Dictionary of Contributors and Their Work from the Foundation of the Societies to 1791 (London: George Bell & Sons, 1907), p. 86. 71 The British Herbal, Containing One Hundred Plates of the Most Beautiful and Scarce Flowers and Useful Medicinal Plants which Blow in the Open Air of Great Britain, Accurately Coloured from Nature, with Their Botanical Characters, and a Short Account of Their Cultivation, &c. &c. By John Edwards. The Whole Corrected According to the Latest Editions of Botany (London: printed for the author; and sold by J. Edmonson; and J. Walter, 1769-1779). A Collection of Flowers Drawn after Nature & Disposed in an Ornamental & Picturesque Manner (London, 1783-1795).
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1765 Richard Earlom, 1743-1822 1757 14 1766 72
1757 14 3 Piazzetta 73 1758 16 》 5 Farnesian Hercules 3 74 1759 21 4 4 75 1760 20 4 4 Borghese Warrior 76 1761 21 8 8 Paetus and Arria 4 77 1762 21 12 12 Dancing Faun 1763 9 9 1764 24 5 5 72 Dossie, Memoirs, vol. 3, pp. 399, 405, 417-419, 422, 426; The Advancement of Arts, Manufactures, and Commerce, pp. 340-391; A Register of the Premiums and Bounties, pp. 33-42 73 Giovanni Battista Piazzetta, 1682-1754 74 RSA/PR/AR/103/14/677. 75 RSA/PR/AR/103/14/617. 76 RSA/PR/AR/103/14/673. 77 RSA/PR/AR/103/14/671.
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1765 Numa 15 15 Pompilius refusing the Roman Sovereignty 1766 Venus and 21 Adonis 5
1758 Giovanni Battista Cipriani, 1727-1785 78 John Boydell, 1720-1804 1764 A Collection of Prints, Engraved after the Most Capital Paintings in England 79 1766 Nicolas Poussin, 1594-1665 5 7 6 80 1766 21 1773 The Houghton Gallery mezzotint 78 1755 1759 Allan, “Artists and the Society in the Eighteenth Century,” p. 115. 79 Gregory M. Rubinstein, “Richard Earlom (1743-1822) and Boydell’s ‘Houghton Gallery’,” Print Quarterly 8:1 (Mar. 1991): 9. 80 1773. A Catalogue of Prints, Published by John Boydell (London, 1773), p. 7. 9 A Catalogue of a Large, Curious, and Valuable Collection of Prints, by Ancient and Modern Masters (London: Magazin des Estamps, no year), no. 1635. Rhode Island School of Design Museum
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26 81 1774 1777 Liber Veritatis Duke of Devonshire Claude Lorrain, 1600-1682 82 1786 1789 83
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81 Robert Walpole, 1676-1745 Houghton Hall 1774-1788 ” 1788 2 162 A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty the Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton Hall in Norfolk 45 4 5 26 Gregory M. Rubinstein, “Richard Earlom (1743-1822) and Boydell’s ‘Houghton Gallery’,” pp. 2-27; Kristin Campbell, “‘The Proprietor Exerts His Utmost Care…’: The Commercial and Commemorative Fates and Fortunes of John Boydell’s Houghton Gallery Project,” Agents of Space: Eighteenth-Century Art, Architecture, and Visual Culture, ed. Christina Smylitopoulos (Newcastle: Cambridge Scholars Publishing, 2016), pp. 78-101. 82 Liber Veritatis. Or, A Collection of Two Hundred Prints, after the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings (London: Boydell, 1777). 83 A Collection of Prints after the Sketches and Drawings of the late G. B. Cipriani Esq., Engraved by Mr. Richard Earlom &c. (London: Boydell, 1789). 50 43
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engraving mezzotint woodcut etching
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79. Albert Dürer, 1471-1528 Titian, 1490-1576 19 ⋯⋯10
80. 18 ⋯⋯10 84
1759 29 Richard Dalton, 1755 1755 Thomas Major, 1756 James McArdel, 1756 Nicholas Anderson, 1758 James Basire jun., 1758 1760 85 1768
84 Premiums by the Society Established at London, for the Encouragement of Arts, Manufactures, and Commerce (1759), p. 22. 1760 Jan de Visscher, 1636-1692/1712 85 Allan, “Artists and the Society in the Eighteenth Century,” pp. 115-118.
