Select Bibliography

The bibliography is divided into two parts: a schedule of general texts 2 the politics of portraiture c. 1660–75 selected readings for those who wish to explore the back- arnold, dana and peters corbett, david, eds., barber, tabitha, Mary Beale (1632/3–1699): Portrait ground of developments described in the book – both A Companion to British Art: 1600 to the Present, of a Seventeenth-Century Painter, Her Family and as a whole and chapter by chapter – followed by a much Chichester, 2013. Her Studio, exhibition catalogue, Geffrye Museum, longer list that is intended to function as an introductory barrell, john, The Political Theory of Painting from London, 1999. guide to research in the field of British two-dimensional Reynolds to Hazlitt: ‘The Body of the Public’, New coombs, katherine, The Portrait Miniature in art between the Restoration and the Battle of Waterloo. Haven and London, 1986. England, London, 1998. To facilitate usage of the more comprehensive bibliogra- bindman, david, ed., The History of British Art, Volume macleod, catharine and marciari alexander, phy, its materials have been organized under the follow- 2: 1600–1870, London, 2008. julia, eds., Painted Ladies: Women at the Court of ing headings: brewer, john, The Pleasures of the Imagination: English Charles II, exhibition catalogue, National Portrait Culture in the Eighteenth Century, London, 1997. Gallery, London, 2001. general texts: history (social and cultural) craske, matthew, Art in Europe, 1700–1830, Oxford, marciari alexander, julia and macleod, catha- and the history of art 1997. rine, eds., Politics, Transgression, and Representation the london art world: institutions, exhibi- farington, joseph, The Diary of Joseph Farington, at the Court of Charles II, Studies in British Art 18, tions and the art market vols. 1–7 ed. Kenneth Garlick and Angus MacIntyre; New Haven and London, 2007. artists and patrons on the continent vols. 8–16 ed. Kathryn Cave; index by Evelyn Newby, murdoch, john, ‘Painting: From Astraea to Augustus’, 16 vols., New Haven and London, 1978–98. in Boris Ford, ed., The Cambridge Guide to the Arts in art in the english regions, ireland, scotland hemingway, andrew and vaughan, william, eds., Britain, Vol. 4: The Seventeenth Century, Cambridge, and wales Art in Bourgeois Society, 1790–1850, Cambridge, 1998. 1989, pp. 235–65. art theory hook, judith, The Baroque Age in England, London, contemporary art criticism and writing on 1976. the arts (including artists’ lives) paulson, ronald, Emblem and Expression: Meaning 3 representing nature in later thematics: consumption and politeness in English Art of the Eighteenth Century, Cambridge, seventeenth-century britain MA, 1975. thematics: gender and sensibility bermingham, ann, Learning to Draw: Studies in pears, iain, The Discovery of Painting: The Growth of the Cultural History of a Polite and Useful Art, New thematics: empire and race Interest in the Arts in England, 1680–1768, New Haven Haven and London, 2000. media: drawings, watercolours and pastels and London, 1988. borg, alan, The History of the Worshipful Company of media: miniatures solkin, david h., Painting for Money: The Visual Arts Painters Otherwise Painter-Stainers, London, 2005. and the Public Sphere in Eighteenth-Century England, hunter, matthew c., Wicked Intelligence: Visual Art media: prints and print culture New Haven and London, 1993. and the Science of Experiment in Restoration London, media: prints and print culture ii: graphic vertue, george, ‘Vertue Note Books: Volume I–VI’, Chicago and London, 2013. satire Walpole Society, vols. 18, 20, 22, 24, 26 (index to johns, richard, ‘Framing Robert Aggas: The Painter- genres: history-painting Volumes I–V), 30 (1930–55). Stainers’ Company and the “English School of Paint- waterhouse, ellis, Painting in Britain 1530 to 1790, genres: portraiture ers”’, Art History, vol. 31, no. 3 (June 2008), rev. edn, New Haven and London, 1994. pp. 322–41. genres: landscape and marine painting whitley, william t., Art in England 1800–1837, ogden, henry v. s. and ogden, margaret s., genres: sporting art 2 vols., Cambridge, 1928–30. English Taste in Landscape in the Seventeenth Century, genres: everyday life and still-life —— Artists and Their Friends in England 1700–1799, Ann Arbor, 1955. 2 vols., London and Boston, 1928. artists, patrons and other players (listed alphabetically by name) 4 party, politics, portraiture and 1 restoration and representation print: from the exclusion crisis to Many texts appear in more than one place – though if croft-murray, edward, Decorative Painting in the ‘glorious revolution’ the focus is exclusively on a single artist, patron or art- England 1537–1837. Vol. I: Early Tudor to Sir James griffiths, antony, The Print in Stuart Britain world player, then as a rule a book or article will feature Thornhill, London, 1962. 1603–1689, exhibition catalogue, British Museum, under the name of the individual in question, and only geraghty, anthony, The Sheldonian Theatre: Arch- London, 1998. occasionally elsewhere. Collections catalogues are listed itecture and Learning in Seventeenth-Century Oxford, monteyne, joseph, The Printed Image in Early Mod- under ‘General Texts’. Included in the bibliography are a New Haven and London, 2013. ern London: Urban Space, Visual Representation, and small number of websites, some devoted to individual art- hearn, karen, ed., Van Dyck & Britain, exhibition Social Exchange, Aldershot and Burlington, VT, 2007. ists (e.g. William Blake, J. M. W. Turner), others to col- catalogue, Tate Britain, London, 2009. stewart, j. douglas, Sir Godfrey Kneller and the lections (The British Museum and the Yale Center for sharpe, kevin, Rebranding Rule: The Restoration and English Baroque Portrait, Oxford, 1983. British Art) or to research resources (The Art World in Revolution: Monarchy, 1660–1714, New Haven and Britain 1660–1735); all URLs were active at the time of London, 2013. going to press. For basic information about biographies solkin, david h., ‘Isaac Fuller’s Escape of Charles II: 5 after the ‘glorious revolution’: and institutional histories, readers should consult the A Restoration Tragicomedy’, Journal of the Warburg remaking the image of a ruling class Oxford Dictionary of National Biography and Oxford Art and Courtauld Institutes, vol. 62 (1999), pp. 199–240. bignamini, ilaria, ‘Art Institutions in London, Online (which incorporates Grove Art Online). weber, harold m., Paper Bullets: Print and Kingship 1689–1768: A Study of Clubs and Academies’, under Charles II, Lexington, KY, 1996. Walpole Society, vol. 54 (1991), pp. 19–140.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4 336 • select bibliography select bibliography • 337 brewer, john, The Sinews of Power: War, Money and 8 curiosity, commerce and conversation 10 painting and the public sphere the English State 1688–1783, Cambridge, MA, 1988. barrell, john, ‘“The Dangerous Goddess”: Mascu- c. 1730–50 bucholz, r. o., The Augustan Court: Queen Anne and linity, Prestige, and the Aesthetic in Early Eighteenth- allen, brian, Francis Hayman, exhibition catalogue, the Decline of Court Culture, Stanford, CA, 1993. Century Britain’, Cultural Critique, vol. 12 (Spring Yale Center for British Art, New Haven, New Haven maccubbin, robert and hamilton-phillips, 1989), pp. 101–31. and London, 1987. martha, eds., The Age of William III & Mary II: benedict, barbara m., Curiosity: A Cultural History andrew, donna t., Philanthropy and Police: London Power, Politics, and Patronage, 1688–1702. A Reference of Early Modern Inquiry, Chicago and London, 2002. Charity in the Eighteenth Century, Princeton, NJ, Encyclopedia and Exhibition Catalogue, exhibition cata- einberg, elizabeth, Manners & Morals: Hogarth and 1989. logue, The Grolier Club, New York, 1989. British Painting 1700–1760, exhibition catalogue, Tate coke, david e. and borg, alan, Vauxhall Gardens: vertue, george, ‘Vertue Note Books: Volume I–VI’, Gallery, London, 1987. A History, New Haven and London, 2011. Walpole Society, vols. 18, 20, 22, 24, 26, 29 (Index to hirschman, albert o., The Passions and the Interests: eagleton, terry, The Ideology of the Aesthetic, Volumes I–V), 30 (1930–55). Political Arguments for Capitalism before its Triumph, Oxford, 1990. Princeton, NJ, 1977. edelstein, t. j., Vauxhall Gardens, exhibition cata- klein, lawrence e., Shaftesbury and the Culture of Po- logue, Yale Center for British Art, New Haven, 1983. 6 making history after the ‘glorious liteness: Moral Discourse and Cultural Politics in Early einberg, elizabeth and egerton, judy, The Age of revolution’ Eighteenth-Century England, New York, 1994. Hogarth: British Painters Born 1675–1709. Tate clayton, timothy, The English Print 1688–1802, New paulson, ronald, Hogarth, Volume 1: The ‘Modern Gallery Collections: Volume Two, London, 1988. Haven and London, 1997. Moral Subject’, 1697–1732, London, 1991. habermas, jürgen, The Structural Transformation gibson-wood, carol, Jonathan Richardson: Art solkin, david, h., ‘The English Revolution and the of the Public Sphere: An Inquiry Into a Category of Theorist of the English Enlightenment, New Haven and Revolution of History Painting: The Bowles Brothers’ Bourgeois Society [1962], trans. Thomas Burger with London, 2000. Life of Charles I’, in Mark Hallett, Nigel Llewellyn the assistance of Frederick Lawrence, Cambridge, johns, richard, ‘“An Air of Grandeur & Modesty”: and Martin Myrone, eds, ed., Court, Country, City: MA, 1969. James Thornhill’s Painting in the Dome of St. Paul’s Essays on British Art and Architecture 1660–1735, hallett, mark, Hogarth, London, 2000. Cathedral’, Eighteenth-Century Studies, vol. 42, no. 4 Studies in British Art, 24, New Haven and London —— The Spectacle of Difference: Graphic Satire in the Age (Summer 2009), pp. 501–27. (forthcoming). of Hogarth, New Haven and London, 1999. —— ‘“These wilder sorts of Painting”: The Painted —— Painting for Money: The Visual Arts and the Public —— and riding, christine, Hogarth, exhibition Interior in the Age of Antonio Verrio’, in Dana Arnold Sphere in Eighteenth-Century England, New Haven catalogue, Tate Britain, London, 2007. and David Peters Corbett, eds., A Companion to and London, 1993. mullan, john, Sentiment and Sociability: The Lan- British Art 1600 to the Present, Chichester, 2013, staves, susan, ‘Pope’s Refinement’, The Eighteenth guage of Feeling in the Eighteenth Century, Oxford, pp. 79–104. Century: Theory and Interpretation, vol. 29, no. 2 1988. richardson, jonathan, An Essay on the Theory of (Spring 1988), pp. 145–63. paulson, ronald, Hogarth, Volume 2: High Art and Painting [1715], 2nd edn, London, 1725. Low, 1732–1750, Cambridge, 1992. shaftesbury, anthony ashley cooper, 3rd earl —— Popular and Polite Art in the Age of Hogarth and of, A Notion of the Historical Draught or Tablature of 9 the portraiture of politeness Fielding, Notre Dame and London, 1979. the Judgment of Hercules, According to Prodicus, Lib.II. c. 1730–5 solkin, david h., Painting for Money: The Visual Arts Xen. de Mem. Soc., London, 1713. agnew, jean-christophe, Worlds Apart: The Market and the Public Sphere in Eighteenth-Century England, thornhill, james, An Explanation of the Painting in and the Theater in Anglo-American Thought, 1550– New Haven and London, 1993. the Royal-Hospital at Greenwich, London, n.d. 1750, Cambridge, 1986. stallybrass, peter and white, allon, The Politics (c. 1726–30). goldsmith, m. m., ‘Liberty, Luxury and the Pursuit and Poetics of Transgression, London, 1986. of Happiness’, in Anthony Pagden, ed., The Languages of Political Theory in Early Modern Europe, Cam- 7 representing country life, c. 1695– bridge, 1987, pp. 225–51. 11 the classical and the modern: devel- 1725 leppert, richard, Music and Image: Domesticity, opments in landscape in the 1740s barrell, john, ‘The Public Prospect and the Private Ideology and Socio-Cultural Formation in Eighteenth- barrell, john, The Dark Side of the Landscape: The View: The Politics of Taste in Eighteenth-Century Century England, Cambridge, 1988. Rural Poor in English Painting 1730–1840, Cambridge, Britain’, in Salim Kemal and Ivan Gaskell, eds., mandeville, bernard, The Fable of the Bees: Or, 1980. Landscape, Natural Beauty and the Arts, Cambridge, Private Vices, Publick Benefits [1723–9], ed. F. B. bermingham, ann, Landscape and Ideology: The 1993, pp. 81–102. Kaye, 2 vols., Oxford, 1924. English Rustic Tradition, 1740–1860, Berkeley and Los deuchar, stephen, Sporting Art in Eighteenth-Century meyer, arline, ‘Re-Dressing Classical Statuary: The Angeles, 1986. England: A Social and Political History, New Haven Eighteenth-Century “Hand-in-Waistcoat” Portrait’, —— Learning to Draw: Studies in the Cultural History and London, 1988. Art Bulletin, vol. 77, no. 1 (March 1995), pp. 45–63. of a Polite and Useful Art, New Haven and London, meyer, arline, John Wootton 1682–1764: Landscapes retford, kate, Pictures in Little: The Conversation 2000. and Sporting Art in Early Georgian England, exhibi- Piece in Georgian Britain, New Haven and London de bolla, peter, The Education of the Eye: Painting, tion catalogue, The Iveagh Bequest, Kenwood House, (forthcoming). Landscape, and Architecture in Eighteenth-Century London, 1984. rorschach, kimerly, ‘Frederick, Prince of Wales Britain, Stanford, CA, 2003. røstvig, maren-sofie, The Happy Man: Studies in the (1707–51) as Collector and Patron’, Walpole Society, ellis, markman, ‘River and Labour in Samuel Scott’s Metamorphosis of a Classical Ideal, 2 vols., Oslo, 1962. vol. 55 (1993), pp. 1–76. Thames Views in the Mid-Eighteenth Century’, watt, ian, ‘Two Historical Aspects of the Augustan sekora, john, Luxury: The Concept in Western Thought London Journal, vol. 37, no. 3 (November 2012), Tradition’, in R. F. Brissenden, ed., Studies in the from Eden to Smollett, Baltimore, 1977. pp. 152–73. Eighteenth Century: Papers Presented at the David solkin, david h., Painting for Money: The Visual Arts liversidge, michael and farington, jane, eds., Nichol Smith Memorial Seminar, Canberra 1966, and the Public Sphere in Eighteenth-Century England, Canaletto & England, exhibition catalogue, Birming- Toronto, 1968, pp. 67–79. New Haven and London, 1993. ham Museums & Art Gallery, Birmingham, London, 1993. rosenthal, michael, The Art of Thomas Gainsbor- ough: ‘a little business for the Eye’, New Haven and London, 1999.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4 336 • select bibliography select bibliography • 337

