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Industry and the Ideal
INDUSTRY AND THE IDEAL Ideal Sculpture and reproduction at the early International Exhibitions TWO VOLUMES VOLUME 1 GABRIEL WILLIAMS PhD University of York History of Art September 2014 ABSTRACT This thesis considers a period when ideal sculptures were increasingly reproduced by new technologies, different materials and by various artists or manufacturers and for new markets. Ideal sculptures increasingly represented links between sculptors’ workshops and the realm of modern industry beyond them. Ideal sculpture criticism was meanwhile greatly expanded by industrial and international exhibitions, exemplified by the Great Exhibition of 1851, where the reproduction of sculpture and its links with industry formed both the subject and form of that discourse. This thesis considers how ideal sculpture and its discourses reflected, incorporated and were mediated by this new environment of reproduction and industrial display. In particular, it concentrates on how and where sculptors and their critics drew the line between the sculptors’ creative authorship and reproductive skill, in a situation in which reproduction of various kinds utterly permeated the production and display of sculpture. To highlight the complex and multifaceted ways in which reproduction was implicated in ideal sculpture and its discourse, the thesis revolves around three central case studies of sculptors whose work acquired especial prominence at the Great Exhibition and other exhibitions that followed it. These sculptors are John Bell (1811-1895), Raffaele Monti (1818-1881) and Hiram Powers (1805-1873). Each case shows how the link between ideal sculpture and industrial display provided sculptors with new opportunities to raise the profile of their art, but also new challenges for describing and thinking about sculpture. -
The Afterglow in Egypt Teachers' Notes
Teacher guidance notes The Afterglow in Egypt 1861 A zoomable image of this painting is available by William Holman Hunt on our website to use in the classroom on an interactive whiteboard or projector oil on canvas 82 x 37cm www.ashmolean.org/learning-resources These guidance notes are designed to help you use paintings from our collection as a focus for cross- curricular teaching and learning. A visit to the Ashmolean Museum to see the painting offers your class the perfect ‘learning outside the classroom’ opportunity. Starting questions Questions like these may be useful as a starting point for developing speaking and listening skills with your class. What catches your eye first? What is the lady carrying? Can you describe what she is wearing? What animals can you see? Where do you think the lady is going? What do you think the man doing? Which country do you think this could be? What time of day do you think it is? Why do you think that? If you could step into the painting what would would you feel/smell/hear...? Background Information Ideas for creative planning across the KS1 & 2 curriculum The painting You can use this painting as the starting point for developing pupils critical and creative thinking as well as their Hunt painted two verions of ‘The Afterglow in Egypt’. The first is a life-size painting of a woman learning across the curriculum. You may want to consider possible ‘lines of enquiry’ as a first step in your cross- carrying a sheaf of wheat on her head, which hangs in Southampton Art Gallery. -
Artistic Identity in the Published Writings of Margaret Thomas (C1840-1929)
University of Wollongong Research Online University of Wollongong Thesis Collection 1954-2016 University of Wollongong Thesis Collections 1993 Artistic identity in the published writings of Margaret Thomas (c1840-1929) Lynn Patricia Brunet University of Wollongong Follow this and additional works at: https://ro.uow.edu.au/theses University of Wollongong Copyright Warning You may print or download ONE copy of this document for the purpose of your own research or study. The University does not authorise you to copy, communicate or otherwise make available electronically to any other person any copyright material contained on this site. You are reminded of the following: This work is copyright. Apart from any use permitted under the Copyright Act 1968, no part of this work may be reproduced by any process, nor may any other exclusive right be exercised, without the permission of the author. Copyright owners are entitled to take legal action against persons who infringe their copyright. A reproduction of material that is protected by copyright may be a copyright infringement. A court may impose penalties and award damages in relation to offences and infringements relating to copyright material. Higher penalties may apply, and higher damages may be awarded, for offences and infringements involving the conversion of material into digital or electronic form. Unless otherwise indicated, the views expressed in this thesis are those of the author and do not necessarily represent the views of the University of Wollongong. Recommended Citation Brunet, Lynn Patricia, Artistic identity in the published writings of Margaret Thomas (c1840-1929), Master of Creative Arts (Hons.) thesis, School of Creative Arts, University of Wollongong, 1993. -