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reproductive print crayon manner aquatint stipple engraving 86
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86 87 Raphael Cartoons Chia- Chuan Hsieh, “Publishing the Raphael Cartoons and the Rise of Art-historical Consciousness in England, 1707-1764,” The Historical Journal 52: 4 (2009): 899-920. 25 2019.12 1-91
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1760 〈 Robert Edge Pine, 1730-1788 François-Germain Aliamet, 1734-1790 The Surrender of Calais to King Edward III 6 1764 1771 〈 88 1762 Andrea Casali, 1705-1784 Gunhilda’s Honour Vindicated 1760 Simon François Ravenet I, 1706-1774 1761 89 〉 90 1761 1762 1763 Jonathan Spilsbury, c. 1737-1812 Miss Jacobs 7 Frederick Howard, 5th Earl of Carlisle, 1748-1825 8 91 〉
88 89 1741 1766 1743 1756 90 Martin Postle ed., Joshua Reynolds: The Creation of Celebrity (London: Tate Publishing, 2005). 91 1762 Portrait of a Lady 8
89
General Eliott, Baron Heathfield of Gibraltar, 1787 9 1788
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1768 Robert Dossie, 1717- 1777 93 Memoirs of Agriculture, and other Oeconomical Arts, 1768-1782 94 —— —— 1773
92 1769 6 Associate Engraver 1853 Sidney C. Hutchison, The History of the Royal Academy, 1768-1968, pp. 35, 41-42, 72-73, 99. Johan Joseph Zoffany, 1733-1810
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1776 Robert Laurie, 1755-1836 —— ——
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83. 100
84. 50
85. 4 2 3 4 50
86. 25 95
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95 Premiums (1759), pp. 23-24.
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1760 1764 96
1758 11 1759 1 2
1. Boadicea Cassibelan Paulinus
2. Eleanora
3. Regulus
4.
5. Epaminondas
6. Glover 97
96 A Catalogue of the Pictures, Sculptures, Models, Drawings, Prints, &c. of the Present Artists. Exhibited in the Great Room of the Society for the Encouragement of Arts, Manufactures, and Commerce, on the 21st of April, 1760. 6 130 74 1764 1761 1762 1763 1764 97 1758 11 29 1759 1 19 2 2 John Sunderland, “Samuel Johnson and History Painting,” The Virtuoso Tribe of Arts & Sciences, pp. 184-185.
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2 28 98 1, 2, 6 3, 4, 5
Charles Le Brun, 1619-1690 〉 99 1707 1726 》 Painted Hall William III and Mary II 1689-1702 George I 1714-1727 》 10 100 98 1759 1760 English History 1761 British History 1763 British or Irish History 99 〉 The Tent of Darius, 1661 《 Alexander Entering Babylon, or The Triumph of Alexander, 1665 The Passage of the Granicus, 1665 The Battle of Arbela, 1669 Alexander and Porus, 1673 100 》 Sir Christopher Wren, 1632-17 23 1696 1712 1869 1873 1998 》 Royal Naval College, Greenwich 》 “History of the Painted Hall” 93 1760 〈 1347 —— —— 6 〈 〉 〉 11 101 〈 102 nc.org/history-of-the-painted-hall#R4AZCRS1v5s2YLup.97> 2019 9 3 101 Gérard Edelinck, 1640-1707 Gérard Audran, 1640-1703 1675 〉 67.5 x 89.7 1696 Nicolas Langlois, 1640-1703 Sébastien Leclerc, 1637-1714 Louis Marchesano and Christian Michel, Printing the Grand Manner: Charles Le Brun and Monumental Prints in the Age of Louis XIV (Los Angeles: Getty Research Institute, 2010), pp. 60-61. 102 Myrone, “Patriotism, Virtue, and the Problem of the Hero,” pp. 55-57. Martin Myrone, Bodybuilding: Reforming Masculinities in British Art 1750-1810 (New Haven and London: Yale University Press, 2005), pp. 40-42 John Sunderland 〈 John Hamilton Mortimer 94 2020.06 103 —— Paul de Rapin, 1661-1725 The History of England, 1725-1731 104 David Hume, 1711-1776 The History of England, 1754 —— 1759 〉 105 × David Garrick, 1717-1779 David Garrick as Richard III, 1745 John Sunderland, “Mortimer, Pine and Some Political Aspects of English History Painting,” The Burlington Magazine 116: 855 (Jun. 1974), pp. 317-326. Thomas Hollis, 1720-1774 Samuel Johnson, 1709-1784 103 Oliver Cromwell, 1599-1658 Idler 45 (24 Feb. 1759); John Sunderland, “Samuel Johnson and History Painting,” pp. 183-194. 