solkin, david h., Richard Wilson: The Landscape of myrone, martin, Bodybuilding: Reforming Mascu- bonehill, john and daniels, stephen, eds., Paul Reaction, exhibition catalogue, Tate Gallery, London, linities in British Art 1750–1810, New Haven and Sandby: Picturing Britain, exhibition catalogue, Royal 1982. London, 2005. Academy of Arts, London, 2009. —— ed., Gothic Nightmares: Fuseli, Blake and the Ro- copley, stephen and garside, peter, eds., The mantic Imagination, exhibition catalogue, Tate Britain, Politics of the Picturesque: Literature, Landscape and 12 from island to empire: the cosmo- London, 2005. Aesthetics since 1770, Cambridge, 1994. politan turn in british art, 1737–60 postle, martin, ed., Johann Zoffany RA: Society gilpin, william, Three Essays: On Picturesque Beauty; jacob, margaret c., Strangers Nowhere in the World: Observed, exhibition catalogue, Yale Center for British On Picturesque Travel; and On Sketching Landscape: The Rise of Cosmopolitanism in Early Modern Europe, Art, New Haven, New Haven and London, 2011. To Which is Added a Poem, On Landscape Painting, Philadelphia, 2006. pressly, william l., The Artist as Original Genius: London, 1792. myrone, martin, Bodybuilding: Reforming Mascu- Shakespeare’s ‘Fine Frenzy’, in Late Eighteenth-Centu- guest, harriet, Empire, Barbarism, and Civilisation: linities in British Art 1750–1810, New Haven and ry British Art, Newark, DE, 2007. Captain Cook, William Hodges and the Return to the London, 2005. —— The Life and Art of James Barry, New Haven and Pacific, Cambridge, 2007. newman, gerald, The Rise of English Nationalism: London, 1981. moir, esther, The Discovery of Britain: The English A Cultural History 1740–1830, London, 1987. reynolds, joshua, Discourses on Art, ed. Robert R. Tourists 1540–1840, London and New York, 1964 postle, martin and simon, robin, eds., Richard Wark, New Haven and London, 1975. (reissued 2014). Wilson and the Transformation of European Landscape rosenthal, angela, Angelica Kauffman: Art and quilley, geoff and bonehill, john, eds., William Painting, exhibition catalogue, Yale Center for British Sensibility, New Haven and London, 2006. Hodges 1744–1797: The Art of Exploration, exhibition Art, New Haven, New Haven and London, 2014. solkin, david h., ed., Art on the Line: The Royal catalogue, National Maritime Museum, Greenwich, redford, bruce, Dilettanti: The Antic and the Antique Academy Exhibitions at Somerset House 1780–1836, New Haven and London, 2004. in Eighteenth-Century England, Malibu, 2008. exhibition catalogue, Courtauld Institute Gallery, rosenthal, michael, The Art of Thomas Gainsbor- rouquet, jean andré, The Present State of the Arts in London, New Haven and London, 2001. ough: ‘a little business for the Eye’, New Haven and England, London, 1755. London, 1999. solkin, david h., ‘Great Pictures or Great Men? sanchez-jauregui, maria dolores and wilcox, Reynolds, Male Portraiture, and the Power of Art’, 14 portraiture takes the public stage scott, eds., The English Prize: The Capture of the Oxford Art Journal, vol. 9, no. 2 (1986), pp. 42–9. hallett, mark, Reynolds: Portraiture in Action, New Westmorland, An Episode of the Grand Tour, exhibition —— Richard Wilson: The Landscape of Reaction, exhibi- Haven and London, 2014. catalogue, Yale Center for British Art, New Haven, tion catalogue, Tate Gallery, London, 1982. perry, gill, Spectacular Flirtations: Viewing the Actress New Haven and London, 2012. wilton, andrew and bignamini, ilaria, eds., in British Art and Theatre, 1768–1820, New Haven solkin, david h., ‘The Battle of the Ciceros: Richard Grand Tour: The Lure of Italy in the Eighteenth and London, 2007. Wilson and the Politics of Landscape in the Age of Century, exhibition catalogue, Tate Gallery, London, —— and rossington, michael, eds., Femininity and John Wilkes’, Art History, vol. 6, no. 4 (December 1996. Masculinity in Eighteenth-Century Art and Culture, 1983), pp. 406–22. Manchester, 1994. —— Richard Wilson: The Landscape of Reaction, exhibi- pointon, marcia, Hanging the Head: Portraiture and tion catalogue, Tate Gallery, London, 1982. 13 dreams of grandeur and marketplace Social Formation in Eighteenth-Century England, New realities: history-painting in britain Haven and London, 1993. from vauxhall gardens to the shake- postle, martin, ed., Joshua Reynolds: The Creation of 16 the empire of sensibility speare gallery Celebrity, exhibition catalogue, Tate Britain, London, barker-benfield, g. j., The Culture of Sensibility: Sex abrams, ann uhry, The Valiant Hero: Benjamin West 2005. and Society in Eighteenth-Century Britain, Chicago, and Grand-Style History Painting, Washington, DC, retford, kate, The Art of Domestic Life: Family Por- 1992. 1985. traiture in Eighteenth-Century England, New Haven barrell, john, ‘The Private Comedy of Thomas Row- bonehill, john, ‘Exhibiting War: John Singleton and London, 2006. landson’, Art History, vol. 6, no. 4 (December 1983), Copley’s The Siege of Gibraltar and the Staging of rosenthal, michael and myrone, martin, eds., pp. 423–41. History’, in John Bonehill and Geoff Quilley, eds., Gainsborough, exhibition catalogue, Tate Britain, barringer, tim, quilley, geoff and fordham, Conflicting Visions: War and Visual Culture in Britain London, 2002. douglas, eds., Art and the British Empire, Manches- and France c.1700–1830, Aldershot and Burlington, sloman, susan, Gainsborough in Bath, New Haven and ter, 2007. VT, 2005, pp. 139–67. London, 2002. bermingham, ann, ed., Sensation & Sensibility: View- dias, rosie, Exhibiting Englishness: John Boydell’s tscherny, nadia, ‘“Persons and Property”: Rom- ing Gainsborough’s ‘Cottage Door’, New Haven and Shakespeare Gallery and the Formation of a National ney’s Society Portraiture’, in Alex Kidson, ed., Those London, 2005. Aesthetic, New Haven and London, 2013. Delightful Regions of Imagination: Essays on George bonehill, john, ‘“The Eye of Delicacy”: Joseph dunne, tom, ed., James Barry (1741–1806): ‘The Romney, Studies in British Art 9, New Haven and Wright of Derby Reviewed’, in Sarah Monks, John Great Historical Painter’, exhibition catalogue, Craw- London, 2002, pp. 33–61. Barrell and Mark Hallett, eds., Living with the Royal ford Art Gallery, Cork, 2005. Academy: Artistic Ideals and Experiences in England, fordham, douglas, British Art and the Seven Years’ 1768–1848, Farnham and Burlington, VT, 2013, War: Allegiance and Autonomy, Philadelphia, 2010. 15 landscape art and its audiences pp. 89–110. hargraves, matthew, Candidates for Fame: The Soci- andrews, malcolm, The Search for the Picturesque: donald, diana, The Age of Caricature: Satirical Prints ety of Artists of Great Britain 1760–1791, New Haven Landscape Aesthetics and Tourism in Britain, 1760– in the Reign of George III, New Haven and London, and London, 2006. 1800, Aldershot, 1989. 1996. hoock, holger, The King’s Artists: The Royal Academy barbier, carl paul, William Gilpin: His Drawings, gamer, meredith, ‘George Morland’s Slave Trade and of Arts and the Politics of British Culture 1760–1840, Teaching, and Theory of the Picturesque, Oxford, 1963. African Hospitality: Slavery, Sentiment and the Limits Oxford, 2003. barrell, john, The Dark Side of the Landscape: The of the Abolitionist Image’, in Elizabeth McGrath and monteyne, joseph, From Still Life to the Screen: Print Rural Poor in English Painting 1730–1840, Cambridge, Jean Michel Massing, eds., The Slave in European Culture, Display, and the Materiality of the Image in 1980. Art: From Renaissance Trophy to Abolitionist Emblem, Eighteenth-Century London, New Haven and London, bermingham, ann, Landscape and Ideology: The Eng- Warburg Institute Colloquia 20, London and Turin, 2013. lish Rustic Tradition, 1740–1860, London, 1987. 2012, pp. 297–319. —— ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005. This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4 338 • select bibliography select bibliography • 338 gatrell, vic, City of Laughter: Sex and Satire in 18 british genius and british nature: —— Painting out of the Ordinary: Modernity and the Art Eighteenth-Century London, New York, 2006. depicting the domestic landscape in of Everyday Life in Early Nineteenth-Century Britain, guest, harriet, Empire, Barbarism, and Civilisation: the wartime years New Haven and London, 2008. Captain Cook, William Hodges, and the Return to the alison, archibald, Essays on the Nature and Principles tromans, nicholas, David Wilkie: Painter of Pacific, Cambridge, 2007. of Taste, Edinburgh, 1790. Everyday Life, exhibition catalogue, Dulwich Picture kriz, kay dian, Slavery, Sugar, and the Culture of Re- barrell, john, The Dark Side of the Landscape: The Gallery, London, 2002. finement: Picturing the British West Indies, 1700–1840, Rural Poor in English Painting 1730–1840, Cambridge, —— David Wilkie: The People’s Painter, Edinburgh, 2007. New Haven and London, 2008. 1980. mullan, john, Sentiment and Sociability: The Lan- bermingham, ann, Landscape and Ideology: The Eng- 20 divided likenesses: portraiture and guage of Feeling in the Eighteenth Century, Oxford, lish Rustic Tradition, 1740–1860, London, 1987. the end of social consensus 1988. —— ‘System, Order, and Abstraction: The Politics of postle, martin, ed., Johann Zoffany RA: Society English Landscape Drawing around 1795’, in W. J. albinson, a. cassandra, funnell, peter and Observed, exhibition catalogue, Yale Center for British T. Mitchell, ed., Landscape and Power, Chicago and peltz, lucy, Thomas Lawrence: Regency Power & Art, New Haven, New Haven and London, 2011. London, 1994, pp. 77–101. Brilliance, exhibition catalogue, National Portrait Gal- quilley, geoff, Empire to Nation: Art, History and the gage, john, A Decade of English Naturalism 1810–1820, lery, London, New Haven and London, 2010. Visualization of Maritime Britain 1768–1829, New exhibition catalogue, Norwich Castle Museum, bermingham, ann, ‘The Aesthetics of Ignorance: Haven and London, 2011. Norwich, 1969. The Accomplished Woman in the Culture of Con- retford, kate, The Art of Domestic Life: Family Por- —— J. M. W. Turner: ‘A Wonderful Range of Mind’, New noisseurship’, Oxford Art Journal, vol. 16, no. 2 traiture in Eighteenth-Century England, New Haven Haven and London, 1987. (1993), pp. 3–20. and London, 2006. hemingway, andrew, ‘Academic Theory versus As- cannadine, david, ‘The Making of the British Up- tobin, beth fowkes, Picturing Imperial Power: Co- sociation Aesthetics: The Ideological Forms of a Con- per Classes’, in Aspects of Aristocracy: Grandeur and lonial Subjects in Eighteenth-Century British Painting, flict of Interests in the Early Nineteenth Century’, Decline in Modern Britain, New Haven and London, Durham, NC and London, 1999. Ideas and Production, no. 5 (1986), pp. 18–42. 1994, pp. 9–36. todd, janet, Sensibility: An Introduction, London and —— Landscape Imagery and Urban Culture in Early colley, linda, Britons: Forging the Nation 1707–1837, New York, 1986. Nineteenth-Century Britain, Cambridge, 1992. New Haven and London, 1992. wahrman, dror, The Making of the Modern Self: Iden- —— ‘Meaning in Cotman’s Norfolk Subjects’, Art His- coltman, viccy and lloyd, stephen, eds., Henry tity and Culture in Eighteenth-Century England, New tory, vol. 7, no. 2 (March 1984), pp. 57–77. Raeburn: Context, Reception and Reputation, Edin- Haven and London, 2004. klonk, charlotte, Science and the Perception of Na- burgh, 2012. wood, marcus, Blind Memory: Visual Representa- ture: British Landscape Art in the Late Eighteenth and levey, michael, Sir Thomas Lawrence: The Artist, New tions of Slavery in England and America 1780–1865, Early Nineteenth Centuries, New Haven and London, Haven and London, 2005. Manchester, 2000. 1996. walker, richard, National Portrait Gallery: Regency kriz, kay dian, The Idea of the English Landscape Portraits, 2 vols., London, 1985. Painter: Genius as Alibi in the Early Nineteenth Cen- 17 revolution and reaction tury, New Haven and London, 1997. bindman, david, The Shadow of the Guillotine: Britain rosenthal, michael, Constable: The Painter and His 21 painting history between trafalgar and the French Revolution, exhibition catalogue, Brit- Landscape, New Haven and London, 1983. and waterloo ish Museum, London, 1989. shanes, eric, Turner’s Human Landscape, London, costello, leo, J. M. W. Turner and the Subject of His- burke, edmund, Reflections on the Revolution in France, 1990. tory, Farnham and Burlington, VT, 2012. London, 1790. smiles, sam, The Turner Book, London, 2006. erffa, helmut von and staley, allen, The Paint- calè, luisa, Fuseli’s Milton Gallery: ‘Turning Readers smith, greg, The Emergence of the Professional Waterco- ings of Benjamin West, New Haven and London, 1986. into Spectators’, Oxford, 2006. lourist: Contentions and Alliances in the Artistic Domain, fullerton, peter, ‘Patronage and Pedagogy: The eaves, morris, The Counter-Arts Conspiracy: Art and 1760–1824, Aldershot and Burlington, VT, 2002. British Institution in the Early Nineteenth Century’, Industry in the Age of Blake, Ithaca, NY and London, —— Thomas Girtin: The Art of Watercolour, exhibition Art History, vol. 5, no. 1 (March 1982), pp. 59–72. 