Coversheet for Thesis in Sussex Research Online
A University of Sussex DPhil thesis Available online via Sussex Research Online: http://sro.sussex.ac.uk/ This thesis is protected by copyright which belongs to the author. This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Please visit Sussex Research Online for more information and further details Elkington & Co. and the Art of Electro-Metallurgy, circa 1840-1900. Alistair Grant. A Thesis Submitted to the University of Sussex for Examination for the Degree of Doctor of Philosophy. September 2014. 2 I hereby declare that this thesis is solely my own work, and has not been, and will not be submitted in whole, or in part, to another University for the award of any other degree. Signature:……………………………………… 3 This PhD thesis is dedicated to my wife Lucy and my daughter Agnes. I would like to thank my wife, Dr. Lucy Grant, without whose love, encouragement, and financial support my doctoral studies could not have happened. Her fortitude, especially during the difficult early months of 2013 when our daughter Agnes was ill, anchored our family and home, and enabled me to continue my research and complete this PhD thesis. 4 ACKNOWLEDGEMENTS First and foremost, I would like to thank my supervisor Professor Maurice Howard. Having nurtured my enthusiasm for Art History as an undergraduate at the University of Sussex from 1983-1986, when I approached him, 23 years later, about pursuing PhD research into Elkington & Co. -
Pre-Raphaelite Brotherhood (PRB) Had Only Seven Members but Influenced Many Other Artists
1 • Of course, their patrons, largely the middle-class themselves form different groups and each member of the PRB appealed to different types of buyers but together they created a stronger brand. In fact, they differed from a boy band as they created works that were bought independently. As well as their overall PRB brand each created an individual brand (sub-cognitive branding) that convinced the buyer they were making a wise investment. • Millais could be trusted as he was a born artist, an honest Englishman and made an ARA in 1853 and later RA (and President just before he died). • Hunt could be trusted as an investment as he was serious, had religious convictions and worked hard at everything he did. • Rossetti was a typical unreliable Romantic image of the artist so buying one of his paintings was a wise investment as you were buying the work of a ‘real artist’. 2 • The Pre-Raphaelite Brotherhood (PRB) had only seven members but influenced many other artists. • Those most closely associated with the PRB were Ford Madox Brown (who was seven years older), Elizabeth Siddal (who died in 1862) and Walter Deverell (who died in 1854). • Edward Burne-Jones and William Morris were about five years younger. They met at Oxford and were influenced by Rossetti. I will discuss them more fully when I cover the Arts & Crafts Movement. • There were many other artists influenced by the PRB including, • John Brett, who was influenced by John Ruskin, • Arthur Hughes, a successful artist best known for April Love, • Henry Wallis, an artist who is best known for The Death of Chatterton (1856) and The Stonebreaker (1858), • William Dyce, who influenced the Pre-Raphaelites and whose Pegwell Bay is untypical but the most Pre-Raphaelite in style of his works. -
Movimiento Prerrafaelista
06/02/2007 1845 MOVIMIENTO PRERRAFAELISTA: ORÍGENES, DESARROLLO 1870 Y CONSECUENCIAS 1894 Sir John Everett Millais. John Ruskin. 1854 jamp'07 1 jamp'07 2 ALGUNAS OBRAS: Modern Painters (1843) Modern Painters II (1846) The Seven Lamps of Architecture (1849) Pre-Raphaelitism (1851) The Stones of Venice I (1851) The Stones of Venice II and III (1853) Architecture and Painting (1854) Modern Painters III (1856) The Harbours of England (1856) Political Economy of Art (1857) The Two Paths (1859) The Elements of Perspective (1859) Modern Painters IV (1860) RAFAEL (1483-1520): La Unto This Last (1862) Transfiguración 1518-20 jamp'07 3 jamp'07 4 The Pre-Raphaelite Brotherhood was created in 1848 by seven artists: Dante Gabriel Rossetti, William Michael Rossetti, James Collinson, John Everett Millais, Frederic George Stephens, Thomas Woolner and William Holman Hunt. Their goal was to develop a naturalistic style of art, throwing The Pre-Pre-RaphaeliteRaphaelite away the rules and conventions that were drilled into students' BrotherhoodBrotherhood:: heads at the Academies. Raphael was the artist they considered to have achieved the highest degree of perfection, PRB so muchthttdth so that students were encourage dtdfd to draw from his examples rather than from nature itself; thus they became the "Pre-Raphaelites". The movement itself did not last past the 1850s, but the style remained popular for decades, influencing the Arts and Crafts Movement, the Symbolist painters and the Art Nouveau jamp'07 5 jamp'07 6 1 06/02/2007 El planteamiento inicial de -
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(S): Bette London Source: PMLA, Vol