104 1724-1727 Histoire d’Angleterre 1725-1731 105 Stuart Sillars, Painting Shakespeare: The Artist as Critic, 1720-1820 (Cambridge: Cambridge University Press, 2006); Stuart Sillars, The Illustrated Shakespeare, 1709- 1875 (Cambridge: Cambridge University Press, 2008). 95 106 1769 Hugh Douglas Hamilton, 1740-1808 Cordelia 107 1786 Shakespeare Gallery 1789 Pall Mall 18 34 1794 89 46 1803 108 〈 109 110 106 24 2019.6 81-149 107 Susan Allen Ford, “‘The Eye of Anguish”: Images of Cordelia in the Long Eighteenth-Century,” Borrowers and Lenders: The Journal of Shakesp eare and Appropriation 6:1 (Spring/Summer 2011), 96 2020.06 1763 George Romney, 1734-1802 The Death of General Wolfe Benjamin West, 1738-1820 1771 〈 、 1759 9 13 111 1763 King Lear in the Tempest Tearing off His Robes 25 112 Roland Stephenson 25 111 Grosvenor 1771 William Woollett, 1735- 1785 〉 Agnes Addison, “The Legend of West’s ‘Death of Wolfe’,” College Art Journal 5:1 (Nov. 1945), pp. 23-25. 112 100 〈 50 25 Morton D. Paley, “George Romney’s Death of General Wolfe,” Romantik: Journal for the Study of Romanticism 6:1 (2018): 51-62. 97 Harry Verelst, 1734-1785 1767 Calcutta 12 1760 1764 1768 》 1760 1764 1760 Chichester George Smith, 1713/14-1776 John Smith, 1717-1764 1763 1762 13 1760 〉 】 * 「 1757 1769 98 2020.06 Picturesque Scenery of England and Wales 〉 113 1839 Goodwood 1760 billiard room 114 115 George Barrett, 1732?-1784 Thomas Gainsborough, 1727-1788 William Marlow, 1740-1813 1830 116 1760 1760 The Destruction of Niobe’s Children 117 113 Brian Stewart, “Smith, George (i),” Oxford Art Online, published online 2003. 114 William Hayley Mason, Goodwood. Its House, Park and Grounds, with a Catalogue Raisonné of the Pictures in the Gallery of His Grace the Duke of Richmond (London: Smith, Elder, and Co., 1839), pp. 97-99. Mason James Dallaway, A History of the Western Division of the County of Sussex, in Two Volumes, vol. 1 (London: T. Bensley, 1815), pp. 188-191. 115 Brian Stewart 2003 1760 Brian Stewart, “Smith, George (i).” 116 William Hayley Mason, Goodwood. Its House, Park and Grounds, p. 99. 117 A Catalogue of the Pictures, Sculptures, Models, Drawings, Prints, &c. of the Present Artists. Exhibited in the Great Room of the Society for the Encouragement of Arts, Manufactures, and Commerce, on the 21st of April, 1760, no. 72. A Large Landskip with the Story of Niobe 99 1762 31 118 William Tomkins, 1730-1792 119 picturesque Richard Payne Knight, 1750-1824 The Landscape: A Didactic Poem 1760 120 1761 1774 1774 118 An Historical and Critical Review of the Paintings, &c. Now Exhibiting at the Great- Room of the Society Instituted for the Encouragement of Art. Inscribed to the Members of the Society (London: W. Bathoe, 1762), p. 11. 119 An Historical and Critical Review of the Paintings, p. 22. 120 Brian Stewart, “The Picturesque Ideal,” The Smith Brothers of Chichester, exh. cat. (Chichester: Pallant House Gallery, 1986), pp. 49-53. 100 2020.06 121 122 123 124 〉 1760 1764 1761 1768 〉 1760 125 121 Michael Rosenthal, British Landscape Painting (Oxford: Phaidon, 1982) 1986 The Smith Brothers of Chichester. 122 Paul Mellon, 1907-1999 123 Thomas Bodkin, Four Irish Landscape Painters: George Barrett, R. A., James A. O’Connor, Walter F. Osborne, R. H. A., Nathaniel Hone, R. H. A. (Dublin: Irish Academic, 1987). 124 2003 Ann Sumner and Greg Smith eds., Thomas Jones (1742- 1803): An Artist Rediscovered Thomas Jones, 1742- 1803 —— 2017 125 12 130 101 1816 paysage historique; historical landscape 126 1760 100 127 1766 1772 1780 128 126 Academie des Beaux-Arts Grand Prix de Rome 1663 127 1762 100 128 1773 1778 102 2020.06 《 —— —— 103 1760 1770 1763 1760 129 129 1760 2 27 5 Mortimer, A Concise Account, pp. 39-43. 104 2020.06 130 1768 1771 1782 30 the higher branches of the arts 130 6 Mortimer, A Concise Account, pp. 41-42. 1765 105 the more eminent parts 131 1768 1782 Henry Home, Lord Kames, 1696-1782 Sketches of the History of Man, 1774 useful arts Progress of taste and of the fine arts 132 —— —— 131 Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3, pp. ix- xxxi. 132 Henry Home, Lord Kames, Sketches of the History of Man, vol. 1 (Edinburgh: W. Creech, 1774), p. 107. 