John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
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The Death of Captain Cook in Theatre 224
The Many Deaths of Captain Cook A Study in Metropolitan Mass Culture, 1780-1810 Ruth Scobie PhD University of York Department of English April 2013 i Ruth Scobie The Many Deaths of Captain Cook Abstract This thesis traces metropolitan representations, between 1780 and 1810, of the violent death of Captain James Cook at Kealakekua Bay in Hawaii. It takes an interdisciplinary approach to these representations, in order to show how the interlinked texts of a nascent commercial culture initiated the creation of a colonial character, identified by Epeli Hau’ofa as the looming “ghost of Captain Cook.” The introduction sets out the circumstances of Cook’s death and existing metropolitan reputation in 1779. It situates the figure of Cook within contemporary mechanisms of ‘celebrity,’ related to notions of mass metropolitan culture. It argues that previous accounts of Cook’s fame have tended to overemphasise the immediacy and unanimity with which the dead Cook was adopted as an imperialist hero; with the result that the role of the scene within colonialist histories can appear inevitable, even natural. In response, I show that a contested mythology around Cook’s death was gradually constructed over the three decades after the incident took place, and was the contingent product of a range of texts, places, events, and individuals. The first section examines responses to the news of Cook’s death in January 1780, focusing on the way that the story was mediated by, first, its status as ‘news,’ created by newspapers; and second, the effects on Londoners of the Gordon riots in June of the same year. -
The Art Union in England and the United States, 1840–60
Joy Sperling "Art, Cheap and Good:" The Art Union in England and the United States, 1840–60 Nineteenth-Century Art Worldwide 1, no. 1 (Spring 2002) Citation: Joy Sperling, “‘Art, Cheap and Good:’ The Art Union in England and the United States, 1840–60,” Nineteenth-Century Art Worldwide 1, no. 1 (Spring 2002), http://www. 19thc-artworldwide.org/spring02/196--qart-cheap-and-goodq-the-art-union-in-england-and- the-united-states-184060. Published by: Association of Historians of Nineteenth-Century Art Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. ©2002 Nineteenth-Century Art Worldwide Sperling: The Art Union in England and the United States, 1840–60 Nineteenth-Century Art Worldwide 1, no. 1 (Spring 2002) "Art, Cheap and Good:" The Art Union in England and the United States, 1840–60 by Joy Sperling "Alas, it is not for art they paint, but for the Art Union." William Thackeray, 1844[1] The "Art Union" was a nineteenth-century institution of art patronage organized on the principle of joint association by which the revenue from small individual annual membership fees was spent (after operating costs) on contemporary art, which was then redistributed among the membership by lot. The concept originated in Switzerland about 1800 and spread to some twenty locations in the German principalities by the 1830s. It was introduced to England in the late 1830s on the recommendation of a House of Commons Select Committee investigation at which Gustave Frederick Waagen, director of the Berlin Royal Academy and advocate of art unions, had testified. -
Irish Gothic Fiction
THE ‘If the Gothic emerges in the shadows cast by modernity and its pasts, Ireland proved EME an unhappy haunting ground for the new genre. In this incisive study, Jarlath Killeen shows how the struggle of the Anglican establishment between competing myths of civility and barbarism in eighteenth-century Ireland defined itself repeatedly in terms R The Emergence of of the excesses of Gothic form.’ GENCE Luke Gibbons, National University of Ireland (Maynooth), author of Gaelic Gothic ‘A work of passion and precision which explains why and how Ireland has been not only a background site but also a major imaginative source of Gothic writing. IRISH GOTHIC Jarlath Killeen moves well beyond narrowly political readings of Irish Gothic by OF IRISH GOTHIC using the form as a way of narrating the history of the Anglican faith in Ireland. He reintroduces many forgotten old books into the debate, thereby making some of the more familiar texts seem suddenly strange and definitely troubling. With FICTION his characteristic blend of intellectual audacity and scholarly rigour, he reminds us that each text from previous centuries was written at the mercy of its immediate moment as a crucial intervention in a developing debate – and by this brilliant HIST ORY, O RIGI NS,THE ORIES historicising of the material he indicates a way forward for Gothic amidst the ruins of post-Tiger Ireland.’ Declan Kiberd, University of Notre Dame Provides a new account of the emergence of Irish Gothic fiction in the mid-eighteenth century FI This new study provides a robustly theorised and thoroughly historicised account of CTI the beginnings of Irish Gothic fiction, maps the theoretical terrain covered by other critics, and puts forward a new history of the emergence of the genre in Ireland. -
Surrey Feet of Fines 1558-1760 Courtesy of Findmypast
