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John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic

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John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. In the first chapter, I examine the spatial construction and location of the Gallery and the extent to which this started to define, from an early stage, the ideological territory which Boydell's venture would come to occupy. The second chapter considers the Gallery's anti- Academic foundations in greater detail, focusing on the reception of Reynolds's Death of Cardinal Beaufort in order to illuminate the patriotic and ideological concerns of Boydell and his artists before considering the appeal of James Northcote's paintings from the English history plays. The third and fourth chapters examine works by Henry Fuseli and Robert Smirke respectively, and consider how the particular kinds of artistic identities which these artists promoted in their works were revelatory of qualities which were coming to be seen as peculiarly English. The final chapter follows the reception of the prints and the book edition that emerged as later stages of Boydell's project and demonstrates that - contrary to general art-historical perceptions - the Shakespeare Gallery enjoyed a continued cultural significance well into the nineteenth century. 4 LIST OF ILLUSTRATIONS Volume II 1. Artistic locations in Pall Mall and the surrounding area, 1780-1799. (Map designed by Ed Oliver, Department of Geography, Queen Mary and Westfield College). 2. William Angus after Daniel Dodd, The Death of Lord Chatham in the House of Peers. 1781. Etching and engraving. 3. J. K. Sherwin after Thomas Stothard, The Death of Lord Robert Manners. 1786. Etching and engraving. 4. Pietro Martini after Johann Heinrich Ramberg, The Exhibition of the Royal Academy, 1787. 1787. Etching and engraving. 5. Pietro Martini, The Salon of 1787. 1787. Engraving. 6. William Chambers, Somerset House, inscription above the entrance to the Great Room. c.1780. 7. Thomas Sandby, The Royal Academy Exhibition of 1792: The Great Room, East Wall. 1792. Pen and Wash. London, Royal Academy of Arts. 8. Samuel Rawle, View of the Shakespeare Gallery. 1804. Etching. 9. Coney, North side of Pall Mall in 1814. 1814. Engraving. 10. Thomas Malton the Younger, 'Vestibule, Somerset Place' from A Picturesque Tour through the Cities of London and Westminster. 1792-1800. Aquatint. 11. G. Scotin after John Michael Rysbank, The monument of the late worthy, great, good, pious and charitable Edward Colston Esqr.. 1751. Engraving. 12. James Stow after Thomas Banks, Shakespeare between the Dramatic Muse and the Genius of Painting. 1798. Engraving. 13. Peter Sheemakers, Monument to William Shakespeare. 1740. Westminster Abbey, London. 14. Francis Wheatley, The Opening of the Shakespeare Gallery in 1790. 1790. Watercolour. London, Victoria & Albert Musuem 15. Francesco Bartolozzi, Mr Copley 's Picture of the Siege of Gibraltar as exhibited in the Green Park near St. James's Palace. 1791. Engraving. 16. James Gillray, Promis 'd Horrors of the French Invasion. 1796. Hand-coloured etching. 5 17. Edward Francis Burney. The Antique Academy at New Somerset House. 1780. Pen and coloured wash. London, Royal Academy of Arts. 18. C. Bestland after Henry Singleton, The Royal Academicians assembled in their Council Chamber [1793] to adjudge the medals to the successful students in Painting, Sculpture, Architecture and Drawing. 1802, engraving. 19. J. Caldwell after Gavin Hamilton, Coriolanus. 1803. Engraving with etching. 20. James Barry, King Lear. 1789. Oil on canvas. London, Tate Gallery. 21. Benjamin West, King Lear. 1789. Oil on canvas. Boston, Museum of Fine Arts. 22. Thomas Ryder after James Durno, Falstaff and his Recruits. 1798. Stipple. 23. Joshua Reynolds, Cimon and Iphegenia. 1789. Oil on canvas. The Royal Collection. 24. Joshua Reynolds, Cupid and Psyche. 1789. Oil on canvas. Private Collection. 25. Joshua Reynolds, The Continence of Scipio. 1789. Oil on canvas. St. Petersberg: The Hermitage. 26. Nathaniel Hone, sketch for The Conjurer Unmask 'd. c. 1774. Oil on canvas. London, Tate Gallery. 27. Joshua Reynolds, The Death of Cardinal Beaufort. 1789. Oil on canvas. Petworth House. 