BEAUTIFUL CHILDREN IMMORTALISED by the MASTERS R^^=^

Total Page:16

File Type:pdf, Size:1020Kb

BEAUTIFUL CHILDREN IMMORTALISED by the MASTERS R^^=^ ^s m ^ BEAUTIFUL CHILDREN Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/beautifulchildreOOmacfrich MASTER LAMBTON BY SIR THOMAS LAWRENCE {From Lord Dtirhani's Collection) Of the many fine pictures of children painted by Lawrence, one of the most famous is that of the poetic seven-year-old son of the first Lord Durham by his second marriage with the daughter of the second Earl Grey. The boy appears older than his age ; indeed, the handsome patrician little fellow was a pensive child beyond his years. He was not destined to succeed to the title, dying the year after his painter. BEAUTIFUL CHILDREN IMMORTALISED BY THE MASTERS r^^=^ C. HALDAN E M9FALL WITH JO REPRODUCTIONS IN COlOffR OF FAMOUS PAINTINGS LONDON. T.C.^ E.C.JACK NEW YORK. DODD.MEAD &. CO M S. L c'fff^ — — THE PERSONAL NOTE It would ill become pen of mine to let this volume go forth without paying tribute to the generous help that has gone to the making of its chief claim to merit. To Lord Spencer, Lord Crewe, Lord Durham, and Lord Lucas the debt is heavy for the handsome way in which they have placed their treasure at the service of these pages. To the courtesy of the Keepers of the State collections of the National Gallery, the National Portrait Gallery, the Diploma Gallery, the Wallace Collection, and the Tate of the Louvre and at Versailles in Vienna, in Berlin, at Munich, at Turin, in Amsterdam, and at the Prado, also my thanks. To Mr. Martin Hardie at South Kensington I owe much goodwill and generous assistance. But above all I am bound to acknowledge my debt to my friend T. Leman Hare, to whose conception all that is best in the book is due, and without whose enterprise it would never have been completed. It is always my aim, since the exact illustration of photography gives so well the main idea of pictures, to write concerning such pictures, as an aid to the full understanding of them, the history of their makers and sitters and their relation to the age that bred them, rather than to attempt an cesthetic estimate of their artistry, which can appeal at best to the few; the more particularly as the few will gain a really true estimate of their artistic value only by close study of the originals. It has ever seemed to me a fatuous effort to try to instil by words into the senses of others the sensations aroused by a work of art in a magisterial verdict that would assume to lay down the complete and only significance of the achieved work ; the history of criticism is one long wreckage of the broken wisdom of such as have THE PERSONAL NOTE essayed the fooVs part. Indeed, were it possible ^ then the painter had had no need to do with colour what words could do as well. There is that in the sensing of works of art in colour that naught else may utter. And the widespread pedantry created by the written estimates of the writers of the past in the minds of worthy people who attempt to judge of great works of art through the spectacles of such as have had sufficient self-sufficiency to utter the final and godlike decision, has created a repulsive form of intellectual falsity and snobbery which has been a warning to me not to add fuel to the abomination. HALDANE McFALL. VI CONTENTS CHAfTER PAGB I. Concerning the Fleeting Wonder that is called Childhood i II. The Coming of the Child into the Kingdom of Art 5 THE FLEMISH GENIUS III. Wherein we see the Lamp of Art set aflame in Flanders 15 IV. Wherein is much Significance to Art in the Silt- ing of the Waters that flow by the City of Bruges 21 V. Wherein we see the Flemish Art make its Home in Blackfriars 39 THE DUTCH GENIUS VI. Wherein is Discovered a World-genius stepping out of a Police-court Scandal . 