Biographies Abbreviations (Wilson Online Reference and Name/Date/Relationship to Wilson)
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Eighteenth-Century English and French Landscape Painting
University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. -
Constable, Gainsborough, Turner and the Making of Landscape
CONSTABLE, GAINSBOROUGH, TURNER AND THE MAKING OF LANDSCAPE THE JOHN MADEJSKI FINE ROOMS 8 December 2012 – 17 February 2013 This December an exhibition of works by the three towering figures of English landscape painting, John Constable RA, Thomas Gainsborough RA and JMW Turner RA and their contemporaries, will open in the John Madejski Fine Rooms and the Weston Rooms. Constable, Gainsborough, Turner and the Making of Landscape will explore the development of the British School of Landscape Painting through the display of 120 works of art, comprising paintings, prints, books and archival material. Since the foundation of the Royal Academy of Arts in 1768, its Members included artists who were committed to landscape painting. The exhibition draws on the Royal Academy’s Collection to underpin the shift in landscape painting during the 18 th and 19 th centuries. From Founder Member Thomas Gainsborough and his contemporaries Richard Wilson and Paul Sandby, to JMW Turner and John Constable, these landscape painters addressed the changing meaning of ‘truth to nature’ and the discourses surrounding the Beautiful, the Sublime and the Picturesque. The changing style is represented by the generalised view of Gainsborough’s works and the emotionally charged and sublime landscapes by JMW Turner to Constable’s romantic scenes infused with sentiment. Highlights include Gainsborough’s Romantic Landscape (c.1783), and a recently acquired drawing that was last seen in public in 1950. Constable’s two great landscapes of the 1820s, The Leaping Horse (1825) and Boat Passing a Lock (1826) will be hung alongside Turner’s brooding diploma work, Dolbadern Castle (1800). -
Chapter Eleven
Chapter eleven he greater opportunities for patronage and artistic fame that London could offer lured many Irish artists to seek their fortune. Among landscape painters, George Barret was a founding Tmember of the Royal Academy; Robert Carver pursued a successful career painting scenery for the London theatres and was elected President of the Society of Artists while, even closer to home, Roberts’s master George Mullins relocated to London in 1770, a year after his pupil had set up on his own in Dublin – there may even have been some connection between the two events. The attrac- tions of London for a young Irish artist were manifold. The city offered potential access to ever more elevated circles of patronage and the chance to study the great collections of old masters. Even more fundamental was the febrile artistic atmosphere that the creation of the Royal Academy had engen- dered; it was an exciting time to be a young ambitious artist in London. By contrast, on his arrival in Dublin in 1781, the architect James Gandon was dismissive of the local job prospects: ‘The polite arts, or their professors, can obtain little notice and less encouragement amidst such conflicting selfish- ness’, a situation which had led ‘many of the highly gifted natives...[to] seek for personal encourage- ment and celebrity in England’.1 Balancing this, however, Roberts may have judged the market for landscape painting in London to be adequately supplied. In 1769, Thomas Jones, himself at an early stage at his career, surveyed the scene: ‘There was Lambert, & Wilson, & Zuccarelli, & Gainsborough, & Barret, & Richards, & Marlow in full possession of landscape business’.2 Jones concluded that ‘to push through such a phalanx required great talents, great exertions, and above all great interest’.3 As well as the number of established practitioners in the field there was also the question of demand. -
Lowell Libson Limited