106 2020.06 1770 1799 Samuel More, 1726-1799 1797 133 〉 1758 134 1913 Sir Henry Trueman Wood, 1845-1929 133 MS ‘Discourse’ 1797 Allan, “Artists and the Society in the Eighteenth Century,” p. 114. 134 44 107 135 〉 1760 〉 1750 1750 1780 —— —— 135 Sir Henry Trueman Wood, A History of the Royal Society of Arts, pp. 154-155. 1879 1917 108 2020.06 —— —— 1771 mental labour mental pleasure liberal art mechanical trade 136 1782 136 Joshua Reynolds, Discourses on Art, Discourse IV (1771), p. 57. 109 137 1774 1783 1746 Court Room 138 1746 139 —— 「 —— 1760 1770 137 Valentine Green, A Review of the Polite Arts in France, at the Time of their Establishment under Louis the XIVth, Compared with their Present State in England… In a Letter to Sir Joshua Reynolds, President of the Royal Academy, and F.R.S. (London, 1782), pp. 36, 75. 138 —— 28 1 2017.3 115-192 139 1773 42 3 2012.9 570 110 2020.06 「 1782 1797 111 1773. A Catalogue of Prints, Published by John Boydell. London: Boydell, 1773. A Catalogue of a Large, Curious, and Valuable Collection of Prints, by Ancient and Modern Masters. London: Magazin des Estamps, no year. A Catalogue of the Pictures, &c. in the Shakspeare Gallery, Pall-Mall. London: Boydell, 1794. A Catalogue of the Pictures, Sculptures, Models, Drawings, Prints, &c. of the Present Artists. Exhibited in the Great Room of the Society for the Encouragement of Arts, Manufactures, and Commerce, on the 21st of April, 1760. A Collection of Flowers Drawn after Nature & Disposed in an Ornamental & Picturesque Manner. London, 1783-1795. A Collection of Prints after the Sketches and Drawings of the late G. B. Cipriani Esq., Engraved by Mr. Richard Earlom &c. London: Boydell, 1789. A Collection of Prints, from Pictures Painted for the Purpose of Illustrating the Dramatic Works of Shakespeare, by the Artists of Great Britain, 2 vols. London: Boydell, 1803. A Register of the Premiums and Bounties Given by the Society Instituted at London for the Encouragement of Arts, Manufactures, and Commerce. London: James Phillips, 1778. A Set of Prints Engraved after the Most Capital Paintings in the Collection of Her Imperial Majesty the Empress of Russia, Lately in the Possession of the Earl of Orford at Houghton Hall in Norfolk. London: Boydell, 1788. 112 2020.06 An Historical and Critical Review of the Paintings, &c. Now Exhibiting at the Great-Room of the Society Instituted for the Encouragement of Art. Inscribed to the Members of the Society. London: W. Bathoe, 1762. Bailey, William. The Advancement of Arts, Manufactures, and Commerce. London: William Adlard, 1772. Dallaway, James. A History of the Western Division of the County of Sussex, in Two Volumes, vol. 1. London: T. Bensley, 1815. Dossie, Robert. Memoirs of Agriculture, and Other Oeconomical Arts, 3 vols. London: Nourse, 1768-1782. Edwards, Edward. Anecdotes of Painters Who Have Resided or Been Born in England. London: Leigh and Sotheby, 1808. Gentleman’s Magazine 26 (Feb. 1756): 61-62. Gentleman’s Magazine 28 (1758): 141. Green, Valentine. A Review of the Polite Arts in France, at the Time of their Establishment under Louis the XIVth, Compared with their Present State in England… In a Letter to Sir Joshua Reynolds, President of the Royal Academy, and F.R.S. London, 1782. Johnson, Samuel. Idler 45 (24 Feb. 1759). Jones, Thomas. “Memoirs of Thomas Jones,” Walpole Society 32 (1946- 1948): 1-143. Liber Veritatis. Or, A Collection of Two Hundred Prints, After the Original Designs of Claude le Lorrain, in the Collection of His Grace the Duke of Devonshire, Executed by Richard Earlom, in the Manner and Taste of the Drawings. London: Boydell, 1777. London Evening Post, May 11, 1754. 113 Mason, William Hayley. Goodwood. 