48 VII. Wherein shallow Respectability Browbeats a Giant—not without wide approval ... 56 VIII. Wherein it is seen that, the Captains being Dead, the Citadel slowly Surrenders . 64 vii CONTENTS THE SPANISH GENIUS CHAPTER PAGB IX. Wherein rarer Treasure is discovered to be GROWING in the STREETS OF SEVILLE THAN Spain's great Galleons poured thereinto . 69 X. In which the old Art of Spain dies of a Fall from a Scaffold 84 THE GERMANIC GENIUS XL Which has to do with the Children of the Years when the World wore great Wigs and Marlborough made his Wars ... 87 XII. Wherein is Hint that Spectacles may not always help the Sight 96 THE FRENCH GENIUS XIII. Which has to do with Assassination by Order OF THE King, and the Discovery of an Artist BY the Captain of the Guard . .101 XIV, Which has to do with the Smuggling or other- wise OF A Man-child into the Palace of St. James's in XV. Which shows worthy Folk being cheated by a Rogue 120 XVI. Which has to do with the Princelings of the Age of Elegance 125 XVII. In which we see the Child in French Art under the Shadow of the Revolution . 131 viii CONTENTS THE BRITISH GENIUS CHAPTER PAOB XVIII. Which proves that though the industrious Apprentice be kicked off his Master's door- step, he may alight on his feet . .137 XIX. Wherein Genius weds a Mysterious Beauty and finds a Patron in a Hoax . .146 XX. In which a Lock of a Beautiful Woman's Hair is discovered in a Dead Man's Pocket- book 151 XXI. Wherein Genius learns the Art of Shooting the Moon to be a part of his Apprentice- ship 155 XXII. Wherein Genius gets to Horse and sallies forth to seek its Destiny . .158 XXIII. Wherein we make our Bow to the Beautiful Duchess of Devonshire, and there is Hint OF A Duel 164 XXIV. Which discovers Genius running away from a Bore and falling into the Arms of the King's Majesty 170 XXV. Wherein we make our Bow to the Beautiful Mrs. Crewe, and find the Town furiously Divided 174 XXVI. In which a Beautiful Vision steps into the Home of Genius, and the "Age of Inno- is , cence" born 182 b ix CONTENTS CHAPTER FAGB XXVII. In which the Beautiful Vision flits out of THE Palace of Art, and Black Care enters THEREINTO; AND OF A GREAT RECONCILIATION —AND Death 187 XXVIII. Of a Great Shadow that falls, and of the Dusk, and of One Groping in the Darkness, and a Mighty Wreckage 195 XXIX. Which has to do with the Jockeying of the Great by the Lesser Great, and the Bays ON THE Lesser Skull 201 XXX. Wherein the Child sits enthroned . .205 . LIST OF PLATES IN COLOUR PICTURE ARTIST Master Lambton .... Lawrence Frontispiece opposi TE PAGtt Jacqueline de Bourgogne Mabuse i8 Fruitfulness Rubens 28 The Painter's Two Sons . Rubens 32 The Balbi Children Van Dyck . 40 Five Children of Charles I. Van Dyck . 42 Prince James as a Child . Van Dyck , 44 William of Orange and Princess Mary of England Van Dyck , 46 William III Van Ceulen , 46 Daughters of the Painter De Vos 48 The Little Princess Moreelse 50 Nurse and Child .... Frans Hals 52 Portrait of a Boy .... Rembrandt . 60 Helene van der Schalke Terborch 66 as Boy Archer .... Maes . 68 Jeune Princesse .... Netscher 68 Don Baltazar Carlos Velazquez . 80 Infanta Margarita .... Velazquez . 82 Don Philip Prosper Velazquez . 82 Henry Sydney Lely . 88 The Ladies Henrietta and Anne Churchill ..... Kneller . 96 Princess with a Parrot . Mengs . 98 Young Prince Mengs 100 Two Young Princes Mengs 100 XI LIST OF PLATES IN COLOUR PICTURE ARTIST OPPOSITE PAGE FRANgoiSE Marie de Bourbon . Mignard . iia Marie Anne de Bourbon-Conti Belle . no Prince James Stuart and his Sister Princess Louisa as Children Largilliere . 114 Infanta Anna Victoria . Largilliere . iifr Prince Charles Edward Stuart Largilliere . 