Arcadian Quest : William Westall's Australian Sketches
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Ophelia: a Psychological Portrait Xena Fitzgerald Class of 2017
Ophelia: A Psychological Portrait Xena Fitzgerald Class of 2017 The tragic image of Ophelia, a young representation in art contributed to a variety of popular noblewoman who drowns during the play Hamlet, interpretations of her character. has haunted Britain since Shakespeare wrote her into Ophelia as a character is frequently represented existence around the year 1600. Ophelia reached the as various forms of femininity. Art historian Kimberly peak of her popularity around the mid-nineteenth Rhodes explains that during the Victorian era Ophelia century. In the realm of painting, she was a popular represented a range of female typologies from the subject for Pre-Raphaelite painters who were concerned “dutiful daughter” to the “madwoman.”3 Because with tropes of Victorian femininity as well as with Ophelia has very few lines within the play and her most the psychology of their subjects. In this paper I will signifcant action, her death, does not even appear on consider how the artist Anna Lea Merritt (1844-1930), stage, Rhodes describes her as “a blank page on which who was infuenced by the Pre-Raphaelite movement, patriarchy can inscribe and project its desires.”4 Along leapt beyond popular tropes to visually portray Ophelia with other Shakespearean heroines, Ophelia was taken in her 1880 painting with emotional and psychological up as an exemplar for femininity.5 Moral guides such depth more successfully than her contemporaries (fg. 1). as Anna Jameson’s Characteristics of Women, Moral, Born in Pennsylvania, Merritt, like Mary Poetical, and Historical instructed women and girls to Cassatt, pursued an artistic career in Europe. -
Captain Matthew Flinders (1774~1814)
Captain Matthew Flinders (1774~1814) Captain Matthew Flinders was born 16 March, 1774. He was one of the most successful cartographers and navigators of his time. In a career that only spanned twenty years he circumnavigated Australia, proved Tasmania was an island and was the person responsible for the name “Australia” being adopted. Born in Lincolnshire, England, Matthew Flinders was introduced to the sea through reading the book Robinson Crusoe. Coming from a family of doctors, Flinders was expected to follow the same profession, but at the age of 15 he joined the Royal Navy. By 1790, Flinders had been made a midshipman and worked transporting breadfruit from Tahiti to Jamaica where he developed his navigation skills under the leadership of Captain Bligh. Flinders first trip to Port Jackson, New South Wales was in 1795 as a midshipman. On this voyage he quickly proved himself as a fine navigator and cartographer. He also became friends with the ship’s surgeon George Bass. Not long after arriving in Port Jackson, Bass and Flinders made two small expeditions in small open boats, both named Tom Thumb. Their first journey was to Botany Bay and Georges River; the second south from Port Jackson to Lake Illawarra . These journeys allowed Flinders to upgrade the maps of the New South Wales coast. In 1798 Flinders was given command of the ship, Norfolk and given orders to investigate beyond the Furneaux’s Islands and explore the extent of the strait between the mainland and Van Diemen's Land ( now known as Tasmania). Flinders and Bass journeyed through the strait and circumnavigated Van Diemen's Land, proving that it was a separate island. -
The Meeting of Matthew Flinders and Nicolas Baudin
A Cordial Encounter? 53 A Cordial Encounter? The Meeting of Matthew Flinders and Nicolas Baudin (8-9 April, 1802) Jean Fornasiero and John West-Sooby1 The famous encounter between Nicolas Baudin and Matthew Flinders in the waters off Australia’s previously uncharted south coast has now entered the nation’s folklore. At a time when their respective countries were locked in conflict at home and competing for strategic advantage on the world stage, the two captains were able to set aside national rivalries and personal disappointments in order to greet one another with courtesy and mutual respect. Their meeting is thus portrayed as symbolic of the triumph of international co-operation over the troubled geopolitics of the day. What