LOWELL LI BSON LTD 2 0 1 0 LOWELL LIBSON LIMITED BRITISH PAINTINGS WATERCOLOURS AND DRAWINGS 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LOWELL LI BSON LTD 2 0 1 0 Our 2010 catalogue includes a diverse group of works ranging from the fascinating and extremely rare drawings of mid seventeenth century London by the Dutch draughtsman Michel 3 Clifford Street · Londonw1s 2lf van Overbeek to the small and exquisitely executed painting of a young geisha by Menpes, an Australian, contained in the artist’s own version of a seventeenth century Dutch frame. Telephone: +44 (0)20 7734 8686 · Email: [email protected] Sandwiched between these two extremes of date and background, the filling comprises Website: www.lowell-libson.com · Fax: +44 (0)20 7734 9997 some quintessentially British works which serve to underline the often forgotten international- The gallery is open by appointment, Monday to Friday ism of ‘British’ art and patronage. Bellucci, born in the Veneto, studied in Dalmatia, and worked The entrance is in Old Burlington Street in Vienna and Düsseldorf before being tempted to England by the Duke of Chandos. Likewise, Boitard, French born and Parisian trained, settled in London where his fluency in the Rococo idiom as a designer and engraver extended to ceramics and enamels. Artists such as Boitard, in the closely knit artistic community of London, provided the grounding of Gainsborough’s early In 2010 Lowell Libson Ltd is exhibiting at: training through which he synthesised -
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. -
Grosvenor Prints Catalogue
Grosvenor Prints Tel: 020 7836 1979 19 Shelton Street [email protected] Covent Garden www.grosvenorprints.com London WC2H 9JN Catalogue 110 Item 50. ` Cover: Detail of item 179 Back: Detail of Item 288 Registered in England No. 305630 Registered Office: 2, Castle Business Village, Station Road, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rainment. C.E. Ellis. E&OE VAT No. 217 6907 49 1. [A country lane] A full length female figure, etched by Eugene Gaujean P.S. Munn. 1810. (1850-1900) after a design for a tapestry by Sir Edward Lithograph. Sheet 235 x 365mm (9¼ x Coley Burne-Jones (1833-98) for William Morris. PSA 14¼")watermarked 'J Whatman 1808'. Ink smear. £90 275 signed proof. Early lithograph, depicting a lane winding through Stock: 56456 fields and trees. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. Stock: 56472 2. [A water mill] P.S. Munn. [n.d., c.1810.] Lithograph. Sheet 235 x 365mm (9¼ x 14¼"), watermarked 'J Whatman 1808'. Creases £140 Early pen lithograph, depicting a delapidated cottage with a mill wheel. Paul Sandby Munn (1773-1845), named after his godfather, Paul Sandby, who gave him his first instructions in watercolour painting. He first exhibited at the Royal Academy in 1798 and was a frequent contributor of topographical drawings to that and other exhibtions. -
2003/1 (6) 1 Art on the Line
Art on the line EXHIBITION REVIEW: Thomas Jones 1742-1803 Jonathan Blackwood School of Humanities and Social Sciences, University of Glamorgan, Pontypridd, CF37 1DL, Wales [email protected] This magnificent monographic show, curated roots in rural mid Wales as well as his train- by Ann Sumner, will do much to introduce ing under Wilson and the dramatic impact gallery visitors to the work of Thomas Jones that Italy, and Naples in particular, was to and restore him to his rightful place as an have on his work. The culmination of his important figure in UK landscape painting, in years in London and his membership of the the second half of the eighteenth century. Society of Artists was The Bard of 1774. Jones was born in Radnorshire in 1742 Based on Thomas Gray’s poem, published in and initially seemed destined for a career as 1757, the painting fuses Wilsonian land- a clergyman. However, a change of heart scape ideas with a dramatic staging of saw him train as an artist under Richard Edward I’s massacre of the Welsh bards Wilson (1761-63), and then exhibit as a under an apocalyptic sky. The painting is a member of the Society of Artists from 1766 striking and arresting summary of the rapid onwards. A decade later, Jones left the and capable development of Jones’ talent in United Kingdom for some years in Italy, the first years of his career. spent mainly in Rome and Naples. He came Just over half the exhibits are devoted to back in 1783 on the death of his father and Jones’ years in Italy from 1776-83. -
1 Exhibition Abbreviations