11& Prince Henry Stuart, Cardinal York Largilliere . 118 Louis XV. as a Child Rigaud . 124 Nattier Louis of France .... 126 A Prince of France Nattier . 128 Princess Marie Isabelle . Nattier . 128 Madame Louise, Daughter of Louis XV Nattier . 130 Le Comte d'Artois and Madame Clothilde Drouais . , . 130 Fair-haired Child Fragonard . .... , • 134 Roi DE Rome Gerard ..... 134 Master Hare Reynolds ..... 154 Georgina, Countess of Spencer, and Daughter ..... Reynolds . 168 Miss Bowles Reynolds . 174 Master Crewe as Henry VIH. Reynolds . 176 Miss Crewe ..... Reynolds . 176 The Age of Innocence . Reynolds . 186 A Boy with a Rabbit Raeburn . 188 Viscount Althorp .... Reynolds . 190 Miss Haverfield .... Gainsborough . 194 Child with a Kid .... Lawrence . 204 Souvenir of Velazquez . Millais . 206 Carnation Lily, Lily Rose Sargent . , . 208 xu — BEAUTIFUL CHILDREN CHAPTER I CONCERNING THE FLEETING WONDER THAT IS CALLED CHILDHOOD ACHILD'S discarded toy lay in the grass, maimed and mutilated, the aforetime gay paint worn off it in patches, the plaything of the autumn's violences, ^ the victim of the rude assaults of winter, the ghostly relic of the rains of spring, the bleached and cracked sacrifice to the parching suns of summer—the Symbol of the Years. And as I lifted tenderly the pallid fragment of that once gaily bedecked puppet, that had brought laughter and merri- ment to the happy little one, it seemed to me that across the grass came running joyously, eager with graceful clumsi- ness, the exquisitely fashioned Child who had trampled over my heart with dear delightful tyrannies, and refused with large eyes of wonder and red lips of reckless logic to under- stand any protest—except that I was her footstool.
Recommended publications
  • Rembrandt Peale, Charles Willson Peale, and the American Portrait Tradition
    In the Shadow of His Father: Rembrandt Peale, Charles Willson Peale, and the American Portrait Tradition URING His LIFETIME, Rembrandt Peale lived in the shadow of his father, Charles Willson Peale (Fig. 8). In the years that Dfollowed Rembrandt's death, his career and reputation contin- ued to be eclipsed by his father's more colorful and more productive life as successful artist, museum keeper, inventor, and naturalist. Just as Rembrandt's life pales in comparison to his father's, so does his art. When we contemplate the large number and variety of works in the elder Peak's oeuvre—the heroic portraits in the grand manner, sensitive half-lengths and dignified busts, charming conversation pieces, miniatures, history paintings, still lifes, landscapes, and even genre—we are awed by the man's inventiveness, originality, energy, and daring. Rembrandt's work does not affect us in the same way. We feel great respect for his technique, pleasure in some truly beau- tiful paintings, such as Rubens Peale with a Geranium (1801: National Gallery of Art), and intellectual interest in some penetrating char- acterizations, such as his William Findley (Fig. 16). We are impressed by Rembrandt's sensitive use of color and atmosphere and by his talent for clear and direct portraiture. However, except for that brief moment following his return from Paris in 1810 when he aspired to history painting, Rembrandt's work has a limited range: simple half- length or bust-size portraits devoid, for the most part, of accessories or complicated allusions. It is the narrow and somewhat repetitive nature of his canvases in comparison with the extent and variety of his father's work that has given Rembrandt the reputation of being an uninteresting artist, whose work comes to life only in the portraits of intimate friends or members of his family.
    [Show full text]
  • 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.