Feet of Fines – Worcester references plus William Worcester publications: http://www.medievalgenealogy.org.uk Abstracts of Feet of Fines: Introduction The aim of this project is to provide abstracts of the medieval feet of fines that have not yet been published, for the period before 1509. A list of published editions, together with links to the abstracts on this site, can be found here. Alternatively, the abstracts can be searched for entries of interest. Background In the late 12th century a procedure evolved for ending a legal action by agreement between the parties. The agreement was known as a final concord (or fine). Originally this was a means of resolving genuine disputes, but by the middle of the 13th century the fine had become a popular way of conveying freehold property, and the legal action was usually a fictitious one, initiated with the cooperation of both parties. This procedure survived until the 1830s. Originally, each party would be given a copy of the agreement, but in 1195 the procedure was modified, so that three copies were made on a single sheet of parchment, one on each side and one at the foot. The copies would then be separated by cutting the parchment along indented (wavy) lines as a precaution against forgery. The right and left hand copies were given to the parties and the third copy at the foot was retained by the court. For this reason the documents are known as feet of fines. The following information is available online: Court of Common Pleas, General Eyres and Court of King's Bench: Feet of Fines Files, Richard I - Henry VII (to 1509) and Henry VIII - Victoria (from 1509) (descriptions of class CP 25 in The National Archives online catalogue) Land Conveyances: Feet of Fines, 1182-1833 (National Archives information leaflet) [Internet Archive copy from August 2004] CP 25/1/45/76, number 9. -
Copyright by Katharine Elizabeth Beutner 2011
Copyright by Katharine Elizabeth Beutner 2011 The Dissertation Committee for Katharine Elizabeth Beutner certifies that this is the approved version of the following dissertation: Writing for Pleasure or Necessity: Conflict among Literary Women, 1700-1750 Committee: ____________________________________ Lance Bertelsen, Supervisor ____________________________________ Janine Barchas ____________________________________ Elizabeth Cullingford ____________________________________ Margaret Ezell ____________________________________ Catherine Ingrassia Writing for Pleasure or Necessity: Conflict among Literary Women, 1700-1750 by Katharine Elizabeth Beutner, B.A.; M.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin May 2011 Acknowledgments My thanks to the members of my dissertation committee—Janine Barchas, Elizabeth Cullingford, Margaret Ezell, and Catherine Ingrassia—for their wise and patient guidance as I completed this project. Thanks are also due to Elizabeth Hedrick, Michael Adams, Elizabeth Harris, Tom Cable, Samuel Baker, and Wayne Lesser for all the ways they’ve shaped my graduate career. Kathryn King, Patricia Hamilton, Jennie Batchelor, and Susan Carlile encouraged my studies of eighteenth-century women writers; Al Coppola graciously sent me a copy of his article on Eliza Haywood’s Works pre-publication. Thanks to Matthew Reilly for comments on an early version of the Manley material and to Jessica Kilgore for advice and good cheer. My final year of writing was supported by the Carolyn Lindley Cooley, Ph.D. Named PEO Scholar Award and by a Dissertation Fellowship from the American Association of University Women. I want to express my gratitude to both organizations. -
An 18Th-Century French Drawing in the Baillieu Library Marguerite Brown
An 18th-century French drawing in the Baillieu Library Marguerite Brown Recently I had the opportunity to origins, possible function and, in my After exhausting the literature on conduct in-depth research on an view, true authorship. Bartolozzi in my unsuccessful search old master drawing in the Baillieu Drawn in red chalk on paper, for a work that may be related to the Library Print Collection at the Prometheus attacked by an eagle is Prometheus drawing, a visual analysis University of Melbourne, which was an unsigned and undated work that of style was needed to confirm the donated by Dr J. Orde Poynton in had previously been attributed to attribution to Bartolozzi, or find an 1959 (illustrated opposite). The focus the Italian-born engraver Francesco alternative theory.3 of that 12-week research project was Bartolozzi (1727–1815). This is This task was complicated by the a striking drawing of Prometheus, indicated by the ‘F. Bartolozzi’ fact that Bartolozzi was a prolific the Titan from Greek mythology inscribed in graphite by another and gifted copyist, and made his who acted against the will of the hand in the lower right-hand living imitating the styles of others gods and bestowed the gift of fire corner of the sheet, directly under through reproductive engravings and upon humankind. As punishment the image. Although the author of etchings. However, he was known to for this transgression, Zeus bound this inscription is unknown, it was have occasionally ‘indulged his fancy Prometheus to a rock, where every the initial clue upon which to start in original composition’ by making day an eagle would eat his liver. -