28. Caroline Watson after Joshua Reynolds, The Death of Cardinal Beaufort. Engraving. 29. Nicolas Poussin, The Death of Germanicus. 1626-28. Oil on canvas. The Minneapolis Institute of Arts. 30. Henry Fuseli, The Nightmare. 1782. Oil on Canvas. Detroit: The Detroit Institute of Arts. 31. James Gillray, Shakespeare Sacrificed; or, the Offering to Avarice. 1789. Engraving. 32. Joshua Reynolds, Self-Portrait with a Bust of Michelangelo. c. 1773-1780. Oil on wood. Royal Academy of Arts, London. 33. Valentine Green after Josiah Boydell, John Boydell. 1772. Mezzotint. 34. Edward Francis Burney, The Royal Academy Exhibition of 1784: The Great Room, West Wall. 1784. Pen, ink and wash, with watercolour. London: British Museum. 35. Anker Smith after Northcote, The Death of Wat Tyler. 1796. Engraving. 36. Francis Legat after James Northcote, The Murder of the Princes in the Tower from Richard III. 1790. Engraving. 6 37. John Ogborne after Josiah Boydell, The Plucking of the Roses in the Temple Gardens from 1Henry VI.. 1795. Engraving. 38. Jean Baptiste Michel after James Northcote, King Edward, Queen Elizabeth and the Young Prince from 3Henry VI. 1795. Engraving. 39. Robert Thew after James Northcote, Arthur and Hubert from King John. 1798. Engraving. 40. Charles Gauthier Playter after James Northcote. Rutland and his Tutor from 3Henry VI. 1796. Engraving. 41. William Skelton after James Northcote, The Burial of the Royal Children from Richard III. 1795. Engraving 42. Robert Thew after James Northcote, The Meeting of the Young Princes from Richard III. 1791. Engraving. 43. Frances Reynolds, from An Enquiry Concerning the Principles of Taste (London, 1785). 44a. Henry Fuseli, Titania and Bottom. 1789. Oil on Canvas. Tate Gallery, London. 44b P. Simon after Henry Fuseli, Titania and Bottom. 1796. Engraving. 45. Thomas Ryder and Thomas Ryder Jr. after Henry Fuseli, Titania 's Awakening. 1803. Engraving. 46. Henry Fuseli, Group of Nudes. c. 1779-1778. Pen and Ink. Uffizi, Florence. 47. Robert Thew after Henry Fuseli, Hamlet. 1796. Engraving. 48. James Caldwell after Henry Fuseli, Macbeth. 1798. Engraving. 49. Robert Thew after Joshua Reynolds, Macbeth. 1802. Engraving 50. J. Parker after Henry Fuseli, Puck. 1799. Engraving. 51. L. Schiavonetti after Joshua Reynolds, Puck. 1799. Engraving. 52. Niobe and her Daughter. Marble. Florence, Uffizi. 53. Laocoon. Marble. c.l st century A.D. Rome, Musei Vaticani. 54. Henry Fuseli, Macbeth. 1793. Oil on canvas. Washington, Folger Shakespeare Library. 55. Free copy of a lost painting by Leonardo da Vinci, Leda and the Swan. c. 1806. Oil on canvas. Rome: Spiridon Collection. 7 56. Jan Steen, Girl Offering Oysters. c.1658-1660. The Hague, Royal Cabinet of Paintings, Mauritshuis. 57. Corregio, Venus, Cupid and a Satyr. 1524-25. Oil on canvas. Paris, Louvre. 58. Abraham Bloemaert, Moses Striking the Rock. 1569. Oil on canvas. New York, Metropolitan Museum of Art. 59. Abraham Bloemaert, The Slaying of the Niobids. 1591. Oil on canvas. Copenhagen, Statens Musuem for Kunst. 60. Abraham Bloemaert, The Wedding of Peleus and Thetis. Oil on canvas. Munich: Bayerische Staatsgernaldesamtnlungen. 61. Robert Smirke, The Conquest. 1796. Private Collection 62. P.W. Tomkins after Robert Smirke, The Seven Ages of Man - The Infant. 1801. Engraving 63. J. Ogborne after Robert Smirke, The Seven Ages of Man - The Schoolboy. 1801. Engraving 64. R. Thew after Robert Smirke, The Seven Ages of Man - The Lover. 1801. Engraving 65. J. Ogborne after Robert Smirke, The Seven Ages of Man - The Soldier. 1801. Engraving 66. P. Simon after Robert Smirke, The Seven Ages of Man - The Justice. 1801. Engraving 67. Robert Smirke, The Seven Ages of Man - the Pantaloon. C. 1798. Oil on Panel. New Haven: Yale Centre for British Art 68. P. Simon after Robert Smirke, The Seven Ages of Man - Second Childishness. 1801. Engraving 69. J. Ogborne after Robert Smirke, Much Ado about Nothing. 1791. Engraving 70. T. Ryder and C.G. Playter after Robert Smirke, Measure for Measure. 1798. Engraving 71. J.P. Simon after Robert Smirke, The Merry Wives of Windsor. 1793. Engraving 72. Titian, The Three Ages of Man. c.1509-1510. Oil on canvas. Duke of Sutherland's collection, on loan to the National Gallery of Scotland, Edinburgh.
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