    [Show full text]
  • English Female Artists
    ^ $525.- V ^ T R /S. / / \ * t {/<•/dti '/’rlk- Printed lor Hob'.Saryer.N?^ in Fleet Street ■ ENGLISH 'EMALE ART < rn us. Ei.LSK C. G) aYXO v A' £HOR Of •' QUi'JBKir OF 80N0 ' !,'TO. • • • VOL f. LONDON; ! OTHERS, S CATHERINE ST.. SXRAN I) 187C. (A'ii *1 ijkti r ;,d) * ENGLISH FEMALE ARTISTS. lBY ELLEN C. CLAYTON, AUTHOR OF “QUEENS OF SONG,” ETC. IN TWO VOLUMES. VOL. I. I- LONDON: TINSLEY BROTHERS, 8 CATHERINE ST., STRAND. 1876. (All rights reserved.) TO (gHsabftlt Sltompisian THIS BOOK, A ROLL CALL OF HONOURABLE NAMES, is BY PERMISSION INSCRIBED, IN TESTIMONY OF ADMIRATION FOR HER GENIUS. CONTENTS. CHAPTER I. PAGE Susannah Hornebolt. Lavinia Teerlinck ... ... ... 1 CHAPTER II. Anne Carlisle. Artemisia Gentileschi. The Sisters Cleyn 14 CHAPTER III. Anna Maria Carew. Elizabeth Neale. Mary More. Mrs. Boardman. Elizabeth Creed ... ... ... ... 35 CHAPTER IY. Mary Beale ... ... ... ... ... ... 40 CHAPTER Y. Susan Penelope Rose ... ... ... ... ... 54 CHAPTER VI. Anne Killigrew ... ... ... ... ... ... 59 CHAPTER VII. Maria Varelst ... ... ... ... ... ... 71 VI CONTENTS. CHAPTER VIII. PAGE Anne, Princess of Orange. Princess Caroline. Agatha Van- dermijn. Sarah Hoadley 78 CHAPTER IX. Elizabeth Blackwell 91 CHAPTER X. Mary Delany 96 CHAPTER XL Frances Reynolds 146 CHAPTER XII. Maria Anna Angelica Catherine Kauffman 233 CHAPTER XIII. Mary Moser 295 CHAPTER XIV. Maria Cecilia Louisa Cosway 314 CHAPTER XV. Amateurs: Temp. George the Third 336 CHAPTER XVI. The Close of the Eighteenth Century 359 CHAPTER XVII. The Earlier Years of the Nineteenth Century ... 379 CHAPTER XVIII. Mary Harrison. Anna Maria Charretie. Adelaide A. Maguire 410 LIST OF THE PRINCIPAL AUTHORITIES CONSULTED FOR THE FIRST VOLUME. Annual Registek. Abt Joubnal.
    [Show full text]
  • The Domestication of History in American Art: 1848-1876
    W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps.
    [Show full text]
  • UNIVERSITY of CALIFORNIA RIVERSIDE Aesthetic Intersections
    UNIVERSITY OF CALIFORNIA RIVERSIDE Aesthetic Intersections: Portraiture and British Women’s Life Writing in the Long Eighteenth Century A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Flavia Ruzi September 2017 Dissertation Committee: Dr. Adriana Craciun, Chairperson Dr. George Haggerty Dr. Malcolm Baker Copyright by Flavia Ruzi 2017 ii The Dissertation of Flavia Ruzi is approved: Committee Chairperson University of California, Riverside iii Acknowledgments This dissertation would not have been possible without the guidance and support of my committee, who have stood relentlessly beside me through every step of the process. I am immensely grateful to Adriana Craciun for her continued faith in my project and in my capacity to meet her ambitious expectations. She has made me a better writer and a more sophisticated thinker. I would also like to express my gratitude to Malcolm Baker, who has patiently born with my literary propensities through my examination of art historical materials. His dedicated guidance has enabled me to discuss such materials in each chapter with the art historical rigor they deserve. The interdisciplinary impetus of my project would not have been possible without him. And I would like to thank George Haggerty, who has been there for me since the first day of my graduate career and continues to inspire me with his unabating love for eighteenth- century literature. The reading group he organized for me and my friend, Rebecca Addicks-Salerno, was instrumental in the evolution of my project. Our invaluable conversations ensured that my dissertation was not a lonely and isolated process but the product of an eighteenth-century-salon-like culture of enjoyable intellectual exchange.