united the two expeditions—the quest for knowledge in the spirit of the Enlightenment—proved to be stronger than what divided them. This enduring—and endearing—image of the encounter between Baudin and Flinders is certainly well supported by the facts as we know them. The two captains did indeed conduct themselves on that occasion in an exemplary manner, readily exchanging information about their respective discoveries and advising one another about the navigational hazards they should avoid or about safe anchorages where water and other supplies could be obtained. Furthermore, the civility of their meeting points to a strong degree of mutual respect, and perhaps also to a recognition of their shared experience as navigators whom fate had thrown together on the lonely and treacherous shores of the “unknown coast” of Australia. And yet, as appealing as it may be, this increasingly idealized image of the encounter runs the risk of masking some of its subtleties and complexities. -
Does Early Colonial Art Provide an Accurate Guide to the Nature and Structure of the Pre-European Forests and Woodlands of South
Does early Colonial Art provide an accurate guide to the nature and structure of the pre-European forests and woodlands of South-Eastern Australia? A study focusing on Victoria and Tasmania By Michael Francis Ryan B For Sei, University of Melbourne Submitted in fulfilment of the requirement for the degree of: Master of Forestry Australian National University November 2009 Candidate’s Declaration I declare that this is the original work of Michael Francis Ryan of 84 Somerville Rd Yarraville, Victoria submitted in fulfilment of the requirement for the degree of Master of Forestry at the Australian National University. 2 Acknowledgements I am very grateful for the assistance and patience especially of Professor Peter Kanowski of the Australian National University for overseeing this work and providing guidance and advice on structure, content and editing. I would also like to acknowledge Professor Tim Bonyhady also of the Australian National University, whose expertise in the artwork field provided much inspiration and thoughtful analysis understanding early artwork. Bill Gammage, also from the ANU, provided excellent critical analysis using his extensive knowledge of the artists of the period to suggest valuable improvements. Ron Hateley from the University of Melbourne has an incredible knowledge of the early history of Victoria and of the ecology of Australia’s forests and woodlands. Ron continued to be a great sounding board for ideas and freely shared his own thoughts on early artwork in Western Victoria and the nature of the pre-European forests and I thank him for his assistance. Pat Groenhout, formally from VicForests, provided detailed comments and proof reading of manuscripts and this has considerably improved the readability and structure. -
The Kangaroo Island Tammar Wallaby
The Kangaroo Island Tammar Wallaby Assessing ecologically sustainable commercial harvesting A report for the Rural Industries Research and Development Corporation by Margaret Wright and Phillip Stott University of Adelaide March 1999 RIRDC Publication No 98/114 RIRDC Project No. UA-40A © 1999 Rural Industries Research and Development Corporation. All rights reserved. ISBN 0 642 57879 6 ISSN 1440-6845 "The Kangaroo Island Tammar Wallaby - Assessing ecologically sustainable commercial harvesting " Publication No: 98/114 Project No: UA-40A The views expressed and the conclusions reached in this publication are those of the author and not necessarily those of persons consulted. RIRDC shall not be responsible in any way whatsoever to any person who relies in whole or in part on the contents of this report. This publication is copyright. However, RIRDC encourages wide dissemination of its research, providing the Corporation is clearly acknowledged. For any other enquiries concerning reproduction, contact the Publications Manager on phone 02 6272 3186. Researcher Contact Details Margaret Wright & Philip Stott Department of Environmental Science and Management University of Adelaide ROSEWORTHY SA 5371 Phone: 08 8303 7838 Fax: 08 8303 7956 Email: [email protected] [email protected] Website: http://www.roseworthy.adelaide.edu.au/ESM/ RIRDC Contact Details Rural Industries Research and Development Corporation Level 1, AMA House 42 Macquarie Street BARTON ACT 2600 PO Box 4776 KINGSTON ACT 2604 Phone: 02 6272 4539 Fax: 02 6272 5877 Email: [email protected] Website: http://www.rirdc.gov.au Published in March 1999 Printed on environmentally friendly paper by Canprint ii Foreword The Tammar Wallaby on Kangaroo Island, South Australia, is currently managed as a vertebrate pest. -