1992. catalogue, Tate Britain, London, 2002. hoock, holger, The King’s Artists: The Royal Academy ellis, markman, ‘“Spectacles within doors”: Panora- solkin, david h., ed., Turner and the Masters, exhibi- of Arts and the Politics of British Culture 1760–1840, mas of London in the 1790s’, Romanticism, vol. 14, no. tion catalogue, Tate Britain, London, 2009. Oxford, 2003. 2 (July 2008), pp. 133–48. wilton, andrew, The Life and Work of J. M. W. kriz, k. dian, ‘Dido versus the Pirates: Turner’s Car- everett, nigel, The Tory View of Landscape, New Turner, London, 1979. thaginian Paintings and the Sublimation of Colonial Haven and London, 1994. Desire’, Oxford Art Journal, vol. 18, no. 1 (1995), pp. godfrey, richard t., James Gillray: The Art of Cari- 116–32. cature, exhibition catalogue, Tate Britain, London, 19 revolution, war and the painting myrone, martin, ed., John Martin: Apocalypse, exhi- 2001. of everyday life bition catalogue, Tate Britain, London, 2011. myrone, martin, The Blake Book, London, 2007. barrell, john, ‘Cottage Politics’, in The Spirit of —— William Blake. Seen in my Visions: A Descriptive pressly, william l., The French Revolution as Blas- Despotism: Invasions of Privacy in the 1790s, Oxford, Catalogue of Pictures, exhibition catalogue, Tate Brit- phemy: Johan Zoffany’s Paintings of the Massacre at 2006, pp. 210–46. ain, London, 2009. Paris, August 10, 1792, Berkeley, Los Angeles and payne, christiana, Rustic Simplicity: Scenes of Cottage nicholson, kathleen, Turner’s Classical Landscapes: London, 1999. Life in Nineteenth-Century British Art, exhibition Myth and Meaning, Princeton, NJ, 1991. simpson, david, Romanticism, Nationalism, and the catalogue, Djanogly Art Gallery, University of Not- pullan, ann, ‘Public Goods or Private Interests? The Revolt Against Theory, Chicago and London, 1993. tingham, Nottingham, 1998. British Institution in the Early Nineteenth Century’, smith, greg, The Emergence of the Professional Wa- pointon, marcia, Mulready, exhibition catalogue, in Andrew Hemingway and William Vaughan, eds., tercolourist: Contentions and Alliances in the Artistic Victoria and Albert Museum, London, 1986. Art in Bourgeois Society, 1790–1850, Cambridge, 1998, Domain, 1760–1824, Aldershot and Burlington, VT, solkin, david h., ‘Crowds and Connoisseurs: Looking pp. 27–44. 2002. at Genre Painting at Somerset House’, in David H. simpson, philippa, ‘Facing up to the Past: The Old Solkin, ed., Art on The Line: The Royal Academy Masters and the British School in Turner’s London’, Exhibitions at Somerset House, 1780–1836, exhibition in David H. Solkin, ed., Turner and the Masters, Tate catalogue, Courtauld Institute Gallery, London, New Britain, London, 2009, pp. 29–39. Haven and London, 2001, pp. 157–71. This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4 Select Bibliography

The bibliography is divided into two parts: a schedule of general texts 2 the politics of portraiture c. 1660–75 selected readings for those who wish to explore the back- arnold, dana and peters corbett, david, eds., barber, tabitha, Mary Beale (1632/3–1699): Portrait ground of developments described in the book – both A Companion to British Art: 1600 to the Present, of a Seventeenth-Century Painter, Her Family and as a whole and chapter by chapter – followed by a much Chichester, 2013. Her Studio, exhibition catalogue, Geffrye Museum, longer list that is intended to function as an introductory barrell, john, The Political Theory of Painting from London, 1999. guide to research in the field of British two-dimensional Reynolds to Hazlitt: ‘The Body of the Public’, New coombs, katherine, The Portrait Miniature in art between the Restoration and the Battle of Waterloo. Haven and London, 1986. England, London, 1998. To facilitate usage of the more comprehensive bibliogra- bindman, david, ed., The History of British Art, Volume macleod, catharine and marciari alexander, phy, its materials have been organized under the follow- 2: 1600–1870, London, 2008. julia, eds., Painted Ladies: Women at the Court of ing headings: brewer, john, The Pleasures of the Imagination: English Charles II, exhibition catalogue, National Portrait Culture in the Eighteenth Century, London, 1997. Gallery, London, 2001. general texts: history (social and cultural) craske, matthew, Art in Europe, 1700–1830, Oxford, marciari alexander, julia and macleod, catha- and the history of art 1997. rine, eds., Politics, Transgression, and Representation the london art world: institutions, exhibi- farington, joseph, The Diary of Joseph Farington, at the Court of Charles II, Studies in British Art 18, tions and the art market vols. 1–7 ed. Kenneth Garlick and Angus MacIntyre; New Haven and London, 2007. artists and patrons on the continent vols. 8–16 ed. Kathryn Cave; index by Evelyn Newby, murdoch, john, ‘Painting: From Astraea to Augustus’, 16 vols., New Haven and London, 1978–98. in Boris Ford, ed., The Cambridge Guide to the Arts in art in the english regions, ireland, scotland hemingway, andrew and vaughan, william, eds., Britain, Vol. 4: The Seventeenth Century, Cambridge, and wales Art in Bourgeois Society, 1790–1850, Cambridge, 1998. 1989, pp. 235–65. art theory hook, judith, The Baroque Age in England, London, contemporary art criticism and writing on 1976. the arts (including artists’ lives) paulson, ronald, Emblem and Expression: Meaning 3 representing nature in later thematics: consumption and politeness in English Art of the Eighteenth Century, Cambridge, seventeenth-century britain MA, 1975. thematics: gender and sensibility bermingham, ann, Learning to Draw: Studies in pears, iain, The Discovery of Painting: The Growth of the Cultural History of a Polite and Useful Art, New thematics: empire and race Interest in the Arts in England, 1680–1768, New Haven Haven and London, 2000. media: drawings, watercolours and pastels and London, 1988. borg, alan, The History of the Worshipful Company of media: miniatures solkin, david h., Painting for Money: The Visual Arts Painters Otherwise Painter-Stainers, London, 2005. and the Public Sphere in Eighteenth-Century England, hunter, matthew c., Wicked Intelligence: Visual Art media: prints and print culture New Haven and London, 1993. and the Science of Experiment in Restoration London, media: prints and print culture ii: graphic vertue, george, ‘Vertue Note Books: Volume I–VI’, Chicago and London, 2013. satire Walpole Society, vols. 18, 20, 22, 24, 26 (index to johns, richard, ‘Framing Robert Aggas: The Painter- genres: history-painting Volumes I–V), 30 (1930–55). Stainers’ Company and the “English School of Paint- waterhouse, ellis, Painting in Britain 1530 to 1790, genres: portraiture ers”’, Art History, vol. 31, no. 3 (June 2008), rev. edn, New Haven and London, 1994. pp. 322–41. genres: landscape and marine painting whitley, william t., Art in England 1800–1837, ogden, henry v. s. and ogden, margaret s., genres: sporting art 2 vols., Cambridge, 1928–30. English Taste in Landscape in the Seventeenth Century, genres: everyday life and still-life —— Artists and Their Friends in England 1700–1799, Ann Arbor, 1955. 2 vols., London and Boston, 1928. artists, patrons and other players (listed alphabetically by name) 4 party, politics, portraiture and 1 restoration and representation print: from the exclusion crisis to Many texts appear in more than one place – though if croft-murray, edward, Decorative Painting in the ‘glorious revolution’ the focus is exclusively on a single artist, patron or art- England 1537–1837. Vol. I: Early Tudor to Sir James griffiths, antony, The Print in Stuart Britain world player, then as a rule a book or article will feature Thornhill, London, 1962. 1603–1689, exhibition catalogue, British Museum, under the name of the individual in question, and only geraghty, anthony, The Sheldonian Theatre: Arch- London, 1998. occasionally elsewhere. Collections catalogues are listed itecture and Learning in Seventeenth-Century Oxford, monteyne, joseph, The Printed Image in Early Mod- under ‘General Texts’. Included in the bibliography are a New Haven and London, 2013. ern London: Urban Space, Visual Representation, and small number of websites, some devoted to individual art- hearn, karen, ed., Van Dyck & Britain, exhibition Social Exchange, Aldershot and Burlington, VT, 2007. ists (e.g. William Blake, J. M. W. Turner), others to col- catalogue, Tate Britain, London, 2009. stewart, j. douglas, Sir Godfrey Kneller and the lections (The British Museum and the Yale Center for sharpe, kevin, Rebranding Rule: The Restoration and English Baroque Portrait, Oxford, 1983. British Art) or to research resources (The Art World in Revolution: Monarchy, 1660–1714, New Haven and Britain 1660–1735); all URLs were active at the time of London, 2013. going to press. For basic information about biographies solkin, david h., ‘Isaac Fuller’s Escape of Charles II: 5 after the ‘glorious revolution’: and institutional histories, readers should consult the A Restoration Tragicomedy’, Journal of the Warburg remaking the image of a ruling class Oxford Dictionary of National Biography and Oxford Art and Courtauld Institutes, vol. 62 (1999), pp. 199–240. bignamini, ilaria, ‘Art Institutions in London, Online (which incorporates Grove Art Online). weber, harold m., Paper Bullets: Print and Kingship 1689–1768: A Study of Clubs and Academies’, under Charles II, Lexington, KY, 1996. Walpole Society, vol. 54 (1991), pp. 19–140.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 336 • select bibliography select bibliography • 337 brewer, john, The Sinews of Power: War, Money and 8 curiosity, commerce and conversation 10 painting and the public sphere the English State 1688–1783, Cambridge, MA, 1988. barrell, john, ‘“The Dangerous Goddess”: Mascu- c. 1730–50 bucholz, r. o., The Augustan Court: Queen Anne and linity, Prestige, and the Aesthetic in Early Eighteenth- allen, brian, Francis Hayman, exhibition catalogue, the Decline of Court Culture, Stanford, CA, 1993. Century Britain’, Cultural Critique, vol. 12 (Spring Yale Center for British Art, New Haven, New Haven maccubbin, robert and hamilton-phillips, 1989), pp. 101–31. and London, 1987. martha, eds., The Age of William III & Mary II: benedict, barbara m., Curiosity: A Cultural History andrew, donna t., Philanthropy and Police: London Power, Politics, and Patronage, 1688–1702. A Reference of Early Modern Inquiry, Chicago and London, 2002. Charity in the Eighteenth Century, Princeton, NJ, Encyclopedia and Exhibition Catalogue, exhibition cata- einberg, elizabeth, Manners & Morals: Hogarth and 1989. logue, The Grolier Club, New York, 1989. British Painting 1700–1760, exhibition catalogue, Tate coke, david e. and borg, alan, Vauxhall Gardens: vertue, george, ‘Vertue Note Books: Volume I–VI’, Gallery, London, 1987. A History, New Haven and London, 2011. Walpole Society, vols. 18, 20, 22, 24, 26, 29 (Index to hirschman, albert o., The Passions and the Interests: eagleton, terry, The Ideology of the Aesthetic, Volumes I–V), 30 (1930–55). Political Arguments for Capitalism before its Triumph, Oxford, 1990. Princeton, NJ, 1977. edelstein, t. j., Vauxhall Gardens, exhibition cata- klein, lawrence e., Shaftesbury and the Culture of Po- logue, Yale Center for British Art, New Haven, 1983. 6 making history after the ‘glorious liteness: Moral Discourse and Cultural Politics in Early einberg, elizabeth and egerton, judy, The Age of revolution’ Eighteenth-Century England, New York, 1994. Hogarth: British Painters Born 1675–1709. Tate clayton, timothy, The English Print 1688–1802, New paulson, ronald, Hogarth, Volume 1: The ‘Modern Gallery Collections: Volume Two, London, 1988. Haven and London, 1997. Moral Subject’, 1697–1732, London, 1991. habermas, jürgen, The Structural Transformation gibson-wood, carol, Jonathan Richardson: Art solkin, david, h., ‘The English Revolution and the of the Public Sphere: An Inquiry Into a Category of Theorist of the English Enlightenment, New Haven and Revolution of History Painting: The Bowles Brothers’ Bourgeois Society [1962], trans. Thomas Burger with London, 2000. Life of Charles I’, in Mark Hallett, Nigel Llewellyn the assistance of Frederick Lawrence, Cambridge, johns, richard, ‘“An Air of Grandeur & Modesty”: and Martin Myrone, eds, ed., Court, Country, City: MA, 1969. James Thornhill’s Painting in the Dome of St. Paul’s Essays on British Art and Architecture 1660–1735, hallett, mark, Hogarth, London, 2000. Cathedral’, Eighteenth-Century Studies, vol. 42, no. 4 Studies in British Art, 24, New Haven and London —— The Spectacle of Difference: Graphic Satire in the Age (Summer 2009), pp. 501–27. (forthcoming). of Hogarth, New Haven and London, 1999. —— ‘“These wilder sorts of Painting”: The Painted —— Painting for Money: The Visual Arts and the Public —— and riding, christine, Hogarth, exhibition Interior in the Age of Antonio Verrio’, in Dana Arnold Sphere in Eighteenth-Century England, New Haven catalogue, Tate Britain, London, 2007. and David Peters Corbett, eds., A Companion to and London, 1993. mullan, john, Sentiment and Sociability: The Lan- British Art 1600 to the Present, Chichester, 2013, staves, susan, ‘Pope’s Refinement’, The Eighteenth guage of Feeling in the Eighteenth Century, Oxford, pp. 79–104. Century: Theory and Interpretation, vol. 29, no. 2 1988. richardson, jonathan, An Essay on the Theory of (Spring 1988), pp. 145–63. paulson, ronald, Hogarth, Volume 2: High Art and Painting [1715], 2nd edn, London, 1725. Low, 1732–1750, Cambridge, 1992. shaftesbury, anthony ashley cooper, 3rd earl —— Popular and Polite Art in the Age of Hogarth and of, A Notion of the Historical Draught or Tablature of 9 the portraiture of politeness Fielding, Notre Dame and London, 1979. the Judgment of Hercules, According to Prodicus, Lib.II. c. 1730–5 solkin, david h., Painting for Money: The Visual Arts Xen. de Mem. Soc., London, 1713. agnew, jean-christophe, Worlds Apart: The Market and the Public Sphere in Eighteenth-Century England, thornhill, james, An Explanation of the Painting in and the Theater in Anglo-American Thought, 1550– New Haven and London, 1993. the Royal-Hospital at Greenwich, London, n.d. 1750, Cambridge, 1986. stallybrass, peter and white, allon, The Politics (c. 1726–30). goldsmith, m. m., ‘Liberty, Luxury and the Pursuit and Poetics of Transgression, London, 1986. of Happiness’, in Anthony Pagden, ed., The Languages of Political Theory in Early Modern Europe, Cam- 7 representing country life, c. 1695– bridge, 1987, pp. 225–51. 