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Proposals for Raising by Subscription a Fund to be Distributed in Premiums for the Promoting of Improvements in the Liberal Arts and Sciences, Manufactures, &. The British Herbal, Containing One Hundred Plates of the Most Beautiful and Scarce Flowers and Useful Medicinal Plants which Blow in the Open Air of Great Britain, Accurately Coloured from Nature, with Their Botanical Characters, and a Short Account of Their Cultivation, &c. &c. By John Edwards. The Whole Corrected According to the Latest Editions of Botany. London: printed for the author; and sold by J. Edmonson; and J. Walter, 1769-1779. 114 2020.06 The Plan of an Academy for the Better Cultivation, Improvement and Encouragement of Painting, Sculpture, Architecture, and the Arts of Design in General. London, 1755. 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Thomas Jones (1742-1803): An Artist Rediscovered, exh. cat. New Haven and London: Yale University Press, 2003. Sunderland, John. “Mortimer, Pine and Some Political Aspects of English History Painting.” The Burlington Magazine 116: 855 (Jun. 1974): 317-326. Sunderland, John. “Samuel Johnson and History Painting.” In The Virtuoso Tribe of Arts & Sciences: Studies in the Eighteenth- Century Work & Membership of the London Society of Arts. Eds. D. G. C. Allan and John L. Abbott. Athens and London: The University of Georgia Press, 1992: 183-194. Taylor, Brandon. Art for the Nation: Exhibitions and the London Public 1747-2001. New Brunswick, New Jersey: Rutgers University Press, 1999. The Smith Brothers of Chichester, exh. cat. Chichester: Pallant House Gallery, 1986. Thunder, Moira. “Improving Design for Woven Silks: The Contribution of William Shipley’s School and the Society of Arts.” Journal of Design History 17: 1 (2004): 5-27. Whitley, William T. 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Rhode Island School of Design Museum 121 》 “History of the Painted Hall” 122 2020.06 》 123 guineas 1764 John Donaldson The Death of 20 Epaminondas 1764 John Edwards Alexander near the Tent 5 of Darius and Sisigambis mourning over the Corpse of Statira 1765 Richard Earlom Numa Pompilius refusing 15 the Roman Sovereignty 1765 William 7 Laurenson 1766 William Parry The Death of Cleopatra 15 1767 1768 1769 Edward Edwards Bacchus and Ariadne Gold Pallet 1770 1771 Thomas Burgess Earl Warwick Swearing 5 Allegiance to King Edward 1772 John Keyse Coriolanus leaving Rome 15 Sherwin upon his Banishment 1773 1774 James Jefferys The Deluge Gold Pallet 1775 1776 William Martin The Judgement of Paris Gold Pallet 1777 Richard Samuel Gold Pallet 1778 Robert Watson Gold Pallet 1779 Richard Samuel Gold Pallet 1780 1781 Joseph Barney Simeon in the Temple Gold Pallet 1781 Guy Head Moses Striking the Rock Silver Pallet 1782 William Artaud The Resurrection Silver Pallet 1783 Conrad Martin Gold Pallet Metz 124 2020.06 1783 Henry Webber Silver Pallet 1784 Thomas Procter The Prophet Denouncing Gold Pallet Judgment against the Priests and the Altar of the Golden Calf, at Bethel 1784 John Howes The Queen of Sheba Silver Visiting Solomon Pallet Martin Myrone, “A Survey of Premiums offered for Historical Art, 1760-99,” WSG Occasional Paper, No. 13 (2009). The William Shipley Group for RSA History 2004 《 No. guineas 1760 76 William David and 20 Sherlock, 22 Bathsheba 1761 71 S. F. Ravenet Casali, Gonhilda 42 1761 72 John Hall Guido, Andromeda 21 1762 87 S. R. Ravenet Casali 40 1763 169 Henry Bryer B. Luti, Bacchus 20 and Ariadne 1764 187 Thomas Vivares Wynantz, Landscape 25 with figures 1764 189 S. R. Ravenet Luca Giordano, 40 Sophonisba 1764 190 Francis Aliamet Pine, Surrender of 25 Calais 1764 193 Henry Bryer Vander Gucht, Mars 20 and Venus 1765 176 William Byrne Wilson, The Villa 25 Madama Landscape 1765 177 Thomas Vivares Both, a Landscape 15 1765 178 Thomas Caravaggio, a 40 Chambars Concert 125 1765 179 Francis Aliamet Guido, 25 Circumcision 1766 170 Thomas Van Harp, a Spanish 40 Chambars Collation 1766 171 John Miller Van Dyck, 25 Continence of Scipio 1766 172 Matthew Liart Pietro da Cortona, 20 Agreement between Jacob and Laban 1766 164 Richard Earlom Poussin, Venus