Mary Shelley, Frankenstein, and the Spectacle of Masculinity Author(s): Bette London Source: PMLA, Vol. 108, No. 2 (Mar., 1993), pp. 253-267 Published by: Modern Language Association Stable URL: http://www.jstor.org/stable/462596 Accessed: 24-02-2018 15:52 UTC JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at http://about.jstor.org/terms Modern Language Association is collaborating with JSTOR to digitize, preserve and extend access to PMLA This content downloaded from 158.135.1.176 on Sat, 24 Feb 2018 15:52:34 UTC All use subject to http://about.jstor.org/terms Bette London Mary Shelley, Frankenstein, and the Spectacle of Masculinity BETTE LONDON, associate IN A STRIKING MEMORIAL to the Shelleys-commis- professor of English at the sioned by their only surviving child, Sir Percy, and his wife, Lady Shelley-the couple is impressed in the image of Michelan- University of Rochester, is the gelo's Pietd (fig. 1). Mary Shelley kneels, breast exposed, in the author of The Appropriated traditional posture of a Madonna humilitatis, supporting the lifeless Voice: Narrative Authority in body of her drowned god and idol. Superimposing a Christian Conrad, Forster, and Woolf narrative onto a notorious Romantic "text"-a scandalous life story ( U of Michigan P, 1990). -
William Holman Hunt's Portrait of Henry Wentworth Monk
Virginia Commonwealth University VCU Scholars Compass Theses and Dissertations Graduate School 2017 William Holman Hunt’s Portrait of Henry Wentworth Monk Jennie Mae Runnels Virginia Commonwealth University Follow this and additional works at: https://scholarscompass.vcu.edu/etd © The Author Downloaded from https://scholarscompass.vcu.edu/etd/4920 This Thesis is brought to you for free and open access by the Graduate School at VCU Scholars Compass. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of VCU Scholars Compass. For more information, please contact [email protected]. William Holman Hunt’s Portrait of Henry Wentworth Monk A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in Art History at Virginia Commonwealth University. Jennie Runnels Virginia Commonwealth University Department of Art History MA Thesis Spring 2017 Director: Catherine Roach Assistant Professor Department of Art History Virginia Commonwealth University Richmond, Virginia April 2017 Contents Acknowledgments Introduction Chapter 1 Holman Hunt and Henry Monk: A Chance Meeting Chapter 2 Jan van Eyck: Rediscovery and Celebrity Chapter 3 Signs, Symbols and Text Conclusion List of Images Selected Bibliography Acknowledgements In writing this thesis I have benefitted from numerous individuals who have been generous with their time and encouragement. I owe a particular debt to Dr. Catherine Roach who was the thesis director for this project and truly a guiding force. In addition, I am grateful to Dr. Eric Garberson and Dr. Kathleen Chapman who served on the panel as readers and provided valuable criticism, and Dr. Carolyn Phinizy for her insight and patience. -
3 Dunstan Woolner
Thomas Woolner’s “Bad Times for Sculpture”: Framing Victorian Sculpture in Vocabularies of Neglect Angela Dunstan In 1890, one of the Victorian era’s most successful sculptors, Thomas Woolner, bemoaned what he perceived to be the declining cultural value of his profession, writing that “people do not care for sculpture very much” (Letter to Henry Parkes 8 December 1890). Perhaps little has changed.1 As Jason Edwards recently observed, “In spite of the sustained re-investigation of Victorian culture in recent decades nineteenth century British sculpture continues to be neglected” (201). This article will revisit this history of neglect, considering the second half of the nineteenth century as a key era for sculpture; a time of fluctuating cultural, aesthetic and economic value for the art. Drawing on the case study of Pre-Raphaelite sculptor, Thomas Woolner, I will show how he pragmatically cast and recast his profession as both high art and a popular art form in order to defend the dignity and technical complexity of sculpture whilst maintaining a living by it. Towards the end of the nineteenth century, capitalising on cultural developments as varied as British imperialism, growing opportunities for travel and the phenomenon of celebrity became increasingly imperative to a sculptor’s success. By necessity, Woolner’s generation of sculptors had to modify their methods to remain competitive in a mass market rapidly crowded by replicas, statuettes and the ephemera which were invading everyday life and becoming characteristic of modernity. Woolner’s rhetorical moulding of sculpture as an art appealing both to the elite and to the popular markets makes a useful case study in the plasticity of Victorian sculptors themselves as they responded to the changes in the aesthetic and economic value of their art, adapting their methods and adopting new approaches in ways which would reframe the cultural value of the profession by the end of the nineteenth century. -
2. Pre-Raphaelite Brotherhood