11 the classical and the modern: devel- 1725 leppert, richard, Music and Image: Domesticity, opments in landscape in the 1740s barrell, john, ‘The Public Prospect and the Private Ideology and Socio-Cultural Formation in Eighteenth- barrell, john, The Dark Side of the Landscape: The View: The Politics of Taste in Eighteenth-Century Century England, Cambridge, 1988. Rural Poor in English Painting 1730–1840, Cambridge, Britain’, in Salim Kemal and Ivan Gaskell, eds., mandeville, bernard, The Fable of the Bees: Or, 1980. Landscape, Natural Beauty and the Arts, Cambridge, Private Vices, Publick Benefits [1723–9], ed. F. B. bermingham, ann, Landscape and Ideology: The 1993, pp. 81–102. Kaye, 2 vols., Oxford, 1924. English Rustic Tradition, 1740–1860, Berkeley and Los deuchar, stephen, Sporting Art in Eighteenth-Century meyer, arline, ‘Re-Dressing Classical Statuary: The Angeles, 1986. England: A Social and Political History, New Haven Eighteenth-Century “Hand-in-Waistcoat” Portrait’, —— Learning to Draw: Studies in the Cultural History and London, 1988. Art Bulletin, vol. 77, no. 1 (March 1995), pp. 45–63. of a Polite and Useful Art, New Haven and London, meyer, arline, John Wootton 1682–1764: Landscapes retford, kate, Pictures in Little: The Conversation 2000. and Sporting Art in Early Georgian England, exhibi- Piece in Georgian Britain, New Haven and London de bolla, peter, The Education of the Eye: Painting, tion catalogue, The Iveagh Bequest, Kenwood House, (forthcoming). Landscape, and Architecture in Eighteenth-Century London, 1984. rorschach, kimerly, ‘Frederick, Prince of Wales Britain, Stanford, CA, 2003. røstvig, maren-sofie, The Happy Man: Studies in the (1707–51) as Collector and Patron’, Walpole Society, ellis, markman, ‘River and Labour in Samuel Scott’s Metamorphosis of a Classical Ideal, 2 vols., Oslo, 1962. vol. 55 (1993), pp. 1–76. Thames Views in the Mid-Eighteenth Century’, watt, ian, ‘Two Historical Aspects of the Augustan sekora, john, Luxury: The Concept in Western Thought London Journal, vol. 37, no. 3 (November 2012), Tradition’, in R. F. Brissenden, ed., Studies in the from Eden to Smollett, Baltimore, 1977. pp. 152–73. Eighteenth Century: Papers Presented at the David solkin, david h., Painting for Money: The Visual Arts liversidge, michael and farington, jane, eds., Nichol Smith Memorial Seminar, Canberra 1966, and the Public Sphere in Eighteenth-Century England, Canaletto & England, exhibition catalogue, Birming- Toronto, 1968, pp. 67–79. New Haven and London, 1993. ham Museums & Art Gallery, Birmingham, London, 1993. rosenthal, michael, The Art of Thomas Gainsbor- ough: ‘a little business for the Eye’, New Haven and London, 1999.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 336 • select bibliography select bibliography • 337

solkin, david h., Richard Wilson: The Landscape of myrone, martin, Bodybuilding: Reforming Mascu- bonehill, john and daniels, stephen, eds., Paul Reaction, exhibition catalogue, Tate Gallery, London, linities in British Art 1750–1810, New Haven and Sandby: Picturing Britain, exhibition catalogue, Royal 1982. London, 2005. Academy of Arts, London, 2009. —— ed., Gothic Nightmares: Fuseli, Blake and the Ro- copley, stephen and garside, peter, eds., The mantic Imagination, exhibition catalogue, Tate Britain, Politics of the Picturesque: Literature, Landscape and 12 from island to empire: the cosmo- London, 2005. Aesthetics since 1770, Cambridge, 1994. politan turn in british art, 1737–60 postle, martin, ed., Johann Zoffany RA: Society gilpin, william, Three Essays: On Picturesque Beauty; jacob, margaret c., Strangers Nowhere in the World: Observed, exhibition catalogue, Yale Center for British On Picturesque Travel; and On Sketching Landscape: The Rise of Cosmopolitanism in Early Modern Europe, Art, New Haven, New Haven and London, 2011. To Which is Added a Poem, On Landscape Painting, Philadelphia, 2006. pressly, william l., The Artist as Original Genius: London, 1792. myrone, martin, Bodybuilding: Reforming Mascu- Shakespeare’s ‘Fine Frenzy’, in Late Eighteenth-Centu- guest, harriet, Empire, Barbarism, and Civilisation: linities in British Art 1750–1810, New Haven and ry British Art, Newark, DE, 2007. Captain Cook, William Hodges and the Return to the London, 2005. —— The Life and Art of James Barry, New Haven and Pacific, Cambridge, 2007. newman, gerald, The Rise of English Nationalism: London, 1981. moir, esther, The Discovery of Britain: The English A Cultural History 1740–1830, London, 1987. reynolds, joshua, Discourses on Art, ed. Robert R. Tourists 1540–1840, London and New York, 1964 postle, martin and simon, robin, eds., Richard Wark, New Haven and London, 1975. (reissued 2014). Wilson and the Transformation of European Landscape rosenthal, angela, Angelica Kauffman: Art and quilley, geoff and bonehill, john, eds., William Painting, exhibition catalogue, Yale Center for British Sensibility, New Haven and London, 2006. Hodges 1744–1797: The Art of Exploration, exhibition Art, New Haven, New Haven and London, 2014. solkin, david h., ed., Art on the Line: The Royal catalogue, National Maritime Museum, Greenwich, redford, bruce, Dilettanti: The Antic and the Antique Academy Exhibitions at Somerset House 1780–1836, New Haven and London, 2004. in Eighteenth-Century England, Malibu, 2008. exhibition catalogue, Courtauld Institute Gallery, rosenthal, michael, The Art of Thomas Gainsbor- rouquet, jean andré, The Present State of the Arts in London, New Haven and London, 2001. ough: ‘a little business for the Eye’, New Haven and England, London, 1755. London, 1999. solkin, david h., ‘Great Pictures or Great Men? sanchez-jauregui, maria dolores and wilcox, Reynolds, Male Portraiture, and the Power of Art’, 14 portraiture takes the public stage scott, eds., The English Prize: The Capture of the Oxford Art Journal, vol. 9, no. 2 (1986), pp. 42–9. hallett, mark, Reynolds: Portraiture in Action, New Westmorland, An Episode of the Grand Tour, exhibition —— Richard Wilson: The Landscape of Reaction, exhibi- Haven and London, 2014. catalogue, Yale Center for British Art, New Haven, tion catalogue, Tate Gallery, London, 1982. perry, gill, Spectacular Flirtations: Viewing the Actress New Haven and London, 2012. wilton, andrew and bignamini, ilaria, eds., in British Art and Theatre, 1768–1820, New Haven solkin, david h., ‘The Battle of the Ciceros: Richard Grand Tour: The Lure of Italy in the Eighteenth and London, 2007. Wilson and the Politics of Landscape in the Age of Century, exhibition catalogue, Tate Gallery, London, —— and rossington, michael, eds., Femininity and John Wilkes’, Art History, vol. 6, no. 4 (December 1996. Masculinity in Eighteenth-Century Art and Culture, 1983), pp. 406–22. Manchester, 1994. —— Richard Wilson: The Landscape of Reaction, exhibi- pointon, marcia, Hanging the Head: Portraiture and tion catalogue, Tate Gallery, London, 1982. 13 dreams of grandeur and marketplace Social Formation in Eighteenth-Century England, New realities: history-painting in britain Haven and London, 1993. from vauxhall gardens to the shake- postle, martin, ed., Joshua Reynolds: The Creation of 16 the empire of sensibility speare gallery Celebrity, exhibition catalogue, Tate Britain, London, barker-benfield, g. j., The Culture of Sensibility: Sex abrams, ann uhry, The Valiant Hero: Benjamin West 2005. and Society in Eighteenth-Century Britain, Chicago, and Grand-Style History Painting, Washington, DC, retford, kate, The Art of Domestic Life: Family Por- 1992. 1985. traiture in Eighteenth-Century England, New Haven barrell, john, ‘The Private Comedy of Thomas Row- bonehill, john, ‘Exhibiting War: John Singleton and London, 2006. landson’, Art History, vol. 6, no. 4 (December 1983), Copley’s The Siege of Gibraltar and the Staging of rosenthal, michael and myrone, martin, eds., pp. 423–41. History’, in John Bonehill and Geoff Quilley, eds., Gainsborough, exhibition catalogue, Tate Britain, barringer, tim, quilley, geoff and fordham, Conflicting Visions: War and Visual Culture in Britain London, 2002. douglas, eds., Art and the British Empire, Manches- and France c.1700–1830, Aldershot and Burlington, sloman, susan, Gainsborough in Bath, New Haven and ter, 2007. VT, 2005, pp. 139–67. London, 2002. bermingham, ann, ed., Sensation & Sensibility: View- dias, rosie, Exhibiting Englishness: John Boydell’s tscherny, nadia, ‘“Persons and Property”: Rom- ing Gainsborough’s ‘Cottage Door’, New Haven and Shakespeare Gallery and the Formation of a National ney’s Society Portraiture’, in Alex Kidson, ed., Those London, 2005. Aesthetic, New Haven and London, 2013. Delightful Regions of Imagination: Essays on George bonehill, john, ‘“The Eye of Delicacy”: Joseph dunne, tom, ed., James Barry (1741–1806): ‘The Romney, Studies in British Art 9, New Haven and Wright of Derby Reviewed’, in Sarah Monks, John Great Historical Painter’, exhibition catalogue, Craw- London, 2002, pp. 33–61. Barrell and Mark Hallett, eds., Living with the Royal ford Art Gallery, Cork, 2005. Academy: Artistic Ideals and Experiences in England, fordham, douglas, British Art and the Seven Years’ 1768–1848, Farnham and Burlington, VT, 2013, War: Allegiance and Autonomy, Philadelphia, 2010. 15 landscape art and its audiences pp. 89–110. hargraves, matthew, Candidates for Fame: The Soci- andrews, malcolm, The Search for the Picturesque: donald, diana, The Age of Caricature: Satirical Prints ety of Artists of Great Britain 1760–1791, New Haven Landscape Aesthetics and Tourism in Britain, 1760– in the Reign of George III, New Haven and London, and London, 2006. 1800, Aldershot, 1989. 1996. hoock, holger, The King’s Artists: The Royal Academy barbier, carl paul, William Gilpin: His Drawings, gamer, meredith, ‘George Morland’s Slave Trade and of Arts and the Politics of British Culture 1760–1840, Teaching, and Theory of the Picturesque, Oxford, 1963. African Hospitality: Slavery, Sentiment and the Limits Oxford, 2003. barrell, john, The Dark Side of the Landscape: The of the Abolitionist Image’, in Elizabeth McGrath and monteyne, joseph, From Still Life to the Screen: Print Rural Poor in English Painting 1730–1840, Cambridge, Jean Michel Massing, eds., The Slave in European Culture, Display, and the Materiality of the Image in 1980. Art: From Renaissance Trophy to Abolitionist Emblem, Eighteenth-Century London, New Haven and London, bermingham, ann, Landscape and Ideology: The Eng- Warburg Institute Colloquia 20, London and Turin, 2013. lish Rustic Tradition, 1740–1860, London, 1987. 2012, pp. 297–319. —— ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005. This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 338 • select bibliography select bibliography • 338 gatrell, vic, City of Laughter: Sex and Satire in 18 british genius and british nature: —— Painting out of the Ordinary: Modernity and the Art Eighteenth-Century London, New York, 2006. depicting the domestic landscape in of Everyday Life in Early Nineteenth-Century Britain, guest, harriet, Empire, Barbarism, and Civilisation: the wartime years New Haven and London, 2008. Captain Cook, William Hodges, and the Return to the alison, archibald, Essays on the Nature and Principles tromans, nicholas, David Wilkie: Painter of Pacific, Cambridge, 2007. of Taste, Edinburgh, 1790. Everyday Life, exhibition catalogue, Dulwich Picture kriz, kay dian, Slavery, Sugar, and the Culture of Re- barrell, john, The Dark Side of the Landscape: The Gallery, London, 2002. finement: Picturing the British West Indies, 1700–1840, Rural Poor in English Painting 1730–1840, Cambridge, —— David Wilkie: The People’s Painter, Edinburgh, 2007. New Haven and London, 2008. 1980. mullan, john, Sentiment and Sociability: The Lan- bermingham, ann, Landscape and Ideology: The Eng- 20 divided likenesses: portraiture and guage of Feeling in the Eighteenth Century, Oxford, lish Rustic Tradition, 1740–1860, London, 1987. the end of social consensus 1988. —— ‘System, Order, and Abstraction: The Politics of postle, martin, ed., Johann Zoffany RA: Society English Landscape Drawing around 1795’, in W. J. albinson, a. cassandra, funnell, peter and Observed, exhibition catalogue, Yale Center for British T. Mitchell, ed., Landscape and Power, Chicago and peltz, lucy, Thomas Lawrence: Regency Power & Art, New Haven, New Haven and London, 2011. London, 1994, pp. 77–101. Brilliance, exhibition catalogue, National Portrait Gal- quilley, geoff, Empire to Nation: Art, History and the gage, john, A Decade of English Naturalism 1810–1820, lery, London, New Haven and London, 2010. Visualization of Maritime Britain 1768–1829, New exhibition catalogue, Norwich Castle Museum, bermingham, ann, ‘The Aesthetics of Ignorance: Haven and London, 2011. Norwich, 1969. The Accomplished Woman in the Culture of Con- retford, kate, The Art of Domestic Life: Family Por- —— J. M. W. Turner: ‘A Wonderful Range of Mind’, New noisseurship’, Oxford Art Journal, vol. 16, no. 2 traiture in Eighteenth-Century England, New Haven Haven and London, 1987. 