Exhibition Abbreviations (Wilson Online Reference abbreviations and titles/locations) Agnew 1926: Exhibition of English Landscapes in Aid of the Artists' Benevolent Institution, at Thomas Agnew and Sons Galleries. London, Thomas Agnew & Sons Agnew 1937: Coronation Exhibition of British Pictures. London, Thomas Agnew & Sons Amsterdam 1936: Twee Eeuwen Engelsche Kunst (Loan Exhibition of British Art). Amsterdam, Stedelijk Museum Amsterdam 1965: De Engelse Aquarel uit de 18de Eeuw: Van Cozens tot Turner. Amsterdam, Rijksprentenkabinet Arts Council 1951: Three Centuries of British Water-colours and Drawings. London, Festival of Britain Baltimore 1979-80: Eighteenth Century Master Drawings from the Ashmolean. Baltimore Museum of Art, USA Bangor 1925: Exhibition of Oil-Paintings by Richard Wilson, R.A., J.M.W. Turner, R.A, John Crome, Thomas Barker. Bangor, University College of North Wales BI 1814: Works by Hogarth, Gainsborough and Wilson lent to the British Institution. London, British Institution Birmingham 1948-49: Exhibition of Pictures by Richard Wilson and his Circle. Birmingham City Art Gallery Birmingham 1993: Canaletto and England. Birmingham City Art Gallery Brighton 1920: A Collection of Oil Paintings and Sketches by Richard Wilson, R.A. lent by Captain Richard Ford. Brighton, Fine Art Galleries Cardiff 2001: Wilson at Work: Techniques of an 18th Century Painter. Cardiff, Amgueddfa Cymru - National Museum Wales Cardiff, Manchester and London, 2003-4: Thomas Jones (1742-1803): An Artist Rediscovered. National Museum & Gallery, Cardiff, Whitworth Art Gallery, Manchester and National Gallery, London Constable Turner Gainsborough 2012: Constable, Gainsborough, Turner and the Making of Landscape: London, Royal Academy Conwy 2009: Richard Wilson: Life & Legacy. Conwy, Royal Cambrian Academy. -
Richard Wilson: Landscape Painting for a New Exhibition Culture
1 Richard Wilson: Landscape painting for a new Exhibition Culture Laura Layfield MA by Research The University of York History of Art Department September 2010 25,040 words 2 ABSTRACT Richard Wilson (1714 – 1782) was considered by his contemporaries „ingenious‟1 and by his followers as „the father of British landscape painting‟.2 Painting in Italy and afterwards in Britain, Wilson was arguably the foremost British landscape painter of the eighteenth century. He painted in a classical style shaped by the works of masters such as Claude Lorrain, Gaspard Dughet and Nicholas Poussin and gained inspiration from his travels and classical literature. His life spanned much of a century which saw an enormous shift in the British art world with the onset of the annual public exhibition. This dissertation will consider Wilson‟s submissions to the Society of Artists‟ annual exhibitions between 1760 and 1768. I will argue that Wilson pursued a highly deliberate strategy of self-advertisement when choosing pieces to submit to these public exhibitions and consider the extent to which Wilson used the venue of the public exhibition to change public perceptions of landscape painting as a genre. 1 J. Reynolds. Fifteen Discourses, ‘The Fourteenth Discourse’ (Reprinted London and New York, 1906) p. 236 2 J. Farington, quoted from the Morning Post in the catalogue accompanying ‘Exhibition of Works by Richard Wilson, RA’ at the Ferens Art Galley, Kingston upon Hull which ran Nov – Dec 1936 3 CONTENTS Page no. List of Illustrations...................................................................................................................4 -
Bibliographical Resources Abbreviations (Wilson Online Reference and Title)
Bibliographical Resources Abbreviations (Wilson Online Reference and title) Archer 1811: Robert Archer, Studies and Designs by Richard Wilson, done at Rome in the Year 1752 Arts Council 1951: Brinsley Ford, Three Centuries of British Water-Colours and Drawings Ashby 1913: Thomas Ashby, 'Thomas Jenkins in Rome' Baetjer 2009: Katherine Baetjer, British Paintings in the Metropolitan Museum of Art, 1575-1875 Baker 1999: Rosa Baker, 'The Family of Richard Wilson, R.A., and its Welsh Connections' Baker 2011: Christopher Baker, English Drawings and Watercolours 1600-1900, National Gallery of Scotland Baker and Jones 1996: Rosa Baker and Rosemary Jones, 'The Park and Gardens of Colomendy Hall' Baxter 1986: The Landscape Painting Technique of Richard Wilson Binyon: Lawrence Binyon, Catalogue of Drawings by British Artists and Artists of Foreign Origin working in Great Britain preserved in the Department of Prints and Drawings in the British Museum Bonehilll and Daniels: John Bonehill & Stephen Daniels, Paul Sandby: Picturing Britain Booth MS: Benjamin Booth, List of Paintings Booth Unpublished Notes: Benjamin Booth, Unpublished Notes Brown 1982: Catalogue of the Collection of Drawings in the Ashmolean Museum, Volume IV: The Earlier British Drawings, British Artists and Foreigners working in Britain born before c.1775 Bull 1981: Duncan Bull, Classic Ground: British Artists and the Landscape of Italy Bury 1947: Adrian Bury, Richard Wilson, R.A.: The Grand Classic Catalogue 1814: Catalogue of Pictures by the late William Hogarth, Richard Wilson, Thomas -