The English Lake District
La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 10-1980 The nE glish Lake District La Salle University Art Museum James A. Butler Paul F. Betz Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum; Butler, James A.; and Betz, Paul F., "The nE glish Lake District" (1980). Art Museum Exhibition Catalogues. 90. http://digitalcommons.lasalle.edu/exhibition_catalogues/90 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. T/ie CEnglisti ^ake district ROMANTIC ART AND LITERATURE OF THE ENGLISH LAKE DISTRICT La Salle College Art Gallery 21 October - 26 November 1380 Preface This exhibition presents the art and literature of the English Lake District, a place--once the counties of Westmorland and Cumber land, now merged into one county, Cumbria— on the west coast about two hundred fifty miles north of London. Special emphasis has been placed on providing a visual record of Derwentwater (where Coleridge lived) and of Grasmere (the home of Wordsworth). In addition, four display cases house exhibits on Wordsworth, on Lake District writers and painters, on early Lake District tourism, and on The Cornell Wordsworth Series. The exhibition has been planned and assembled by James A. -
DANIELLS Artists and Travellers
,···.:.:.:::.::.;.:·::;'.:.:J<" .J THE DANIELLS Artists and Travellers by THOMAS SUTTON F.S.A. LONDON • THE BODLEY HEAD VIEW OF THE CASCADE Engr4vtil 1111J coloureil by William 'D4n1itll .from 4 pai11ti11g by Captain &btrt Smith •.=. THE DANIELLS IN NORTHERN INDIA: 1. CALCUTTA TO DELHI 27 been endowed with literary talents commensurate with his widoubted artistic ability, he could have been the creator of one of the most absorbing travel diaries ofall times. To the art historian the diaries are of the greatest interest, crowded as they are with Chapter Two references to the methods used by his wide and himself. We find, for example, that they used the camera obscura, and in this they were probably by no means alone. There are various types of this mechanical aid and the type used by the Daniells was probably The Daniells in Northern the one shaped like a box, with an open side over which a curtain is hwig. By means of optical refraction (as in a reflex camera) the object to be depicted is reflected on a India - I sheet of paper laid on the base of the box. The artist can then readily trace with a pencil over the outlines of the reflected surface. Holbein is reputed to have used a mechanical Calcutta to Delhi : 1788-1789 device for the recording ofhis portraits of the Court ofHenry VIII, and other kinds of artistic aids were widoubtedly known from the rime ofDiircr onwards. It must not be imagined, however, that the result of tracing in the camera produces a finished picture. accurate itinerary of the wanderings of the Dani ells in India between 1788 and It is one thing to make a tracing, and quite another to make a work of art. -
The Taming of the Shrew: Act IV, Scenes 1 and 5 Oil on Canvas 31 X 22¼ In
Julius Caesar Ibbetson (1759 - 1817) The Taming of the Shrew: Act IV, scenes 1 and 5 oil on canvas 31 x 22¼ in. (78.7 x 56.5 cm.) – a pair (2) one signed with initials ‘J I’ on the horse’s saddle Engraved in 1794 by A. Smith and I. Taylor for John Boydell’s Shakespeare Gallery. Provenance: John Boydell (1720-1804); Shakespeare Gallery sale, Christie’s, 20th May 1805, sold for £13 2s. 6d. and 8 gns. respectively to ‘Mr. Newton’; in the collection of the third Earl of Dudley, MC (1894-1969) by 1934; thence by descent until 2018. Exhibited: Birmingham, City Museum and Art Gallery, 1934, Commemorative Exhibition of the Art Treasures of the Midlands, no. 304 (as 'The Elopment' by William Hamilton). Literature: John Boydell and Josiah Boydell, A Collection of Prints from pictures painted for the purposes of illustrating the dramatic works of Shakespeare by the artists of Great Britain, London 1803, Vol