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Museum of Art, Philadelphia, 2000. redford, bruce, Dilettanti: The Antic and the Antique —— ‘A Kingdom United: Images of Political and Cul- bull, duncan, Classic Ground: British Artists and the in Eighteenth-Century England, Malibu, 2008. tural Union in Ireland and Scotland, c. 1800’, Ph.D. Landscape of Italy, 1740–1830, exhibition catalogue, —— Venice & the Grand Tour, New Haven and London, dissertation, Yale University, 1992. Yale Center for British Art, New Haven, 1981. 1996. —— ‘Visual Politics in 1780s Ireland: The Roles of chard, chloe, Pleasure and Guilt on the Grand Tour: roettgen, steffi, Anton Raphael Mengs 1728–1799 History Painting’, Oxford Art Journal, vol. 18, no. 1 Travel Writing and Imaginative Geography 1600–1830, and His British Patrons, exhibition catalogue, Iveagh (1995), pp. 58–73. Manchester and New York, 1999. 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Brissenden, ed., Studies in the Eigh- Eighteenth Century, Oxford, 1974. 1986, pp. 42–59. teenth Century: Papers Presented at the David Nichol holcomb, adele m., ‘The Bridge in the Middle Dis- myrone, martin and peltz, lucy, eds., Producing Smith Memorial Seminar, Canberra 1966, Canberra, tance: Symbolic Elements in Romantic Landscape’, the Past: Aspects of Antiquarian Culture and Practice, 1968, pp. 67–88. Art Quarterly, vol. 37, no. 1 (1974), pp. 31–58. 1700–1850, Aldershot and Brookfield, VT, 1999. welsh, rosemary, ‘Eighteenth-Century British Land- holloway, james and errington, lindsay, The ogden, henry v. s. and ogden, margaret s., scape Theory: Rituals of Consecration (Protestant)’, Discovery of Scotland: The Appreciation of Scottish English Taste in Landscape in the Seventeenth Century, Ph.D. dissertation, State University of New York, Scenery Through Two Centuries of Painting, exhibition Ann Arbor, 1955. 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William Alexander VA, 2007. payne, christiana, ‘“Calculated to gratify the patriot”: Rustic Figure Studies in Early-Nineteenth- legouix, susan, Image of China: William Alexander, deuchar, stephen, Noble Exercise: The Sporting Ideal London, 1980. in Eighteenth-Century British Art, exhibition cata- Century Britain’, in Michael Rosenthal, Christiana Payne and Scott Wilcox, eds., Prospects for the Nation: royal pavilion, William Alexander: An English Artist logue, Yale Center for British Art, New Haven, 1982. in Imperial China, exhibition catalogue, Brighton, —— Sporting Art in Eighteenth-Century England: A Recent Essays in British Landscape, 1750–1880, Studies in British Art 4, New Haven and London, 1997, pp. 1981. Social and Political History, New Haven and London, sloboda, stacey, ‘Picturing China: William Alexander 1988. 61–78. —— Rustic Simplicity: Scenes of Cottage Life in and the Visual Language of Chinoiserie’, British Art donald, diana, Picturing Animals in Britain, 1750– Journal, vol. 9, no. 2 (Autumn 2008), pp. 28–36. 1850, New Haven and London, 2007. Nineteenth-Century British Art, exhibition catalogue, Djanogly Art Gallery, University of Nottingham, egerton, judy, Sport in Art and Books: The Paul Mel- David Allan lon Collection. British Sporting and Animal Paintings Nottingham, 1998. 1655–1867, London, 1978. postle, martin, Angels & Urchins: The Fancy Picture gordon, grier robertson, ‘Scottish Scenes and —— and snelgrove, dudley, Sport in Art and Books: in 18th-Century British Art, exhibition catalogue, Scottish Story: The Later Career of David Allan, The Paul Mellon Collection. 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Poor in the Cries of London, New Brunswick, NJ and 1796: The Scottish Hogarth, Alva, Clackmannanshire, heiny, henriette a. gram, ‘Boxing in British Sport- Manchester, 2002. 1951. ing Art: 1730–1824’, Ph.D. dissertation, University of smiles, sam, ‘Dressed to Till: Representational Strate- retford, kate, ‘“The small Domestic & conversation Oregon, 1987. gies in the Depiction of Rural Labour, c. 1790–1830’, style”: David Allan and Scottish Portraiture in the merling, mitchell, cormack, malcolm and in Michael Rosenthal, Christiana Payne and Scott Late Eighteenth Century’, Visual Culture in Britain, piper, corey, Catching Sight: The World of the Wilcox, eds., Prospects for the Nation: Recent Essays in vol. 15, no. 1 (2014), pp. 1–27. British Sporting Print, exhibition catalogue, Virginia British Landscape, 1750–1880, Studies in British Art skinner, basil, The Indefatigable Mr Allan: The Museum of Fine Arts, Richmond, VA, 2013. 4, New Haven and London, 1997, pp. 79–95. 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James Barry eaves, morris, The Counter-Arts Conspiracy: Art and barrell, john, ‘The Birth of Pandora and the Origin Sir George Beaumont Industry in the Age of Blake, Ithaca, NY and London, of Painting’, in John Barrell, The Birth of Pandora and owen, felicity and brown, david blayney, Col- 1992. the Division of Knowledge, London, 1992. lector of Genius: A Life of Sir George Beaumont, New —— William Blake’s Theory of Art, Princeton, 1982. barry, james, An Account of a Series of Pictures, in the Haven and London, 1988. —— essick, robert n. and viscomi, joseph, eds., Great Room of the Society of Arts, Manufactures, and The William Blake Archive, http://www.blakearchive. Commerce, at the Adelphi, London, 1783. William Beckford org hamlyn, robin and phillips, michael, eds., —— An Inquiry into the Real and Imaginary Obstructions hauptman, william, ‘Beckford, Brandoin, and the to the Acquisition of the Arts in England, London, 1775. 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London, 2001. dunne, tom, ed., James Barry (1741–1806): ‘The matthews, susan, ‘An Alternative National Gallery: shaffer, e. s., ‘“To remind us of China”: William Blake’s 1809 Exhibition and the Attack on Evangelical Great Historical Painter’, exhibition catalogue, Craw- Beckford, Mental Traveller on the Grand Tour’, ford Art Gallery, Cork, 2005. Culture’, Tate Papers, no. 14 (Autumn 2010), http:// in Chloe Chard and Helen Langdon, eds., Trans- www.tate.org.uk/research/publications/tate-papers/ —— and pressly, william l., eds., James Barry, ports: Travel, Pleasure, and Imaginative Geography, 1741–1806: History Painter, Farnham and Burlington, alternative-national-gallery-blakes-1809-exhibition- 1600–1830, Studies in British Art 3, New Haven and and-attack-on VT, 2010. London, 1996, pp. 207–42. gibbons, luke, ‘“Into the Cyclops eye”: James Barry, myrone, martin, The Blake Book, London, 2007. Historical Portraiture, and Colonial Ireland’, in Fin- —— William Blake. 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London, 1981. —— William Blake: His Art and Times, exhibition cata- gourlay, alexander and simon, robin, ‘Not —— ‘A Preparatory Drawing for Barry’s Glorious Sex- logue, Yale Center for British Art, New Haven, 1982. William Blake but John Boydell: Attributing and Elu- tumvirate Rediscovered: The Search for the Seventh —— and pinckney, darryl, Mind-Forg’d Manacles: cidating Two Leaves from an 18th-Century Account Man’, in Susan Bennett, ed., Cultivating the Human William Blake and Slavery, exhibition catalogue, Book’, British Art Journal, vol. 15, no. 1 (Autumn Faculties: James Barry (1741–1806) and the Society of Ferens Art Gallery, Hull, 2007. 2014), pp. 35–46. Arts, Cranbury, NJ, 2008, pp. 119–30. —— and toomey, deidre, The Complete Graphic mcpherson, heather, ‘Branding Shakespeare: Works of William Blake, London, 1978. 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London, 1997. 1991. —— ‘Samuel Cooper’s Profiles of King Charles II and ——, —— and shields, conal, Constable: Paintings, Mather Brown Thomas Simon’s Coins and Medals’, Master Draw- Watercolours & Drawings, exhibition catalogue, Tate ings, vol. 30, no. 3 (Autumn 1992), pp. 314–19. Gallery, London, 1976. evans, dorinda, Mather Brown: Early American Artist reynolds, graham, The Early Paintings and Drawings in England, Middletown, CT, 1982. gibson-wood, carol, ‘Marcellus Laroon, John Baptist Gaspars and the Portraits of Charles II for of John Constable, 2 vols., New Haven and London, mcphee, constance, ‘Tipu Sultan of Mysore and 1996. British Medievalism in the Paintings of Mather Christ’s Hospital’, Burlington Magazine, vol. 145, no. 1204 (July 2003), pp. 505–9. —— The Later Paintings and Drawings of John Constable, Brown’, in Julie F. Codell and Dianne Sachko Ma- 2 vols., New Haven and London, 1984. cleod, eds., Orientalism Transposed: The Impact of the gleissner, stephen gregory, ‘The Arts Restored: The Restoration of Royal Imagery and Patronage for rosenthal, michael, Constable: The Painter and His Colonies on British Culture, Aldershot and Brookfield, Landscape, New Haven and London, 1983. VT, 1998, pp. 202–19. Charles II of Great Britain’, Ph.D. dissertation, 2 vols., Northwestern University, Evanston, IL, 1995. hammond, paul, ‘The King’s Two Bodies: Represen- Henry Cook Samuel and Nathaniel Buck tations of Charles II’, in Jeremy Black and Jeremy brisby, claire, ‘Druids at Drayton: Dipping into hyde, ralph, ‘Buck, Samuel (1696–1779)’, Oxford Gregory, eds., Culture, Politics and Society in Britain, Antiquarianism Before the Society of Antiquaries Dictionary of National Biography, Oxford University 1660–1880, Manchester, 1991, pp. 13–48. (1717)’, British Art Journal, vol. 10, no. 2 (Winter Press, 2004, http://www.oxforddnb.com/view/ar- solkin, david h., ‘Isaac Fuller’s Escape of Charles II: A 2009), pp. 2–8. ticle/3850 Restoration Tragicomedy’, Journal of the Warburg and —— A Prospect of Britain: The Town Panoramas of Courtauld Institutes, vol. 62 (1999), pp. 199–240. Samuel Cooper Samuel and Nathaniel Buck, London, 1994. foskett, daphne, Samuel Cooper and His Contempo- kennedy, andrew, ‘Antiquity and Improvement in the George Chinnery National Landscape: The Bucks’ Views of Antiqui- raries, exhibition catalogue, National Portrait Gallery, ties 1726–42’, Art History, vol. 25, no. 4 (September conner, patrick, George Chinnery 1774–1852: Artist London, 1974. 2002), pp. 488–99. of India and the China Coast, Woodbridge, 1993. gibson, katharine, ‘Samuel Cooper’s Profiles of King tokyo metropolitan foundation for history Charles II and Thomas Simon’s Coins and Medals’, and culture, Journey to the Far East: George Chin- Henry William Bunbury Master Drawings, vol. 30, no. 3 (Autumn 1992), pp. nery and the Art of Canton, Macao and Hong Kong in 314–19. riely, john c., ‘Horace Walpole and “the Second the 19th Century, exhibition catalogue, Tokyo, 1996. Hogarth”’, Eighteenth-Century Studies, vol. 9, no. 1 John Singleton Copley (Autumn 1975), pp. 28–44. John and John Baptist Closterman bonehill, john, ‘Exhibiting War: John Singleton rogers, malcolm, ‘John and John Baptist Clos- Edward Burney Copley’s The Siege of Gibraltar and the Staging of terman: A Catalogue of Their Works’, Walpole Society, History’, in John Bonehill and Geoff Quilley, eds., crown, patricia dahlman, ‘Edward F. Burney: An vol. 49 (1983), pp. 224–79. Conflicting Visions: War and Visual Culture in Britain Historical Study in English Romantic Art’, Ph.D. dis- and France c. 1700–1830, Aldershot and Burlington, sertation, University of California, Los Angeles, 1977. Edward Collier VT, 2005, pp. 139–67. wahrman, dror, Mr Collier’s Letter Racks: A Tale of copley, john singleton, Description of Mr Copley’s Augustus Wall Callcott Art and Illusion at the Threshold of the Modern Infor- Picture of the Death of the Late Earl of Chatham, brown, david blayney, Augustus Wall Callcott, exhi- mation Age, Oxford and New York, 2012. Now Exhibiting at the Great Room, Spring-Gardens, bition catalogue, Tate Gallery, London, 1981. London, 1780. John Constable neff, emily ballew and pressly, william l., John Antonio Canaletto Singleton Copley in England, exhibition catalogue, beckett, r. b., ed., John Constable’s Correspondence, 7 National Gallery of Art, Washington, DC, 1995. baetjer, katharine and links, j. g., Canaletto, vols., Ipswich, 1962–8. exhibition catalogue, Metropolitan Museum of Art, —— and weber, kaylin h., eds., American Adversar- bermingham, ann, ‘Reading Constable’, Art History, ies: West and Copley in a Transatlantic World, exhibi- New York, 1989. vol. 10, no. 1 (March 1987), pp. 38–58. beddington, charles, ed., Canaletto in England: A tion catalogue, Museum of Fine Arts, Houston, New dulwich picture gallery, Constable: a Master Haven and London, 2013. 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Oxford, 1976. the Shark and the Boston Tea Party’, Art History, vol. hebron, stephen, shields, conal and wilcox, 34, no. 4 (September 2011), pp. 674–95. hallett, mark, ‘Framing the Modern City: Ca- timothy, The Solitude of Mountains: Constable and naletto’s Images of London’, in Michael Liversidge the Lake District, exhibition catalogue, Dove Cottage, Richard and Maria Cosway and Jane Farington, eds., Canaletto & England, Grasmere, 2006. exhibition catalogue, Birmingham Museums & Art lambert, ray, John Constable and the Theory of Land- lloyd, stephen, ‘Fashioning the Image of the Prince: Gallery, Birmingham, London, 1993, pp. 46–54. scape Painting, Cambridge, 2005. 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Edition with a Critical Essay and a Catalogue, Oxford, of Arts, London, 1999. 1976. gordenker, emilie e. s., Anthony Van Dyck (1599– Nathaniel Dance 1641) and the Representation of Dress in Seventeenth- John Sell Cotman goodreau, david, Nathaniel Dance 1735–1811, exhibi- Century Portraiture, Turnhout, 2001. tion catalogue, Iveagh Bequest, Kenwood House, hearn, karen, ed., Van Dyck & Britain, exhibition hemingway, andrew, ‘The Constituents of Romantic London, 1977. catalogue, Tate Britain, London, 2009. 