The Dark Romanticism of Francisco De Goya
The University of Notre Dame Australia ResearchOnline@ND Theses 2018 The shadow in the light: The dark romanticism of Francisco de Goya Elizabeth Burns-Dans The University of Notre Dame Australia Follow this and additional works at: https://researchonline.nd.edu.au/theses Part of the Arts and Humanities Commons COMMONWEALTH OF AUSTRALIA Copyright Regulations 1969 WARNING The material in this communication may be subject to copyright under the Act. Any further copying or communication of this material by you may be the subject of copyright protection under the Act. Do not remove this notice. Publication Details Burns-Dans, E. (2018). The shadow in the light: The dark romanticism of Francisco de Goya (Master of Philosophy (School of Arts and Sciences)). University of Notre Dame Australia. https://researchonline.nd.edu.au/theses/214 This dissertation/thesis is brought to you by ResearchOnline@ND. It has been accepted for inclusion in Theses by an authorized administrator of ResearchOnline@ND. For more information, please contact [email protected]. i DECLARATION I declare that this Research Project is my own account of my research and contains as its main content work which had not previously been submitted for a degree at any tertiary education institution. Elizabeth Burns-Dans 25 June 2018 This work is licenced under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 International licence. i ii iii ACKNOWLEDGMENTS This thesis would not have been possible without the enduring support of those around me. Foremost, I would like to thank my supervisor Professor Deborah Gare for her continuous, invaluable and guiding support. -
A Twist in the Tale of “The Tyger”
MINUTE PARTICULAR A Twist in the Tale of “The Tyger” Desmond King-Hele Blake/An Illustrated Quarterly, Volume 23, Issue 2, Fall 1989, pp. 104-106 PAGE 104 BLAKE/AN ILLUSTRATED QUARTERLY FALL 1989 comprehension and expanse of thought which at once fills the whole mind, and of which the first effect is sudden astonishment, and the A Twist in the Tale of "The Tyger" second rational admiration." Here is a sampling of similar contem porary opinions: "The sublime . takes possession of our attention, Desmond KingHele and of all our faculties, and absorbs them in astonishment"; "[the sublime] imports such ideas presented to the mind, as raise it to an uncommon degree of elevation, and fill it with admiration and astonishment"; "objects exciting terror are . in general sublime; Most readers of "The Tyger" have their own ideas of its for terror always implies astonishment, occupies the whole soul, meaning: I shall not be adding my own interpretation, and suspends all its motions." See, respectively, Works of Joseph but merely offering a factual record of minute particu Addison, 6 vols. (London: T. Cadell and W. Davies, 1811) 4: 340; lars, by pointing to a number of verbal parallels with Samuel Johnson, "The Life of Cowley," Lives of the English Poets, ed. George Birkbeck Hill, 3 vols. (1905; Oxford: Clarendon P; New Erasmus Darwin's The Botanic Garden. A few of these York: Octagon Books, 1967) 1: 2021; James Usher, Clio: Or, a Dis were given in my book Erasmus Darwin and the Roman course on Taste, 2nd ed. (London: T. -
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C. Hunter Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction In the spring of 1787, King George III visited the Royal Academy of Arts at Somerset House on the Strand in London’s West End. The king had come to see the first series of the Seven Sacraments painted by Nicolas Poussin (1594–1665) for Roman patron Cassiano dal Pozzo in the later 1630s. It was Poussin’s Extreme Unction (ca. 1638–1640) (fig. 1) that won the king’s particular praise.1 Below a coffered ceiling, Poussin depicts two trains of mourners converging in a darkened interior as a priest administers last rites to the dying man recumbent on a low bed. Light enters from the left in the elongated taper borne by a barefoot acolyte in a flowing, scarlet robe. It filters in peristaltic motion along the back wall where a projecting, circular molding describes somber totality. Ritual fluids proceed from the right, passing in relay from the cerulean pitcher on the illuminated tripod table to a green-garbed youth then to the gold flagon for which the central bearded elder reaches, to be rubbed as oily film on the invalid’s eyelids. Secured for twenty-first century eyes through a spectacular fund-raising campaign in 2013 by Cambridge’s Fitzwilliam Museum, Poussin’s picture had been put before the king in the 1780s by no less spirited means. Working for Charles Manners, fourth Duke of Rutland, a Scottish antiquarian named James Byres had Poussin’s Joshua Reynolds, Sacraments exported from Rome and shipped to London where they Diana (Sackville), Viscountess Crosbie were cleaned and exhibited under the auspices of Royal Academy (detail, see fig. -
Duncan Macmillan James Macpherson's Fragments of Ancient