    [Show full text]
  • Angelica Kauffmann, R.A., Her Life and Her Works
    EX LlBRl THE GETTY PROVENANCE INDEX This edition is limited to lOOO copies for sale in Great Britain and the United States. I ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS BT DR. G. C. WILLIAMSON THE KEATS LETTERS, PAPERS AND OTHER RELICS Reproduced in facsimile from the late Sir Charles Dilke's Bequest to the Corporation of Hampstead. Foreword by Theodore Watts-Dunton and an Intro- duction by H. Buxton Forman. With 8 Portraits of Keats, and 57 Plates in collotype. Limited to 320 copies. Imperial 4to. OZIAS HUMPHRY: HIS LIFE AND WORKS With numerous Illustrations in colour, photogravure and black and white. Demy 410. MURRAY MARKS AND HIS FRIENDS With numerous Illustrations. Demy 8vo. DANIEL GARDNER Painter in Pastel and Gouache. A Brief Account of His Life and Works. With 9 Plates in colour, 6 photogravures, and very numerous reproductions in half-tone. Demy 4to. THE JOHN KEATS MEMORIAL VOLUME By various distinguished writers. Edited by Dr. G. C. Williamson. Illustrated. Crown 410. Dr. G. C. WILLUMSON and LADY VICTORIA MANNERS THE LIFE AND WORK of JOHN ZOFFANY, R.A. With numerous Illustrations in photogravure, colour and black and white. Limited to 500 copies. Demy 4to. THE BODLEY HEAD Digitized by the Internet Archive in 2013 http://archive.org/details/angelicakauffmanOOmann SELF PORTRAIT OF ANGELICA. From the original painting in the possessio?! of the Duke of Rutland and hanging at Belvoir Castle. The Duke also owns the original sketchfor this portrait. ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS By LADY VICTORIA MANNERS AND Dr. G.
    [Show full text]
  • French Classicism in Four Painters: Where It Went and Why
    Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 French Classicism in Four Painters: Where It Went and Why Kristen Tayler Westerduin Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Ancient Philosophy Commons, French and Francophone Literature Commons, History Commons, History of Art, Architecture, and Archaeology Commons, and the Philosophy Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Westerduin, Kristen Tayler, "French Classicism in Four Painters: Where It Went and Why" (2019). Senior Projects Spring 2019. 130. https://digitalcommons.bard.edu/senproj_s2019/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. French Classicism in Four Painters: Where It Went and Why Senior Project Submitted to The Divisions of Art History and Visual Culture and French Studies of Bard College by Kristen T. Westerduin Annandale-on-Hudson, New York May 2019 Westerduin, 2 Acknowledgements A big thank you to Laurie Dahlberg for taking the time to guide me through this process and answering every question I had, big and small.