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Aldershot, 2006. —— ‘Cotman’s Architectural Antiquities of Normandy: royalton-kisch, martin, The Light of Nature: Some Amendments to Kitson’s Account’, Walpole Hendrick Danckerts Landscape Drawings and Watercolours by Van Dyck Society, vol. 46 (1978), pp. 164–85. and His Contemporaries, exhibition catalogue, British —— ‘Meaning in Cotman’s Norfolk Subjects’, Art His- gibson, katharine, ‘Danckerts, Hendrick (c. 1625–1680)’, Oxford Dictionary of National Biography, Museum, London, 1999. tory, vol. 7, no. 1 (March 1984), pp. 57–77. strong, roy, Van Dyck: Charles I on Horseback, Lon- hill, david, Cotman in the North: Watercolours of Dur- Oxford University Press, 2004, online edn January 2008, http://www.oxforddnb.com/view/article/7103 don, 1972. ham and Yorkshire, New Haven and London, 2005. wheelock, arthur k. jr., barnes, susan j. and holcomb, adele m., British Museum Prints and Draw- held, julius s., Van Dyck Paintings, exhibition Thomas and William Daniell ings Series: John Sell Cotman, London, 1978. catalogue, National Gallery of Art, Washington, DC, kitson, sydney d., The Life of John Sell Cotman, archer, mildred, Early Views of India: The Pic- 1990. London, 1937. turesque Journeys of Thomas and William Daniell wood, jeremy, ‘Dyck, Sir Anthony Van (1599–1641)’, moore, andrew w., John Sell Cotman 1782–1842, 1786–1794, London, 1980. Oxford Dictionary of National Biography, Oxford exhibition catalogue, Norwich Castle Museum, University Press, 2004, online edn May 2010, http:// Norwich, 1982. Edward Dayes www.oxforddnb.com/view/article/28081 rajnai, miklos, ed., John Sell Cotman 1782–1842: brown, david blayney, ‘Edward Dayes: Historical A Touring Exhibition Arranged by the Arts Council Draughtsman’, Old Water-Colour Society’s Club, vol. Joseph Farington of Great Britain, exhibition catalogue, Victoria and 62 (1991), pp. 1–21. Albert Museum, London, 1982. bolton museum and art gallery, Joseph Faring- dayes, edward, The Works of the Late Edward Dayes, ton: Watercolours and Drawings, exhibition catalogue, ed. R. W. Lightbown, London, 1971. David Cox Bolton, 1977. yarker, jonathan, Ambition in ‘Grand Manner’: farington, joseph, The Diary of Joseph Farington, wilcox, scott, Sun, Wind, and Rain: The Art of David Edward Dayes as History Painter, London, 2013. vols. 1–7 ed. Kenneth Garlick and Angus MacIntyre; Cox, exhibition catalogue, Yale Center for British Art, vols. 8–16 ed. Kathryn Cave; index by Evelyn Newby, New Haven and London, 2007. 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British Art, New Haven, 1980. sity College, London, 2003. cozens, alexander, A New Method of Assisting the In- harris museum and art gallery, Polite Society by —— ed., John Flaxman, R.A., exhibition catalogue, vention in Drawing Original Compositions of Landscape, Arthur Devis 1712–1787: Portraits of the English Coun- Royal Academy of Arts, London, 1979. London, 1786. try Gentleman, exhibition catalogue, Preston, 1983. petherbridge, deanna, ‘Constructing the Language cramer, charles a., ‘Alexander Cozens’s New of Line’, in David Bindman, ed., John Flaxman Method: The Blot and General Nature’, Art Bulletin, John Downman 1755–1826: Master of the Purest Line, exhibition cata- vol. 79, no. 1 (March 1997), pp. 112–29. munro, jane, John Downman 1750–1824: Landscape, logue, Sir John Soane’s Museum and the Strang Print hawcroft, francis, Watercolours by John Robert Figure Studies and Portraits of ‘Distinguished Persons’, Room, London, 2003, pp. 7–13. 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Fusslis (1741–1825) Quarterly, vol. 66, no. 1/2 (2003), pp. 80–95. tion catalogue, Tate Britain, London, 2002. “Lectures on Painting”: Das Modell der Antike und die cherry, deborah and harris, jennifer, ‘Eigh- sloman, susan, ‘“A Divine Countenance”: Gains- Moderne Nachahmung, 2 vols., Berlin, 2005. teenth-Century Portraiture and the Seventeenth-Cen- borough’s Portrait of His Nephew Rediscovered’, calè, luisa, Fuseli’s Milton Gallery: ‘Turning Readers tury Past: Gainsborough and Van Dyck’, Art History, Burlington Magazine, vol. 146, no. 1214 (May 2004), into Spectators’, Oxford, 2006. vol. 5, no. 3 (September 1982), pp. 287–309. pp. 319–22. frayling, christopher, ‘Fuseli’s The Nightmare: christensen, carol and luciano, eleonora, ‘The —— Gainsborough in Bath, New Haven and London, Somewhere between the Sublime and the Ridiculous’, Evolution of Gainsborough’s Portrait of Elizabeth 2002. in Martin Myrone, ed., Gothic Nightmares: Fuseli, Sheridan’, Burlington Magazine, vol. 155, no. 321 —— ‘Gainsborough’s Blue Boy’, Burlington Magazine, Blake and the Romantic Imagination, exhibition cata- (April 2013), pp. 238–42. vol. 155, no. 1321 (April 2013), pp. 231–7. logue, Tate Britain, London, 2006, pp. 12–19. clifford, timothy, griffiths, antony and —— Gainsborough’s Landscapes: Themes and Variations, knowles, john, ed., The Life and Writings of Henry royalton-kisch, martin, Gainsborough and Reyn- exhibition catalogue, Holburne Museum, Bath, 2011. 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John Glover Benjamin Robert Haydon marsden, jonathan, ed., The Wisdom of George the hansen, david, John Glover and the Colonial Pictur- barrell, john, ‘Benjamin Robert Haydon: The Curtius Third: Papers from a Symposium at The Queen’s Gal- esque, exhibition catalogue, Tasmanian Museum and of the Khyber Pass’, in John Barrell, ed., Painting lery, Buckingham Palace, June 2004, London, 2005. Art Gallery, Hobart, 2003. and the Politics of Culture: New Essays on British Art roberts, jane, ed., George III and Queen Charlotte: 1700–1850, Oxford, 1992, pp. 253–90. Patronage, Collecting and Court Taste, exhibition cata- William Green brown, david blayney, woof, robert and he- logue, Queen’s Gallery, Buckingham Palace, London, burkett, m. e. and sloss, j. d. g., William Green bron, stephen, Benjamin Robert Haydon 1786– 2004. of Ambleside: A Lake District Artist (1760–1823), 1846: Painter and Writer, Friend of Wordsworth and strobel, heidi a., The Artistic Matronage of Queen Kendal, 1984. Keats, exhibition catalogue, Dove Cottage, Grasmere, Charlotte (1744–1818): How a Queen Promoted Both 1996. Art and Female Artists in English Society, Lewiston, Samuel Hieronymus Grimm george, eric and george, mary dorothy, The NY, 2011. Life and Death of Benjamin Robert Haydon: Historical clay, rotha mary, Samuel Hieronymus Grimm of Painter, 1786–1846, 2nd edn, Oxford, 1967. Burgdorf in Switzerland, London, 1949. George IV haydon, benjamin robert, The Diary of Benjamin hauptman, william, Samuel Hieronymus Grimm Robert Haydon, ed. W. B. Pope, 5 vols., Cambridge, arnold, dana, ed., ‘Squanderous and Lavish Profu- (1733–1794): A Very English Swiss, exhibition cata- MA, 1960–3. sion’: George IV, His Image and Patronage of the Arts, logue, Kunstmuseum, Bern, 2014. —— The Life of Benjamin Robert Haydon, Historical London, 1995. joyner, paul, Samuel Hieronymus Grimm: Views in Painter from His Autobiography and Journals, ed. 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William Hayley ‘London und Paris’, Cambridge, 1999. errington, lindsay, ‘Gavin Hamilton’s Sentimental chan, victor, Leader of My Angels: William Hayley godfrey, richard t., James Gillray: The Art of Cari- Iliad’, Burlington Magazine, vol. 120, no. 898 (January and His Circle, exhibition catalogue, Edmonton Art cature, exhibition catalogue, Tate Britain, London, 1978), pp. 10–13. Gallery, Edmonton, AB, 1982. 2001. lewis, jayne elizabeth, ‘Hamilton’s “Abdication”, hill, draper, Fashionable Contrasts: Caricatures by Boswell’s Jacobitism and the Myth of Mary Queen James Gillray, Oxford, 1966. of Scots’, ELH, vol. 64, no. 4 (Winter 1997), pp. Francis Hayman 1069–90. allen, brian, Francis Hayman, exhibition catalogue, Sawrey Gilpin macmillan, duncan, ‘The Iconography of Moral Yale Center for British Art, New Haven, New Haven ferguson, sharon h., ‘Sawrey Gilpin (1733–1807): Sense: Gavin Hamilton’s Sentimental Heroines’, and London, 1987. British Animal Painting in the Age of Sentiment’, British Art Journal, vol. 1, no. 1 (Autumn 2000), pp. —— ‘Francis Hayman and the English Rococo’, Ph.D. Ph.D. dissertation, New York University, 2005. 46–55. dissertation, Courtauld Institute of Art, University of —— ‘Woman as Hero: Gavin Hamilton’s Radical Alter- London, 1984. William Gilpin native’, in Gill Perry and Michael Rossington, eds., barbier, carl paul, William Gilpin: His Drawings, Femininity and Masculinity in Eighteenth-Century Art Edward Haytley Teaching, and Theory of the Picturesque, Oxford, 1963. and Culture, Manchester, 1994, pp. 78–98. griffiths, rodney, ‘The Life and Works of Edward gilpin, william, An Essay on Prints [1768], 5th edn, williams, julia lloyd, ‘Hamilton, Gavin (1723– Haytley’, Walpole Society, vol. 74 (2012), pp. 1–60. 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Added a Poem, On Landscape Painting, London, 1792. 165–208. hodge, anne, ed., Hugh Douglas Hamilton 1740–1808: Thomas Hearne Thomas Girtin A Life in Pictures, exhibition catalogue, National Gal- lery of Ireland, Dublin, 2008. morris, david, Thomas Hearne 1744–1817: Water- girtin, thomas and loshak, david, The Art of colours and Drawings, exhibition catalogue, Bolton Thomas Girtin, London, 1954. Museum and Art Gallery, Bolton, 1985. Sir William Hamilton hawcroft, francis, Watercolours by Thomas Girtin, —— Thomas Hearne and His Landscape, London, 1989. exhibition catalogue, Whitworth Art Gallery, Man- jenkins, ian and sloan, kim, Vases & Volcanoes: chester, 1975. Sir William Hamilton and His Collection, exhibition Egbert van Heemskerck hill, david, Thomas Girtin: Genius in the North, exhibi- catalogue, British Museum, London, 1996. tion catalogue, Harewood House, Yorkshire, Leeds, raines, robert, ‘Notes on Egbert van Heemskerck and 1999. the English Taste for Genre’, Walpole Society, vol. 53 (1989), pp. 119–42.

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William Hoare gibson, william, ‘The Significance of the Iconogra- Nathaniel Hone phy of Bishop Benjamin Hoadly (1676–1761), British newby, evelyn, William Hoare of Bath, R.A., butler, nesta, ‘Nathaniel Hone the Elder and William Art Journal, vol. 7, no. 2 (Autumn 2006), pp. 3–10. Baillie: Irish Artists in Late 18th-Century London 1707–1792, exhibition catalogue, Victoria Art Gallery, godby, michael, ‘The First Steps of Hogarth’s Bath, 1990. and Their Shared Admiration for Rembrandt’, British Harlot’s Progress’, Art History, vol. 10, no. 1 (March Art Journal, vol. 8, no. 2 (Autumn 2007), pp. 39–52. 1987), pp. 23–37. William Hodges newman, john, ‘Reynolds and Hone: The Conjuror hallett, mark, Hogarth, London, 2000. 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Pacific, Cambridge, 2007. ety in the Works of William Hogarth, Oxford, 1997. thom, danielle, ‘Kitty Fisher & the Fishing Kitty’, —— ‘The Great Distinction: Figures of the Exotic in paulson, ronald, ‘Hogarth and the Distribution of in The Droll Hackabout: Visual Culture and Social the Work of William Hodges’, Oxford Art Journal, vol. Visual Images’, in Brian Allen, ed., Towards a Modern History in the Long Eighteenth-Century, http://the- 12, no. 2 (1989), pp. 36–58. Art World, Studies in British Art 1, New Haven and drollhackabout.wordpress.com/2013/05/12/kitty- macdonald, simon, ‘To “shew virtue its own image”: London, 1995, pp. 27–46. fisher-the-fishing-kitty/. William Hodges’s The Effects of Peace and The Conse- —— Hogarth: His Life, Art, and Times, 2 vols., New quences of War, 1794–1795’, British Art Journal, vol. 9, Haven and London, 1971. John Hoppner no. 1 (Spring 2008), pp. 57–66. —— Hogarth. Volume 1: The ‘Modern Moral Subject’, quilley, geoff and bonehill, john, eds., William 1697–1732, London, 1991. mckay, william and roberts, william, John Hodges 1744–1797: The Art of Exploration, exhibition —— Hogarth. Volume 2: High Art and Low, 1732–1750, Hoppner, R.A., 2 vols., London, 1909–14. catalogue, National Maritime Museum, Greenwich, Cambridge, 1992. wilson, john human, ‘The Life and Work of John New Haven and London, 2004. —— Hogarth. Volume 3: Art and Politics, 1750–1764, Hoppner (1758–1810)’, Ph.D. dissertation, Courtauld smith, bernard, ‘William Hodges and English Plein- Cambridge, 1993. Institute of Art, University of London, 1992. Air Painting’, Art History, vol. 6, no. 2 (June 1983), —— Hogarth’s Graphic Works, 3rd rev. edn, London, pp. 143–52. 1989. Thomas Hudson stuebe, isabel combs, ‘The Life and Works of Wil- —— Hogarth’s Harlot: Sacred Parody in Enlightenment iveagh bequest, kenwood house, Thomas Hudson liam Hodges’, Ph.D. dissertation, 2 vols., New York England, Baltimore, 2003. 1701–1779: Portrait Painter and Collector. A Bicente- University, 1978. pointon, marcia, William Hogarth’s ‘Sigismunda’, in nary Exhibition, exhibition catalogue, London, 1979. tillotson, giles, The Artificial Empire: The Indian Focus, exhibition catalogue, Tate Britain, London, miles, ellen gross, ‘Thomas Hudson (1701–1779): Landscapes of William Hodges, London, 2000. 2000. Portraitist to the British Establishment’, Ph.D. dis- shesgreen, sean, Hogarth and the Times-of-the-Day sertation, 2 vols., Yale University, 1976. William Hogarth Tradition, Ithaca, NY and London, 1983. antal, frederick, Hogarth and His Place in European simon, robin, Hogarth, France and British Art: The Ozias Humphry Art, London, 1962. Rise of the Arts in 18th-Century Britain, London, williamson, george charles, Ozias Humphry, barlow, jeremy, The Enraged Musician: Hogarth’s 2007. London, 1918. Musical Imagery, Aldershot and Burlington, VT, 2005. solkin, david h., ‘The Fetish over the Fireplace: Disease as Genius Loci in Hogarth’s Marriage A- bindman, david, Hogarth, London, 1981. Jacob Huysmans —— Hogarth and His Times: Serious Comedy, exhibition la-Mode’, British Art Journal, vol. 2, no. 1 (Autumn braverman, richard, ‘Monmouth, the Baptist, and catalogue, British Museum, London, 1997. 