Lowell Libson Limited British Art
LOWELL LI BSON LTD 2 0 12 • LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · London w1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LL 2012 text for Alta.indd 1 01/12/2011 13:05 LOWELL LIBSON LTD 2012 LL 2012 text for Alta.indd 2 01/12/2011 13:05 LL 2012 text for Alta.indd 3 01/12/2011 13:05 INDEX OF ARTISTS LOWELL LIBSON LTD Richard Parkes Bonington 96–101 Robert Carpenter 64 3 Clifford Street · London w1s 2lf John Constable 86–95 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 David Cox 112–117 Email: [email protected] Richard Earlom 58 Website: www.lowell-libson.com Henry Edridge 73 The gallery is open by appointment, Monday to Friday James Jefferys 56 The entrance is in Old Burlington Street Thomas Gainsborough 18–31 Daniel Gardner 42 In 2012 our exhibition schedule is: Hubert Gravelot 12 Master Drawings New York Valentine Green 60 January 21–28 William Holman Hunt 118 George Lambert 16 TEFAF Maastricht Thomas Lawrence 76–79 March 16–25 John Linnell 102 Master Drawings London Thomas Malton 70 June 27 – July 5 Master of the Giants 56 John Hamilton Mortimer 54 Matthew William Peters 50 George Romney 32–41 Michael Angelo Rooker 68 George Stubbs 52 Peltro William Tomkins 44 Francis Towne 62 William Turner of Oxford 104–111 George Augustus Wallis 80 Cover: a sheet of 18th-century Italian paste paper (collection: Lowell Libson) Richard Westall 48, 84 John Michael Wright 8 Frontispiece: detail from Sir John Morshead George Romney (see pages 38–41) Joseph Wright of Derby 58–61 LL 2012 text for Alta.indd 4 01/12/2011 13:05 LL 2012 text for Alta.indd 5 01/12/2011 13:05 We are delighted to be able to publish some of the acquisitions – paintings, drawings, watercolours, prints and sculpture – which we have made over the last year. -
John Boydell and the Depiction of Welsh Scenery in Reproductive Prints, 1750-1850 by Simon Cobb (Orcid.Org/0000-0002-2874-8657)
John Boydell and the depiction of Welsh scenery in reproductive prints, 1750-1850 By Simon Cobb (orcid.org/0000-0002-2874-8657). The majority of the prints in the Welsh Landscape Collection were created during a period of lively and copious production that followed the spectacular revival of British printmaking in the mid-eighteenth century and extended to about 1830.1 This period saw British art rise to European prominence,2 with the patronage of printsellers and publishers playing a significant role in this development by financially assisting newly independent artists, freed from dependence on aristocratic sponsorship, while disseminating their work to the public.3 But one publisher dominated the print trade. John Boydell (plate I) was a vastly successful entrepreneur of international renown,4 who capitalised on his intermediary role between the artist and consumer to both advance the cause of painters and engravers and encourage the public’s taste for fine and reproductive art.5 His selection of paintings for publication and recruitment of gifted young engravers to reproduce them led to some of the most successful copperplates and exerted a considerable influence on the course of British art.6 The Welsh Landscape Collection consists of some 5,000 prints that the National Library of Wales has digitised and made freely available as an online resource. These images of Welsh scenery not only include views of towns, landmarks, such as castles, ecclesiastical buildings and manor houses, and the beauties of the natural environment, with pictures of rivers, lakes and mountains being abundant, but also industrial scenes, quarrying and factory interiors for example, and important events like King George IV’s visit to Holyhead and the construction of the Menai Suspension Bridge.