and 20 etching Adonis 1766 164 Thomas Vivares Vouet, Ascension of 15 etching Virgin Mary Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London, 1782), pp. 426-427 William Bailey, The Advancement of Arts, Manufactures, and Commerce (London, 1772), pp. 338-400; A Register of the Premiums and Bounties Given by the Society Instituted at London for the Encouragement of Arts, Manufactures, and Commerce (London, 1778). No . s. 1760 80 Simon Taylor / 17 any kind a 5 5 small Landscape with Cattle, and a small whole length Hussar, after Worlidge 1760 75 Thomas Vivares Visscher, Landscape with figures 1760 75 William Kirby 1762 83 Henry Bryer 10 10 1762 84 Thomas Vivares 5 5 1763 160 Thom. Bonner 10 10 1763 160 James Record 7 7 126 2020.06 1763 161 Miss Mary Vivares 10 10 1764 181 James Record 8 8 1764 181 Francis Torond 5 5 1764 181 René Rogier Renne 4 4 Rogers 1764 181 William Humphrey 3 3 1765 170 Henry Crane Green 7 7 1765 170 Thomas Hearne 5 5 1765 170 Barnabas Mayor 3 3 1765 170 Keven Skinner 1 1 1766 162 Robert Stubbs copy from any 10 10 print, landscape with figures 1767 122 Mary Vivarez copy from any 10 10 print, landscape with figures Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London, 1782), pp. 426-427 William Bailey, The Advancement of Arts, Manufactures, and Commerce (London, 1772), pp. 338-400; A Register of the Premiums and Bounties Given by the Society Instituted at London for the Encouragement of Arts, Manufactures, and Commerce (London, 1778). No . s. 1760 78 William Pether Kneller, a head of 6 6 Dr. Knipe 1761 73 Jonathan Spilsbury Smith, a head of 4 4 Mr. Locke 1762 85 Jonathan Spilsbury Reynolds, portrait 15 15 of a lady 1762 86 William Pether Fry, portrait of 10 10 Leveridge 1763 163 Jonathan Spilsbury Reynolds, Earl of 15 15 Carlisle whole length 127 1765 172 William Pine, the young 10 10 Humphreys student 1765 173 Samuel Okey, jun. Pine, portrait of 8 8 Miss Benson 1766 166 William Rembrandt, a 15 15 Humphreys Dutch Burgomaster 1766 167 Miss Vivares Zoffany, a Boy, 6 6 now Mrs. candlelight Buscarlet 1767 123 Robert Dunkarton Chamberlain, 12 12 Portrait of Dr. Chandler 1767 123 William Pine, King George 8 8 Dickenson II whole length 1767 123 Samuel Okey Reynolds, an old 5 5 Man reading Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London, 1782), pp. 426-427 William Bailey, The Advancement of Arts, Manufactures, and Commerce (London, 1772), pp. 338-400; A Register of the Premiums and Bounties Given by the Society Instituted at London for the Encouragement of Arts, Manufactures, and Commerce (London, 1778). guineas 1760 Robert Edge The Surrender of Calais to 100 Pine Edward III 1760 no. 42 1760 Che. Andrea The Assassination of King 50 Casali Edward the Martyr 1761 no. 20 1761 Che. Andrea King Stephen brought Prisoner 100 Casali to Empress Matilda 1762 no. 49 1762 Che. Andrea Gonhilda’s Honour vindicated 100 Casali 1760 no. 2 128 2020.06 1763 Robert Edge Canute the Great reproving his 100 Pine Courtiers for their impious Flattery 1763 no. 159 1763 John Mortimer Edward the Confessor spoiling 50 his Mothers of her Effects and Treasure 1763 no. 142 1763 George The Death of Gen. Wolfe 25 Romney 1763 no. 183 1764 John Mortimer St. Paul preaching to the 100 Britons 1764 no. 123 1764 Mason King Alfred in a Cottage 50 Chamberlain 1764 no. 30 1764 William Pars Caractacus Brought Before 20 Emperor Claudius 1764 no. 134 1765 Hugh Douglas Boadica and her Daughters in 60 Hamilton Distress 1765 George The Death of Edward I 50 Romney 1768 Peter Falconet Queen Eleanor sucking 25 Edward’s poisoned Wound 1769 Hugh Douglas Russians entering the Prison to 15 Hamilton Cordelia 1770 James Durno Margaret of Anjou with the 30 Prince in the Wood, assailed by the Robbers 1773 James Durno The King of Cyprus brought 100 Prisoner to Richard I Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London, 1782), pp. 431-432. Catalogues of the Paintings… Now Exhibiting at the Great Room of the Society Instituted for the Encouragement of Arts, Manufactures, and Commerce, 1761-1764. 