2000), pp. 26–34. the Succession: Three Portraits by Jacob Huysmans’, —— and wilcox, scott, eds., “Among the Whores and Journal for Eighteenth-Century Studies, vol. 17, no. 2 Thieves”: William Hogarth and ‘The Beggar’s Opera’, Wenceslaus Hollar (September 1994), pp. 139–47. exhibition catalogue, Yale Center for British Art, New godfrey, richard t., Wenceslaus Hollar: A Bohemian Haven, 1997. Artist in England, exhibition catalogue, Yale Center for Julius Caesar Ibbetson ——, ogée, frédéric and wagner, peter, eds., British Art, New Haven and London, 1994. Hogarth: Representing Nature’s Machines, Manchester, griffiths, antony and kesnerova, gabriela, clay, rotha mary, Julius Caesar Ibbetson 1759–1817, 2001. Wenceslaus Hollar, Prints and Drawings, from the London, 1948. craske, matthew, Hogarth, London, 2000. Collections of the National Gallery, Prague and the mitchell, james, Julius Caesar Ibbetson (1759–1817): crown, patricia, ‘Clothing the Modern Venus: Hog- British Museum, London, exhibition catalogue, British ‘The Berchem of England’, London, 1999. arth and Women’s Dress’, in Elise Goodman, ed., Art Museum, London, 1983. and Culture in the Eighteenth Century: New Dimensions parry, graham, Hollar’s England: A Mid-Seventeenth- and Multiple Perspectives, Newark, DE, 2001, pp. Century View, Salisbury, 1980. 90–105. 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James Jefferys George Lambert henderson, brandon, Sir Peter Lely (1618–1680): clifford, timothy and legouix, susan, ‘James Jef- einberg, elizabeth, ‘Catalogue Raisonné of the Dutch Classicist, English Portraitist, and Collector, Boca ferys, Historical Draughtsman (1751–84)’, Burlington Works of George Lambert’, Walpole Society, vol. 63 Raton, FL, 2008. Magazine, vol. 118, no. 876 (March 1976), pp. 148–57. (2001), pp. 111–200. hendriks, ella and groen, karin, ‘Lely’s Studio schnackenburg, marie-luise, ‘Der Englische Land- Practice’, Hamilton Kerr Institute Bulletin, no. 2 Charles Jervas schaftsmaler George Lambert’, Ph.D. dissertation, (1994), pp. 21–37. Georg-August-Universität of Göttingen, 1992. jenkins, susan, ‘Portrait of the Artist with Hugh May pegum, caroline, ‘The Artistic and Literary Career (c1675) by Sir Peter Lely (1618–80) at Audley End of Charles Jervas (c. 1675–1739), M.Phil. dissertation, Marcellus Laroon House’, British Art Journal, vol. 15, no. 1 (Autumn University of Birmingham, 2009. 2014), pp. 60–4. gibson-wood, carol, ‘Marcellus Laroon, John laing, alastair, ‘Sir Peter Lely and Sir Ralph Thomas Jones Baptist Gaspars and the Portraits of Charles II for Bankes’, in David Howarth, ed., Art and Patronage gowing, lawrence, The Originality of Thomas Jones, Christ’s Hospital’, Burlington Magazine, vol. 145, no. in the Caroline Courts: Essays in Honour of Sir Oliver London, 1985. 1204 (July 2003), pp. 505–9. Millar, Cambridge, 1993, pp. 107–31. jones, thomas, ‘Memoirs of Thomas Jones Penkerrig raines, robert, Marcellus Laroon, London, 1966. marciari alexander, julia, ‘“Good, but not Like”: Radnorshire 1803’, ed. A. P. Oppé, Walpole Society, shesgreen, sean, ed., The Criers and Hawkers of Lon- Peter Lely, Portrait Practice and the Creation of vol. 32 (1951), pp. i–vi and 1–143 (available online at don: Engravings and Drawings by Marcellus Laroon, a Court Look’, in Catharine MacLeod and Julia http://www.llgc.org.uk/pencerrig/thjones_s_001. Stanford, CA, 1990. Marciari Alexander, eds., Painted Ladies: Women at htm) the Court of Charles II, exhibition catalogue, National sumner, ann and smith, greg, eds., Thomas Jones Thomas Lawrence Portrait Gallery, London, 2001. (1742–1803): An Artist Rediscovered, exhibition cata- albinson, a. cassandra, ‘The Hidden Stratum of —— ‘Self-Fashioning and Portraits of Women at the logue, National Museums & Galleries, Cardiff, New the Sketch: Thomas Lawrence and the Geology of Restoration Court: The Case of Peter Lely and Haven and London, 2003. English Portraiture in the Eighteenth Century’, in Barbara Villiers, Countess of Castlemaine 1660–68’, Peter Wagner, Frédéric Ogée, Robert Mankin and Ph.D. dissertation, 2 vols., Yale University, 1999. Angelica Kauffman Achim Hescher, eds., The Ruin and the Sketch in the millar, oliver, Sir Peter Lely 1618–80, exhibition manners, victoria and williamson, george Eighteenth Century, Trier, 2008, pp. 197–209. catalogue, National Portrait Gallery, London, 1978. charles, Angelica Kauffmann, R.A.: Her Life and —— funnell, peter and peltz, lucy, eds., Thomas wenzel, michael, ‘The Windsor Beauties by Sir Peter Her Works, London, 1924. Lawrence: Regency Power & Brilliance, exhibition Lely and the Collection of Paintings at St James’s rosenthal, angela, Angelica Kauffman: Art and catalogue, National Portrait Gallery, London, New Palace, 1674’, Journal of the History of Collections, vol. Sensibility, New Haven and London, 2006. Haven and London, 2010. 14, no. 2 (2002), pp. 205–13. —— ‘Angelica Kauffman Ma(s)king Claims’, Art His- garlick, kenneth, ‘Lawrence’s Portraits of the tory, vol. 15, no. 1 (March 1992), pp. 38–59. Locks, the Angersteins and the Boucherettes’, Burl- John Linnell —— ‘Angelica’s Odyssey: Kauffman’s Paintings of ington Magazine, vol. 110, no. 789 (December 1968), linnell, david, Blake, Palmer, Linnell and Co.: The Penelope and the Weaving of Narrative’, in Melissa pp. 668–75. Life of John Linnell, Lewes, 1994. Hyde and Jennifer Milam, eds., Women, Art and —— Sir Thomas Lawrence: A Complete Catalogue of the story, alfred t., The Life of John Linnell, 2 vols., the Politics of Identity in Eighteenth-Century Europe, Oil Paintings, Oxford, 1989. London, 1892. Aldershot and Burlington, VT, 2003, pp. 211–36. levey, michael, Sir Thomas Lawrence 1769–1830, ex- hibition catalogue, National Portrait Gallery, London, roworth, wendy wassyng, ‘Anatomy Is Destiny: Jean-Étienne Liotard Regarding the Body in the Art of Angelica Kauffman’, 1979. —— Sir Thomas Lawrence: The Artist, New Haven and hauptman, william, ‘Liotard at the Royal Academy, in Gill Perry and Michael Rossington, eds., Feminin- 1773: The Enigmatic “Dr Thomson”’, British Art ity and Masculinity in Eighteenth-Century Art and London, 2005. west, shearer, ‘Thomas Lawrence’s “Half-History” Journal, vol. 12, no. 2 (Autumn 2011), pp. 34–43. Culture, Manchester, 1994, pp. 41–62. jeffares, neil, ‘Liotard, Jean-Étienne’, in Dictionary —— ‘Ancient Matrons and Modern Patrons: Angelica Portraits and the Politics of Theatre’, Art History, vol. 14, no. 2 (June 1991), pp. 225–49. of Pastellists Before 1800, online edn, http://www. Kauffman as a Classical History Painter’, in Melissa pastellists.com/articles/liotard.pdf Hyde and Jennifer Milam, eds., Women, Art and the Politics of Identity in Eighteenth-Century Europe, Sir John Leicester Philippe Jacques de Loutherbourg Aldershot and Burlington, VT, 2003, pp. 188–210. cannon-brookes, peter, Paintings from Tabley —— ed., Angelica Kauffman: A Continental Artist in House, exhibition catalogue, Heim Gallery, London, allen, ralph g., ‘The Stage Spectacles of Philip Georgian England, London, 1992. 1989. James de Loutherbourg’, Ph.D. dissertation, Yale chun, dongho, ‘Public Display, Private Glory: Sir University, 1960. George Knapton John Fleming Leicester’s Gallery of British Art in daniels, stephen, ‘Loutherbourg’s Chemical Theatre: Coalbrookdale by Night’, in John Barrell, ed., Painting redford, bruce, ‘“Seria Ludo”: George Knapton’s Early Nineteenth-Century England’, Journal of the History of Collections, vol. 13, no. 2 (2001), pp. 175–89. and the Politics of Culture: New Essays on British Art Portraits of the Society of Dilettanti’, British Art 1700–1850, Oxford, 1992, pp. 195–230. Journal, vol. 3 no. 1 (Autumn 2001), pp. 56–68. Peter Lely joppien, rudiger, Philippe Jacques de Loutherbourg, RA, 1740–1812, exhibition catalogue, Iveagh Bequest, Godfrey Kneller baker, c. h. collins, Lely and the Stuart Portrait Kenwood House, London, 1973. stewart, j. douglas, Sir Godfrey Kneller, exhibition Painters: A Study of English Portraiture Before and lefeuvre, olivier, Philippe-Jacques de Loutherbourg catalogue, National Portrait Gallery, London, 1971. After Van Dyck, 2 vols., London, 1912. 1740–1812, Paris, 2012. —— Sir Godfrey Kneller and the English Baroque Portrait, beckett, r. b., Lely, London, 1951. mccalman, iain, ‘Conquering Academy and Market- Oxford, 1983. campbell, caroline, ed., Peter Lely: A Lyrical Vi- place: Philippe de Loutherbourg’s Channel Cross- —— ‘Sir Godfrey Kneller as Painter of Histories and sion, exhibition catalogue, Courtauld Institute Gallery, ing’, in Sarah Monks, John Barrell and Mark Hallett, Portraits Historié’, in David Howarth, ed., Art and London, 2012. eds., Living with the Royal Academy: Artistic Ideals Patronage in the Caroline Courts: Essays in Honour of dethloff, diana, ‘Lely, Sir Peter (1618–1680)’, Oxford and Experiences in England, 1768–1848, Farnham and Sir Oliver Millar, Cambridge, 1993, pp. 243–63. Dictionary of National Biography, Oxford University Burlington, VT, 2013, pp. 75–88. 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Sensation & Sensibility: Viewing Gainsborough’s hassell, john, Memoirs of the Life of the Late George William Pars ‘Cottage Door’, New Haven and London, 2005, pp. Morland; With Critical and Descriptive Observations on wilton, andrew, ‘William Pars and His Work in Asia 181–97. the Whole of His Works, London, 1806. Minor’, in Richard Chandler, Travels in Asia Minor, wyburn-powell, ann, ‘George Morland (1763– ed. Edith Clay, London, 1971, pp. xxi–xxxvi. John Malchair 1804): Beyond Barrell: Re-Examining Textual and —— William Pars: Journey Through the Alps, Zurich, harrison, colin, John Malchair of Oxford: Artist and Visual Sources’, British Art Journal, vol. 7, no. 1 1979. Musician, exhibition catalogue, Ashmolean Museum, (Spring/Summer 2006), pp. 55–64. Oxford, 1998. Thomas Patch John Hamilton Mortimer watson, f. j. b., ‘Thomas Patch (1725–1782): Notes William Marlow hetherington, michele, ‘John Hamilton Mortimer on His Life, Together with a Catalogue of His Known liversidge, michael, ‘“… a few foreign graces and and the Discovery of Captain Cook’, British Art Jour- Works’, Walpole Society, vol. 28 (1940), pp. 15–50. airs …”: William Marlow’s Grand Tour Landscapes’, nal, vol. 4, no. 1 (Spring 2003), pp. 69–73. in Clare Hornsby, ed., The Impact of Italy: The Grand solkin, david h., ‘“Conquest, usurpation, wealth, Richard Payne Knight Tour and Beyond, London, 2000, pp. 83–99. luxury, famine”: Mortimer’s Banditti and the Anxiet- ies of Empire’, in Tim Barringer, Geoff Quilley and ballantyne, andrew, Architecture, Landscape and Liberty: Richard Payne Knight and the Picturesque, John Martin Douglas Fordham, eds., Art and the British Empire, Manchester, 2007, pp. 120–38. Cambridge, 1997. feaver, william, The Art of John Martin, Oxford, sunderland, john, ‘John Hamilton Mortimer: His clarke, michael and penny, nicholas, eds., 1975. Life and Works’, Walpole Society, vol. 52 (1988), pp. The Arrogant Connoisseur: Richard Payne Knight kokkonen, lars, ‘John Martin (1789–1854) and the vii–xxv and 1–270. 1751–1824, exhibition catalogue, Whitworth Art Gal- Mechanics of Making Art in a Commercial Nation’, lery, Manchester, 1982. funnell, peter david, ‘Richard Payne Knight, 1751– Ph.D. dissertation, City University of New York, Mary Moser 2010. 1824: Aspects of Aesthetics and Art Criticism in Late myrone, martin, ed., John Martin: Apocalypse, exhi- pointon, marcia, ‘Working, Earning, Bequeathing: Eighteenth and Early Nineteenth Century England’, bition catalogue, Tate Britain, London, 2011. Mary Grace and Mary Moser – “Paintresses”’, in D.Phil. dissertation, University of Oxford, 1986. Strategies for Showing: Women, Possession, and Repre- payne knight, richard, The Landscape, A Didactic Philip Mercier sentation in English Visual Culture 1665–1800, Oxford, Poem. In Three Books. Addressed to Uvedale Price, Esq., 1997, pp. 131–71. ingamells, john, ‘A Catalogue of the Paintings, London, 1794. stumpf, claudia, ed., Richard Payne Knight: Expedi- Drawings and Etchings of Philip Mercier’, Walpole William Mulready Society, vol. 46 (1978), pp. 1–70. tion into Italy, London, 1986. —— and raines, robert, Philip Mercier 1689–1760, heleniak, kathryn moore, William Mulready, New exhibition catalogue, City Art Gallery, York, 1969. Haven and London, 1980. Giovanni Antonio Pellegrini pointon, marcia, Mulready, exhibition catalogue, bettagno, alessandro, Antonio Pellegrini: il maestro Thomas Monro Victoria and Albert Museum, London, 1986. veneto del Rococò alle corti d’Europa, exhibition cata- logue, Palazzo della Ragione, Padua, Venice, 1998. victoria and albert museum, Dr. Thomas Monro Joseph Francis Nollekens (1759–1833) and the Monro Academy, exhibition knox, george, Antonio Pellegrini, 1675–1741, Oxford, catalogue, London, 1976. liversidge, m. j. h., ‘An Elusive Minor Master: J. F. 1995. Nollekens and the Conversation Piece’, Apollo, vol. Jacob More 95, no. 119 (January 1972), pp. 34–41. Edward Penny lax, lucinda, ‘The “Ingenious Moral Painter”: Ed- andrew, patricia r., ‘Jacob More, 1740–1793’, Ph.D. James Northcote dissertation, University of Edinburgh, 1981. ward Penny, the Royal Academy and the Reinvention —— ‘Jacob More: Biography and a Checklist of Works’, dias, rosie, ‘Loyal Subjects?: Exhibiting the Hero of of Genre Painting 1768–1782’, Ph.D. dissertation, Walpole Society, vol. 55, (1993), pp. 105–96. James Northcote’s Death of Wat Tyler’, Visual Culture University of York, 2013. —— ‘The Watercolours of Jacob More 1740–1793’, Old in Britain, vol. 8, no. 2 (November 2007), pp. 21–43. solkin, david h., ‘Edward Penny’s Marquis of Granby Water-Colour Society’s Club, vol. 61 (1986), pp. 27–41. gwynn, stephen, Memorials of an Eighteenth Century and the Creation of a Public for English Art’, Hun- Painter (James Northcote), London, 1898. tington Library Quarterly, vol. 49, no. 1 (Winter 1986), pp. 1–24. George Morland hazlitt, william, Conversations of James Northcote, Esq., R.A., London, 1830. barrell, john, ‘George Morland’, in John Barrell, The hopkinson, martin, ‘James Northcote’s The Death of Matthew William Peters Dark Side of the Landscape: The Rural Poor in English Prince Maximilian Leopold of Brunswick’, British Art Painting 1730–1840, Cambridge, 1980, pp. 89–129. manners, victoria, Matthew William Peters, R.A.: Journal, vol. 4, no. 2 (Summer 2003), pp. 29–36. His Life and Works, London, 1913. blagdon, f. w., Authentic Memoirs of the Late George ledbury, mark, James Northcote, History Painting, and Morland, with Remarks on His Abilities and Progress as the Fables, exhibition catalogue, Yale Center for British Francis Place an Artist, London, 1806. Art, New Haven, New Haven and London, 2014. collins, william, Memoirs of a Picture … Including a simon, jacob, ‘The Account Book of James Northcote’, hake, henry h., ‘Some Contemporary Records Genuine Biographical Sketch of That Celebrated Origi- Walpole Society, vol. 58 (1996), pp. 21–125. Relating to Francis Place, Engraver and Draughts- nal and Eccentric Genius, the Late Mr. George Morland, man, with a Catalogue of his Engraved Work, Walpole Society, vol. 10 (1922), pp. 36–69. 