III; R.M.Clay, Julius Caesar Ibbetson (Country Life 1948), p. 55 & note 5, p. 56; E. Waterhouse, The Dictionary of BRITISH 18th CENTURY PAINTERS in oils and crayons (Antique Collectors’ Club 1981), one illustrated on p. 192 (as ‘Unlocated’). Our Gallery Notes of November 2017 commemorated the bicentenary of Ibbetson’s death and in it I wrote how, since our exhibition of 1999 and my accompanying monograph on the artist, we have been often and agreeably surprised by the re-emergence of fine pictures by him which were thought lost or destroyed. It is rather fitting, then, that on the twentieth anniversary of my book we are able to present what are manifestly the most significant of them all, the original oil paintings commissioned from Ibbetson by John Boydell for his Gallery illustrating the plays of William Shakespeare. -
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. -
Daniell's and Ayton's 1813 Coastal Voyage from Land's End To
“Two Navigators…Sailing on Horseback”: Daniell’s and Ayton’s 1813 Coastal Voyage from Land’s End to Holyhead By Patrick D. Rasico Thesis Submitted to the Faculty of the Graduate School of Vanderbilt University in partial fulfillment of the requirements for the degree of MASTER OF ARTS in History May, 2015 Nashville, Tennessee Approved: James Epstein, Ph.D. Samira Sheikh, Ph.D. Peter Lake, Ph. D. Catherine Molineux, Ph.D. Humberto Garcia, Ph.D. 1 The othering of Welsh persons would remain a feature of English “home tour” travelogues throughout the nineteenth century. But in the English popular imaginary of the last decades of the eighteenth century, the Welsh landscape had begun to take on new meanings as a locus of picturesque topographical beauty. This was particularly true among visual artists. As early as 1770, the famed painter and aquatinter, Paul Sandby, made several tours through the Welsh countryside and produced multiple aquatint landscapes depicting the region.1 Sandby’s works opened the floodgate of tourists over the next decades. As Joseph Cradock avowed in 1777, “as everyone who has either traversed a steep mountain, or crossed a small channel, must write his Tour, it would be almost unpardonable in Me to be totally silent, who have visited the most uninhabited regions of North Wales.”2 The Wye Valley in Wales became the epicenter of British home tourism following the 1782 publication of William Gilpin’s Observations on the River Wye,3 one of the first English travel guides detailing the home tour.4 This treatise provided the initial conceptual framework of the picturesque topographical aesthetic. -
Eyre Peninsula Visitation Snapshot
Eyre Peninsula National parks visitation snapshot The region South Australia’s Eyre Peninsula is the ultimate coastal getaway – but without the coastal crowds. The opportunity It boasts more than 2,000 kilometres of coastline stretching from the tip of Spencer Gulf 300km northwest of Adelaide through to the Eyre Peninsula’s regional strategy is to capitalise on its Great Australian Bight in the state’s west. pristine nature, immersive wildlife experiences and coastal lifestyle to drive increased overnight stays from Eyre Peninsula is known for its quality seafood, scenic national parks, international and domestic visitors. productive farmland, pounding surf and adventure activities, like shark cage diving and swimming with sea lions. Tourism In 2018, Eyre Peninsula contributed $310 million to SA’s $6.8 billion tourism expenditure. The region attracts approximately 212,000 overnight visitors per year (2016-18) – with almost three quarters being intrastate visitors. Of these, about half are from Adelaide and its surrounds, and the remainder from regional areas of the state. Eyre Peninsula has more than 26 visitor accommodation* options, totalling 987 available rooms. Over the course of a year, occupancy rates average at about 50 per cent – peaking at 52-53 per cent from September to November and 50-52 per cent from February to April, and dipping to 48 per cent in the winter months. For more in-depth analysis, view the SA Tourism Commission regional profiles *Hotels, motels and service apartments with 15+ rooms Monthly occupancy rates 2015-16 Length of visit to Eyre Peninsula National parks Eyre Peninsula’s national parks are one of the region’s main drawcards.