Duncan Macmillan: Introduction 5 INTRODUCT I ON Duncan Macmillan James MacPherson’s Fragments of Ancient Poetry was published in 1760. Within the year, we learn from Howard Gaskill, it was translated into French by Diderot himself.1 In the two and a half centuries that have passed since then, the work has been translated into practically every literary language under the sun and it is likely that, somewhere, it has always been in print. That would be a remarkable bibliographic history for any book, but for a work whose exact nature was a matter of controversy from the day it was published and which has been routinely debunked as a fraud, it is truly extraordinary; nor does Ossian’s topicality seem to be fading even now in this post-modern era. On the contrary, the occasion for the conference whose transactions are recorded in this volume was the exhibition at the UNESCO building in Paris of Calum Colvin’s remarkable series of images, Ossian, Fragments of Ancient Poetry. It is a title which invokes MacPherson directly and the work itself is a striking witness to his enduring topicality. Among the essays below, the artist has contributed an illuminating commentary on his own work, backed by Tom Normand’s contribution which further examines it in the context of the photographic image and its role in the preservation, generation and perhaps even the creation of memory. Ossian, too, is in part at least a created memory. That analogy with an art form not invented till forty years after MacPherson’s death is typical of the way in which, for all that it is deliberately archaic, Ossian appears paradoxically also to be precociously modern. -
Antiquarian Prints1
Antiquarian Topographical Prints 1550-1850 (As they relate to castle studies) Bibliography Antiquarianism - General Peter N. Miller, (2017). History and Its Objects: antiquarianism and material culture since 1500. NY: Cornell Univ Press. David Gaimster, Bernard Nurse, Julia Steele (eds.), (2007), Making History: Antiquaries in Britain 1707-2007 (London, the Royal Academy of Arts & the Society of Antiquaries, Exhibition Catalogue).* Susan Pearce, (ed) (2007). Visions of Antiquity: The Society of Antiquaries of London 1707–2007. (Society of Antiquaries).* Jan Broadway (2006). "No Historie So Meete": gentry culture and the development of local history in Elizabethan and early Stuart England. Manchester: Manchester University Press. R. Sweet, (2004). Antiquaries: the discovery of the past in eighteenth-century Britain. (London: Hambledon Continuum). Daniel Woolf (2003). The Social Circulation of the Past: English historical culture 1500–1730. Oxford: Oxford University Press. Anthony Griffiths, (1998) The Print in Stuart Britain: 1603-1689,[Exhibition Cat.] British Museum Press.* Philippa Levine, (1986). The Amateur and the Professional: antiquarians, historians and archaeologists in Victorian England, 1838–1886. (Cambridge: Cambridge University Press). J. Evans, (1956), A history of the Society of Antiquaries, (Oxford University Press for the Society of Antiquaries) D. J. H Clifford (2003), The Diaries of Lady Anne Clifford (The History Press Ltd). Topographical Prints and Painting - General Ronald Russell, (2001), Discovering Antique Prints (Shire Books)* Julius Bryant, (1996), Painting the Nation - English Heritage properties as seen by Turner, (English Heritage, London)* Peter Humphries, (1995), On the Trail of Turner in North and South Wales, (Cadw, Cardiff). Andrew Wilton & Anne Lyles (1993), The Great Age of British Watercolours, (Prestel - Exhibition catalogue)* Lindsay Stainton, (1991) Nature into Art: English Landscape Watercolours, (British Museum Press)* Especially Section II ‘Man in the Landscape’ pp. -
The Oxford Companion to English Literature, 6Th Edition
e cabal, from the Hebrew word qabbalah, a secret an elderly man. He is said by *Bede to have been an intrigue of a sinister character formed by a small unlearned herdsman who received suddenly, in a body of persons; or a small body of persons engaged in vision, the power of song, and later put into English such an intrigue; in British history applied specially to verse passages translated to him from the Scriptures. the five ministers of Charles II who signed the treaty of The name Caedmon cannot be explained in English, alliance with France for war against Holland in 1672; and has been conjectured to be Celtic (an adaptation of these were Clifford, Arlington, *Buckingham, Ashley the British Catumanus). In 1655 François Dujon (see SHAFTESBURY, first earl of), and Lauderdale, the (Franciscus Junius) published at Amsterdam from initials of whose names thus arranged happened to the unique Bodleian MS Junius II (c.1000) long scrip form the word 'cabal' [0£D]. tural poems, which he took to be those of Casdmon. These are * Genesis, * Exodus, *Daniel, and * Christ and Cade, Jack, Rebellion of, a popular revolt by the men of Satan, but they cannot be the work of Caedmon. The Kent in June and July 1450, Yorkist in sympathy, only work which can be attributed to him is the short against the misrule of Henry VI and his council. Its 'Hymn of Creation', quoted by Bede, which survives in intent was more to reform political administration several manuscripts of Bede in various dialects. than to create social upheaval, as the revolt of 1381 had attempted.