129 guineas 1760 George Smith A Landskip, half Length 50 1760 no. 58 1760 John Smith A Landskip, half Length 25 1760 no. 60 1761 George Smith A Landscape 50 1761 no. 43 1761 John Smith A Landscape 25 1761 no. 36 1762 John Smith A Landscape 50 1762 no. 82 1762 William A Landscape 25 Tomkins 1762 no. 92 1763 George Smith A Large Landscape 50 1763 no. 204 1763 Charles A Large Landscape 25 Steuart 1763 no. 216 1763 Anthony Devis A Large Landscape, a Cool 10 Morning 1763 no. 58 1764 George Barrett A large landscape and figures 50 1764 no. 2 1764 Daniel Bond A large landscape and figures 25 1764 no. 4 1764 Charles A large landscape and figures 10 Steuart 1764 no. 170 1765 Daniel Bond 50 1765 Herb. Pugh 25 1765 Herb. Prim 10 1767 Thomas Jones 50 1767 Rev. John 25 Gardner 1768 Nicholas Dabl 30 1768 Thomas Jones 25 130 2020.06 1769 Edmund 20 Garvey 1769 John Al. 10 Gresse 1770 James Lambert 25 1771 Edmund 20 Garvey Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London, 1782), pp. 433-434 Catalogues of the Paintings… Now Exhibiting at the Great Room of the Society Instituted for the Encouragement of Arts, Manufactures, and Commerce, 1761-1764. 》 guineas 1764 Richard Wright A sea piece, with a squall of 30 rain 1764 no. 195 1764 Francis Swaine A sea piece, a sun-set view 15 1764 no. 153 1765 Robert Wilkins 30 1765 Francis Swaine 20 1765 John Cleveley 10 1766 Richard Wright 50 1766 Thom Mitchell 25 1766 Rob. Wilkins 10 1768 Richard Wright The famous Fishery, 50 engraved by Woollett Robert Dossie, Memoirs of Agriculture, and Other Oeconomical Arts, vol. 3 (London, 1782), pp. 434 Catalogues of the Paintings… Now Exhibiting at the Great Room of the Society Instituted for the Encouragement of Arts, Manufactures, and Commerce, 1761-1764. 131 1 John Edwards, Large Double Chinese Aster, plate 56 from A Collection of Flowers Drawn after Nature & Disposed in an Ornamental & Picturesque Manner (London, 1783-1795). Hand-coloured Etching, 33.7 24.8 cm. © Minneapolis Institute of Art (Public Domain). 2 Lozenge-shaped dish in soft-paste porcelain, Derby Porcelain factory, 1796-1810, width: 30.3 cm, depth: 24.2 cm. © Victoria and Albert Museum, London. 3 Richard Earlom, drawing of the Farnesian Hercules, after a print, 1758, 1st premium. © Royal Society of Arts (RSA/PR/AR/103/14/677). 4 Richard Earlom, drawing of Paetus and Arria, from the Duke of Richmond’s Gallery, 1761, 2nd premium. © Royal Society of Arts (RSA/PR/AR/103/14/671). 5 Richard Earlom after Nicolas Poussin, Venus and Adonis, 1766, published by John Boydell. Etching, 42.5 53.6 cm. Proof before aquatint and all letters. © The Trustees of the British Museum. 6 François-Germain Aliamet after Robert Edge Pine, The Surrender of Calais to King Edward III anno 1347, published in 1771 by John Boydell. Etching and engraving, 30.5 26.8 cm. © The Trustees of the British Museum. 7 Jonathan Spilsbury after Sir Joshua Reynolds, Miss Jacobs, published in 1762 by John Boydell. Mezzotint, 50 35 cm. © The Trustees of the British Museum. 8 Jonathan Spilsbury after Sir Joshua Reynolds, Frederick Howard, 5th Earl of Carlisle, published in 1763 by John 132 2020.06 Spilsbury. Mezzotint, 47.8 35.7 cm. © National Portrait Gallery, London. 9 Richard Earlom after Sir Joshua Reynolds, General Eliott, Baron Heathfield of Gibraltar, published in 1788 by John Boydell. Stipple engraving, 45.5 38 cm. © The Trustees of the British Museum. 10 Sir James Thornhill, George I and His Court, west wall of the Painted Hall, Old Royal Naval College, Greenwich, 1707-1725. Source: Wikimedia Commons. 11 Sébastien Leclerc after Le Brun, La tente de Darius (The Tent of Darius), 1696, published by Nicolas Langlois. Etching, 17.7 21 cm. © Bibliothèque municipale de Lyon (Public Domain). 