    [Show full text]
  • Sir Joshua Reynolds, Many Sheets by Barocci and Lely Which As Autograph Evidently Influenced the Study of His Great-Niece 1899, I, P
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition J.6174.1191 ~cop., 19th century, pstl, 80x68 REYNOLDS, Sir Joshua Anon. related pastels Plympton 16.VII.1723 – London 23.II.1792 (London, Bonhams Knightsbridge, 7.III.2018, J.6174.106 SELF-PORTRAIT in spectacles, crayons, Reynolds was a founder and first president of Lot 1 repr., est. £1500–2000) ϕκ 35.5x28 (Darrill; Christie’s, 7.VII.1894, Lot 93, the Royal Academy of Arts in 1768. He was the Countess of CHATHAM, née Mary Elizabeth as autograph, 75 gns; Agnew) Townshend, v. Townshend pre-eminent British portraitist of his generation. J.6174.107 =?self-portrait in crayons [?chlk], 1799 Lady CREWE, née Frances Anne Greville (1744– Unlike his principal rival Gainsborough (q.v.) he (don: Mr Cribb, the artist’s framer, framed does not seem to have worked in pastel, and his 1818), full length, as St Genevieve, pnt., 1769– with Reynolds’s paeltte; London, Christie’s, 72 (PC). Lit.: Mannings 2000, no. 444 disapproval of the medium is well known, 1871, Lot 1, 200 gns; Mr Addington) notably in his comments on Liotard (q.v.). J.6174.121 ~version, crayons (Robertson; London, J.6174.108 ~cop., pstl, 35.5x31 (PC) Perhaps surprisingly Reynolds owned a number Christie’s, 2.VI.1866, Lot 183, b/i; 23.VI.1884, J.6174.109 SELF-PORTRAIT, pstl (Fritz Reiss 1906). of pastels (v. Index of collectors), among them Lot 60, £12; Lord Crewe). Lit.: Algernon Exh.: London 1906, upper gallery, no. 22 n.r., Graves, History of the works of Sir Joshua Reynolds, many sheets by Barocci and Lely which as autograph evidently influenced the study of his great-niece 1899, I, p.
    [Show full text]
  • John Opie's Portraits of Dr. Johnson
    John Opie's portraits of Dr. Johnson The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Clingham, Greg. 2019. John Opie's portraits of Dr. Johnson. Harvard Library Bulletin 28 (2), Summer 2017: 57-80. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42660039 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA John Opie’s Portraits of Dr. Johnson Greg Clingham Introduction amuel Johnson is one of the most painted individuals in English literary history. Given the advanced state of the scholarship, one assumes that Sall lifetime paintings of Johnson have been identifed, cataloged, and discussed.1 We do not expect to stumble upon a new contemporary portrait of Johnson, let alone two diferent portraits, one by a then-unknown Lady Anne Lindsay (1750–1825), the eldest child of the ffh Earl of Balcarres, the other by the well-known portrait painter John Opie (1761–1807). Te frst is unknown; the second has been of the radar of both art historians and Johnson scholars. Lady Anne Lindsay’s efort—a drawing in pencil and watercolor—was executed in November 1773, at the home of Sir Alexander Dick, the president of the Royal College of Physicians in Scotland and Lady Anne’s great-uncle, at the end of Boswell and Johnson’s Highland tour.2 Te Opie “discovery” occurred in Fife during a visit to Balcarres House, Fife, the sixteenth-century home of I am grateful to the twenty-ninth Earl of Crawford and Balcarres for his kind hospitality in inviting me to Balcarres, for providing the image reproduced here, and for his general support of this research.
    [Show full text]
  • A Bookman's Letters
    is 1\. -pl? FROM THE INCOME OF THE FISKE ENDOWMENT FUND THE BEQUEST OF . Librarian of the University 1868-1883 1905 . B..2?H:.'35S: asMH , ': The date shows when this volume was taken. To renew this book copy the catl No. and give to the librariani . ^Fh 2-i^ ;&H HOME USE RULES. All 'books must be returned at end of col- lege year for inspec- tion and repairs. V V Students must re- ^ - turn all books before leaving town. Officers , -J. ,,,,, , should arrange for ^' Uil fiS the return of books wanted during their 1 1 absence from town, I, niu »«•IV^A • Boo^sis needed by more than one person are held on the reserve . list. Volumes of periodi- - - dais and of pataphlets are in AUG f t92g - held the library as much as possible. , For special purposes Borrowers should '•"'"JIIN 7 mm ityxn ^°^ ^^^ their library / titjU privileges fojrthe bene- fit of other persons. — Books of special i'gl a^^^ag^a 'tM *'^y^^"^ value and gift books, when th^ giver wishes it, are not allowed tp circulate. Readers are asked 'i to report all cases of books marked or muti- lated. Do not defacf books by marks and writing. Cornell University Library PR 99.N64 A bookman's letters. 3 1924 013 356 146 The original of tiiis book is in tine Cornell University Library. There are no known copyright restrictions in the United States on the use of the text. http://www.archive.org/details/cu31924013356146 A BOOKMAN'S LETTERS Works by W. Robertson NicoU SONGS OF REST.