The paintings produced by the Pre-Raphaelite Brotherhood or PRB are today regarded as staid and irrelevant Victorian pictures. I will show that at the time there were controversial and even revolutionary. The brotherhood was founded in 1848, the year of revolutions across Europe. There was a very large Chartist meeting on 10th April in Kennington Common but luckily confrontation was avoided and the petition with six million signatures was handed in to Downing Street. House of Commons clerks estimated the true figure to be 1.9 million signatures and some joke signatures were publicized to undermine the credibility of the movement. John Everett Millais and Holman Hunt accompanied the crowd from Russell Square but at the Common they were careful to remain outside the rails. In September of that year they met in Millais’s parents house to form the Pre-Raphaelite Brotherhood. The term ‘brotherhood’ was later of concern to critics as it suggested anarchy and a revolution. 1 Top row, left to right: William Holman Hunt, John Everett Millais, (b. 1829 – d. 1896) John Everett Millais, William Holman Hunt, 1854, (1827-1910) William Holman Hunt, Dante Gabriel Rossetti, 1853, (1828-1882) Bottom row, left to right: Dante Gabriel Rossetti, Thomas Woolner, 1852 (1825-1892, sculptor and poet), National Portrait Gallery James Collinson, self-portrait, undated (1825-1881, only 1848-50, a devout Christian who resigned when Millais painted Christ in the House of His Parents) John Everett Millais, Frederic George Stephens (1828-1907, art critic) Dante Gabriel Rossetti, William Michael Rossetti (1829-1919, writer and art critic) Seven ‘Brothers’ • The three years 1849-1851 were an exceptional event in the history of art because rarely do you find a group of artists who set out to radically change the status quo and who take on the leading art establishment – the Royal Academy. -
Pre-Raphaelite List John Everett Millais, Christina Rossetti, Dante Gabriel Rossetti, William Michael Rossetti, George Frederic Watts, Thomas Woolner
Pre-Raphaelite List John Everett Millais, Christina Rossetti, Dante Gabriel Rossetti, William Michael Rossetti, George Frederic Watts, Thomas Woolner, Also includes: General Reference & Friends of the Pre-Raphaelites John Everett Millais English painter and illustrator Sir J. E. Millais (1829 - 1896) is credited with founding the Pre-Raphaelite Brotherhood along with D.G. Rossetti and William Holman Hunt in 1848. An artistic prodigy, he entered the Royal Academy at age eleven, the youngest student to enroll. He later became one of the wealthiest artists of the time. 1. Reid, J. Eadie. Sir J. E. Millais, P.R.A. London: The Walter Scott Publishing Co., Ltd, 1909. Illustrated with 20 plates and a photogravure frontispiece. Focusing on the biographical details and artworks of Millais, this book describes his involvement with the Pre-Raphaelites, portrait paintings, landscape paintings, ailments, travel, and more. Bound in full blue leather prize binding with the Watford Grammar School’s insignia in bright gilt on the front board. Red leather title label with gilt title to spine. Gilt decoration and raised bands to spine. Gilt rules to edges of boards and embossed turn-ins. Minor rubbing to hinges, spine ends, raised bands, and edges of boards. Marbled paper end pages and marbled edges. A certificate stating that this book was awarded to C.T. Sharman for drawing in July 1910 is affixed to the front pastedown. There are a few spots of foxing to the interior, else very clean. An attractive book. Appendices and Index, 193 pages. In very good condition. (#22060) $100 2. Trollope, Anthony Illustrated by, J.E. -
Nathaniel Hitch and the Making of Church Sculpture Claire Jones
Nathaniel Hitch and the Making of Church Sculpture Claire Jones Housed at the Henry Moore Institute in Leeds is the archive of the now little-known sculptor, architectural sculptor, and sculptor’s modeller, Nathaniel Hitch (1845–1938).1 Unlike the extensive manuscript, printed, and visual material in Hamo Thornycroft’s archive, also held at the Henry Moore Institute, Hitch’s consists of hundreds of photographs pasted into two albums. These demonstrate the range of sculptural activity undertaken by Hitch, including figurative work, architectural sculpture, and anima- lier sculpture. Above all, they represent sculpture intended for Christian places of worship: recumbent effigies; altars; free-standing figures of saints, bishops, and biblical figures; reliefs of biblical scenes; Christ on the cross; Christ in groups; the Virgin Mary and Child; and sculpture for church fur- niture and furnishings. Hitch’s archive therefore offers significant docu- mentation for the study of Victorian sculpture practice outside the more familiar areas of the Academy and ideal classical sculpture: namely, church sculpture. The photographs are taken within Hitch’s studio or workshop. The space itself is only fragmentarily visible, and the sculptor himself is noticea- bly absent from all the photographs. This is distinct to the ‘at home’ and ‘in studio’ photographs of society sculptors such as Thornycroft, which recent scholarship has usefully examined in terms of the private-public domain of the artist’s studio and the role of these studios and photographs in an I would like to thank Claire Mayoh, archivist at the Henry Moore Institute, her maternity cover Janette Martin, and Georgia Goldsmith at the Bulldog Trust for assisting me in my research and for kindly providing the images for this publication.