12 George Romney, The Death of General Wolfe at Quebec, 1759 (study), 1762-1763. Oil on canvas, 36.8 46.4 cm. © Abbot Hall Art Gallery. Photo credit: Lakeland Arts Trust, CC BY- NC-SA. 13 William Woollett after George Smith of Chichester, Landscape with Artist and Travelers, 1762, published by John Boydell. Etching and engraving, 48.6 62 cm. © Philadelphia Museum of Art. 133 1 John Edwards, Large Double Chinese Aster, plate 56 from A Collection of Flowers Drawn after Nature & Disposed in an Ornamental & Picturesque Manner (London, 1783-1795). © Minneapolis Institute of Art (Public Domain). 2 Lozenge-shaped dish in soft-paste porcelain, Derby Porcelain factory, 1796-1810. © Victoria and Albert Museum, London. 134 2020.06 3 Richard Earlom, drawing of the Farnesian Hercules, after a print, 1758, 1st premium. © Royal Society of Arts. 4 Richard Earlom, drawing of Paetus and Arria, from the Duke of Richmond’s Gallery, 1761, 2nd premium. © Royal Society of Arts. 135 5 Richard Earlom after Nicolas Poussin, Venus and Adonis, 1766, published by John Boydell. © The Trustees of the British Museum. 6 François-Germain Aliamet after Robert Edge Pine, The Surrender of Calais to King Edward III anno 1347, published in 1771 by John Boydell. © The Trustees of the British Museum. 136 2020.06 7 Jonathan Spilsbury after Sir Joshua Reynolds, Miss Jacobs, published in 1762 by John Boydell. © The Trustees of the British Museum. 8 Jonathan Spilsbury after Sir Joshua Reynolds, Frederick Howard, 5th Earl of Carlisle, published in 1763 by John Spilsbury. © National Portrait Gallery, London. 137 9 Richard Earlom after Sir Joshua Reynolds, General Eliott, Baron Heathfield of Gibraltar, published in 1788 by John Boydell. © The Trustees of the British Museum. 10 Sir James Thornhill, George I and His Court, west wall of the Painted Hall, Old Royal Naval College, Greenwich, 1707-1725. 138 2020.06 11 Sébastien Leclerc after Le Brun, La tente de Darius (The Tent of Darius), 1696, published by Nicolas Langlois. © Bibliothèque municipale de Lyon (Public Domain). 12 George Romney, The Death of General Wolfe at Quebec, 1759 (study), 1762-1763. © Abbot Hall Art Gallery. Photo credit: Lakeland Arts Trust, CC BY-NC-SA. 139 13 William Woollett after George Smith of Chichester, Landscape with Artist and Travelers, 1762, published by John Boydell. © Philadelphia Museum of Art. 140 2020.06 The Progress of Arts: The London Society of Arts and Its Promotion of the Polite Arts in the Second Half of the Eighteenth Century Chia-Chuan Hsieh* Abstract On the 22nd of March, 1754, the Society for the Encouragement of Arts, Manufactures, and Commerce was founded in London, aiming to promote and improve agriculture, manufacturing and commerce by giving premiums, that is, pecuniary rewards to the prize winners. From the start, the Society also provided premiums for drawing, and was thus the first institution in England to publicly promote drawing by holding competitions. The premiums were soon expanded to include other polite arts such as printmaking and oil painting. In 1760, the Society even held the first exhibition of contemporary English art. Unlike the more prestigious Royal Academy of Arts, members of the Society of Arts came from various walks of life, whose subscriptions and donations provided the funds for premiums. However, due to changes in the art world and certain trends in mainstream art historiography, the Society’s promotion of the arts has long been undervalued. By investigating contemporary publications and the Society’s archives, this article gives a comprehensive analysis of the Society’s polite art premiums, thus opening up a new perspective on the development of drawing, printmaking and oil painting in England in the second half of the eighteenth century. It also highlights how the growth and decline of the Society’s polite The author is currently Associate Professor in the Graduate Institute of Art Studies, National Central University. E-mail: [email protected]. 141 art premiums reveals the development of artistic ideas and the changing system of the arts in English society during the period. Keywords: “(Royal) Society of Arts,” Drawing, Printmaking, Painting, English art history, Eighteenth century 142