    [Show full text]
  • The Grand Manner’
    AMBITION IN ‘THE GRAND MANNER’ Edward Dayes as History Painter jonathan yarker [ A ] LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · Londonw1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com AMBITION IN ‘THE GRAND MANNER’ Edward Dayes as History Painter -jonathan yarker Lowell Libson Ltd mmxiii LOWELL LIBSON LIMITED 7 Preface 3 Clifford Street · Londonw1s 2lf Telephone: +44 (0)20 7734 8686 9 Ambition in ‘The Grand Manner’: Fax: +44 (0)20 7734 9997 Edward Dayes as history painter Email: [email protected] Website: www.lowell-libson.com Catalogue ia & iB The gallery is open by appointment, Monday to Friday The entrance is in Old Burlington Street 12 Lycurgus entering Athens and Theseus’s approach to Athens Lowell Libson Catalogue 2 [email protected] 14 The Triumph of Beauty Deborah Greenhalgh [email protected] 17 Edward Dayes: a true ‘historical painter’ Jonny Yarker [email protected] appendix i 33 Catalogue of Edward Dayes’s sketchbook in the British Museum Frontispiece: Edward Dayes Self-portrait, 1801 appendix ii Oil on canvas · 24 x 20 inches; 610 x 508 mm © National Portrait Gallery, London. 63 Works exhibited by Edward Dayes Published by Lowell Libson Limited 2013 at the Royal Academy in the period covered Text and publication © Lowell Libson Limited by the British Museum Sketchbook All rights reserved isbn 978 0 9563930 5 0 62 Notes and References Principal photography by Rodney Todd White & Son Ltd Designed and typeset in Adobe Caslon by Dalrymple Digitally printed in England by Pureprint 64 Select Bibliography Preface - I am particularly grateful to Jonny Yarker for his hard work in so successfully pulling together the various elements that I had been considering for a publication dealing with the fascinat- ing development of Edward Dayes’s career in his final decade.
    [Show full text]
  • Pictures of Childhood
    Pictures of Childhood A close study of Sir Joshua Reynolds’s The Strawberry Girl, including a selection of his paintings of children, read in light of his The Discourses on Art and Jean-Jacques Rousseau’s Emile, or On Education. Oda Nygaard Nordby Master Thesis in History of Art Department of Philosophy, Classics, History of Art and Ideas UNIVERSITY OF OSLO Spring 2015 II Pictures of Childhood A close study of Sir Joshua Reynolds’s The Strawberry Girl, including a selection of his paintings of children, read in light of his The Discourses on Art and Jean-Jacques Rousseau’s Emile, or On Education. III © Oda Nygaard Nordby 2015 Pictures of Childhood: a close study of Sir Joshua Reynolds’s The Strawberry Girl, including a selection of his paintings of children, read in light of his The Discourses on Art and Jean-Jacques Rousseau’s Emile, or On Education. Oda Nygaard Nordby http://www.duo.uio.no/ Trykk: Reprosentralen, Universitetet i Oslo IV Abstract Pictures of Childhood is a study of Sir Joshua Reynolds’s paintings of children in light of Reynolds’s The Discourses on Art, 1769-1790 , and Jean-Jacques Rousseau’s Emile, or On Education, 1762 . A close reading of The Discourses on Art reveals that Reynolds thought art should seek a general truth, and that art should make an impression on the beholder’s imagination and feeling. In Emile, Rousseau abandons original sin. This led to a perception of childhood as a happy and content phase of life. Furthermore, Rousseau emphasized childhood by letting the child explore the world on its own terms.
    [Show full text]