3 vols., London, 1805. John Opie dawe, george, The Life of George Morland: With tyler, richard, Francis Place, exhibition catalogue, Remarks on His Works, London, 1807. arts council of great britain, John Opie 1761– Iveagh Bequest, Kenwood House, London, 1971. gamer, meredith, ‘George Morland’s Slave Trade and 1807, exhibition catalogue, London, 1962. African Hospitality: Slavery, Sentiment and the Limits earland, ada, John Opie and His Circle, London, 1911. Nicholas Pocock of the Abolitionist Image’, in Elizabeth McGrath and hendra, viv, The Cornish Wonder: A Portrait of John Opie, Truro, 2007. cordingly, david, Nicholas Pocock 1740–1821, Lon- Jean Michel Massing, eds., The Slave in European don, 1986. Art: From Renaissance Trophy to Abolitionist Emblem, rogers, john jope, Opie and His Works: Being a Cata- logue of 760 Pictures by John Opie, London, 1878. greenacre, francis, Marine Artists of Bristol: Nicholas Warburg Institute Colloquia 20, London and Turin, Pocock 1740–1821, Joseph Walter 1783–1856, exhibi- 2012, pp. 297–319. tion catalogue, City of Bristol Museum and Art Gal- This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelicanlery, Bristol,History 1982. of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 362 • bibliography bibliography • 363

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Katherine Read pointon, marcia, ‘Graces, Bacchantes and “Plain Uvedale Price morgan, margery, ‘Jacobitism and Art After 1745: Folks”: Order and Excess in Reynolds’s Female Por- traits’, Journal for Eighteenth-Century Studies, vol. 17, price, uvedale, An Essay on the Picturesque, as Com- Katherine Read in Rome’, Journal for Eighteenth- Century Studies, vol. 27, no. 2 (September 2004), pp. no. 1 (March 1994), pp. 1–26. pared with the Sublime and the Beautiful, London, postle, martin, ‘An Early Unpublished Letter by 1794. 233–44. —— ‘British Connoisseurs in Rome: Was It Painted by Sir Joshua Reynolds’, Apollo, vol. 141, no. 400 (June watkins, charles, Uvedale Price (1747–1829): De- 1995), pp. 11–18. coding the Picturesque, Woodbridge, 2012. 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Culture in Britain, vol. 13, no. 3 (November 2012), pp. —— ‘Location, Location, Location: Reynolds, Gains- 283–302. borough and the View from Richmond Hill’, in Paul Edward Pugh bonehill, john, ‘Reynolds’ Portrait of Lieutenant- Mellon Centre for Studies in British Art, Windows Colonel Banastre Tarleton and the Fashion for War’, on that World: Essays on British Art Presented to Brian barrell, john, Edward Pugh of Ruthin 1763–1813: ‘A Journal for Eighteenth-Century Studies, vol. 24, no. 2 Native Artist’, Cardiff, 2013. Allen, London, 2012, pp. 81–112. (September 2001), pp. 123–44. —— ‘“Painted Women”: Reynolds and the Cult of the clifford, timothy, griffiths, antony and William Henry Pyne Courtesan’, in Robyn Asleson, ed., Notorious Muse: royalton-kisch, martin, Gainsborough and Reyn- The Actress in British Art and Culture 1776–1812, New barrell, john, ‘Visualising the Division of Labour: olds in the British Museum: The Drawings of Gainsbor- Haven and London, 2003, pp. 22–55. 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Henry Raeburn Wallace Collection, London, 2015. retford, kate, ‘Reynolds’s Portrait of Mrs Theresa coltman, viccy, ‘Henry Raeburn’s Portraits of Dis- hallett, mark, ‘The Academy Quartet: Joshua Parker: A Case Study in Context’, British Art Journal, tant Sons in the Global British Empire’, Art Bulletin, Reynolds in 1769’, in Sarah Monks, John Barrell and vol. 4, no. 3 (Autumn 2003), pp. 80–6. vol. 95, no. 2 (June 2013), pp. 294–311. Mark Hallett, eds., Living with the Royal Academy: queen’s gallery, buckingham palace, Gains- —— and lloyd, stephen, eds., Henry Raeburn: Con- Artistic Ideals and Experiences in England, 1768–1848, borough & Reynolds: Contrasts in Royal Patronage, text, Reception and Reputation, Edinburgh, 2012. Farnham and Burlington, VT, 2013, pp. 25–52. exhibition catalogue, London, 1994. martin, philippa, ‘The Painted Doctor: Portraits of —— ‘A Monument to Intimacy: Sir Joshua Reynolds’s reynolds, joshua, Discourses on Art, ed. 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Thomas Roberts Anthony Ashley Cooper, 3rd Earl of Shaftesbury laffan, william and rooney, brendan, Thomas Alexander Runciman Roberts: Landscape and Patronage in Eighteenth-Centu- o’connell, sheila, ‘Lord Shaftesbury in Naples: macmillan, j. duncan, ‘“Truly national designs”: ry Ireland, Tralee, 2009. 1711–1713’, Walpole Society, vol. 54 (1991), pp. Runciman’s Scottish Themes at Penicuik’, Art His- 149–219. tory, vol. 1, no. 1 (March 1978), pp. 90–8. Robert Robinson shaftesbury, anthony ashley cooper, 3rd earl of, Characteristics of Men, Manners, Opinions, Times ganz, james atkins, Robert Robinson (1651–1706): Paul Sandby Painter-Stainer and Peintre-Graveur, Ph.D. disserta- [1711], ed. Lawrence E. Klein, Cambridge, 1999. bonehill, john, ‘“The centre of pleasure and tion, Yale University, 2000. —— A Notion of the Historical Draught or Tablature of magnificence”: Paul and Thomas Sandby’s London’, the Judgment of Hercules, According to Prodicus, Lib.II. Huntington Library Quarterly, vol. 75, no. 3 (Autumn Xen. de Mem. Soc., London, 1713. George Romney 2012), pp. 365–92. burke, joseph, ‘Romney’s Leigh Family (1768): A Link —— and daniels, stephen ‘“Real Views from Nature Jan Siberechts Between the Conversation Piece and the Neo-Clas- in this Country”: Paul Sandby, Estate Portraiture and sical Portrait Group’, Annual Bulletin of the National grindle, nick, ‘Big Houses and Little People: How British Landscape Art’, British Art Journal, vol. 10, Formal Patterns in Landscape Relate to Social Com- Gallery of Victoria, vol. 2 (1960), pp. 5–14. no. 1 (Spring/Summer 2009), pp. 72–7. cross, david a., A Striking Likeness: The Life of George position in Jan Siberechts’ Later Works’, Object, no. 2 —— ——, eds., Paul Sandby: Picturing Britain, exhibi- (1999–2000), pp. 89–109. Romney, Aldershot and Burlington, VT, 2000. tion catalogue, Royal Academy of Arts, London, 2009. hayley, william, Life of George Romney, Esq., Lon- hearn, karen, ‘Merchant Clients for the Painter Jan Siberechts’, in Mireille Galinou, ed., City Merchants don, 1809. harris, theresa fairbanks and wilcox, scott, jaffé, patricia, Drawings by George Romney from the and the Arts 1670–1720, London, 2004, pp. 83–92. Papermaking and the Art of Watercolor in Eighteenth- wortley, laura, ‘City Merchants’ Landownership Fitzwilliam Museum, Cambridge, exhibition catalogue, Century Britain: Paul Sandby and the Whatman Paper Fitzwilliam Museum, Cambridge, 1977. around Henley-on-Thames and the Paintings of Jan Mill, New Haven and London, 2006. 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George, John and William Smith of Chichester sarafianos, aris, ‘Stubbs, Walpole and Burke: Con- John Trumbull coke, david, ed., The Smith Brothers of Chichester, ex- vulsive Imitation and “Truth Extorted”’, in Nigel burnham, patricia m., ‘John Trumbull, Historian: hibition catalogue, Pallant House Gallery, Chichester, Llewellyn and Christine Riding, eds., The Art of the The Case of the Battle of Bunker’s Hill’, in Patricia M. 1986. Sublime, January 2013, https://www.tate.org.uk/art/ Burnham and Lucretia Hoover Giese, eds., Redefin- research-publications/the-sublime/aris-sarafianos- ing American History Painting, Cambridge, 1995, pp. John ‘Warwick’ Smith stubbs-walpole-and-burke-convulsive-imitation-and- 37–53. truth-extorted-r1138672 cooper, helen a., John Trumbull: The Hand and Spirit powell, celia and hebron, stephen, A Cumbrian taylor, basil, Stubbs, London, 1971. Artist Rediscovered: John Smith (1749–1831), exhibi- of a Painter, exhibition catalogue, Yale University Art warner, malcolm and blake, robin, Stubbs & the Gallery, New Haven, 1982. tion catalogue, Dove Cottage, Grasmere, 2011. Horse, exhibition catalogue, Kimbell Art Museum, Fort Worth, New Haven and London, 2005. Andrea Soldi Joseph Mallord William Turner berg, maxine, ‘Representations of Early Industrial ingamells, john, ‘Andrea Soldi: A Check-List of His James Thornhill Work’, Walpole Society, vol. 47 (1980), pp. 1–20. Towns: Turner and His Contemporaries’, in Michael gibson-wood, carol, ‘The Political Background to Rosenthal, Christiana Payne and Scott Wilcox, eds., Thornhill’s Paintings in St Paul’s Cathedral’, Journal Maria Spilsbury Prospects for the Nation: Recent Essays in British of the Warburg and Courtauld Institutes, vol. 56 (1993), Landscape, 1750–1880, Studies in British Art 4, New yeldham, charlotte, Maria Spilsbury (1776–1820): pp. 229–37. Haven and London, 1997, pp. 115–31. Artist and Evangelical, Aldershot and Burlington, VT, hudson, t. p., ‘Moor Park, Leoni and Sir James bonehill, john and daniels, stephen, ‘Projecting 2010. Thornhill, Burlington Magazine, vol. 113, no. 824 London: Turner and Greenwich’, Oxford Art Journal, (November 1971), pp. 657–61. vol. 35, no. 2 (2012), pp. 171–94. Thomas Stothard johns, richard, ‘“An Air of Grandeur & Modesty”: brown, david blayney, ed., ‘J.M.W. Turner: Sketch- bennett, shelley m., ‘Thomas Stothard, R.A.’, James Thornhill’s Painting in the Dome of St. Paul’s books, Drawings and Watercolours’, Tate, http:// Ph.D. dissertation, University of California, Los Cathedral’, Eighteenth-Century Studies, vol. 42, no. 4 www.tate.org.uk/art/research-publications/jmw- Angeles, 1977. (Summer 2009), pp. 501–27. turner —— Thomas Stothard: The Mechanisms of Art Patronage —— ‘James Thornhill and Decorative History Painting —— ‘Rule, Britannia? Patriotism, Progress and the in England circa 1800, Columbia, MO, 1988. in England after 1688’, Ph.D. dissertation, University Picturesque in Turner’s Britain’, in Michael Lloyd, bray, anna eliza, Life of Thomas Stothard, R.A. with of York, 2004. ed., Turner, exhibition catalogue, National Gallery of Personal Reminiscences, 3 vols., London, 1851. melville, jennifer, ‘A Journal of a Trip Through Australia, Canberra 1996, pp. 48–72. Part of Flanders in 1726 by John Thornhill’, Walpole butlin, martin and joll, evelyn, The Paintings Gilbert Stuart Society, vol. 69 (2007), pp. 185–209. of J. M. W. Turner, rev. edn, 2 vols., New Haven and meyer, arline, Apostles in England: Sir James Thornhill pressly, william l. ‘Gilbert Stuart’s The Skater: An London, 1984. & the Legacy of Raphael’s Tapestry Cartoons, exhibi- costello, leo, J. M. W. 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The Rediscovery of Antiquity, exhibition catalogue, walczak, gerrit, ‘“The man that workt for Sr. J. forrester, gillian, Turner’s ‘Drawing Book’: The Bard Graduate Center, New York, New Haven and Thornhill”: Dietrich Ernst Andreae (c1695–1734) Liber Studiorum, exhibition catalogue, Tate Gallery, London, 2006. in England’, British Art Journal, vol. 3, no. 2 (Spring London, 1996. 2002), pp. 8–19. gage, john, Colour in Turner: Poetry and Truth, Lon- George Stubbs don, 1969. daniels, stephen, ‘Miniature Matlock: Creswell Peter Tillemans —— J. M. W. Turner: ‘A Wonderful Range of Mind’, New Crags, George Stubbs and 18th-Century Landscape raines, robert, ‘Peter Tillemans, Life and Work, with Haven and London, 1987. Taste’, British Art Journal, vol. 9, no. 2 (Autumn a List of Representative Paintings’ Walpole Society, herrmann, luke, Turner Prints: The Engraved Work of 2008), pp. 79–85. vol. 47 (1980), pp. 21–59. J. M. W. Turner, Oxford, 1990. doherty, terence, The Anatomical Works of George hill, david, Turner in the Alps: The Journey Through Stubbs, London, 1974. Francis Towne France & Switzerland in 1802, London, 1992. howkins, alun, ‘J. M. W. Turner at Petworth: Agricul- egerton, judy, George Stubbs 1724–1806, exhibition oppé, a. p., ‘Francis Towne, Landscape Painter’, Wal- tural Improvement and the Politics of Landscape’, in catalogue, Tate Gallery, London, 1984. pole Society, vol. 8 (1920), pp. 95–126. John Barrell, ed., Painting and the Politics of Culture: —— George Stubbs, Painter: Catalogue Raisonné, New stephens, richard, ‘A Catalogue Raisonné of the New Essays on British Art 1700–1850, Oxford, 1992, Haven and London, 2007. Works of Francis Towne (1739–1816)’, Ph.D. disserta- pp. 231–51. fordham, douglas, ‘George Stubbs’s Zoon Politikon’, tion, 4 vols., Birkbeck College, University of London, kriz, k. dian, ‘Dido versus the Pirates: Turner’s Car- Oxford Art Journal, vol. 33, no. 1 (2010), pp. 1–23. 2005. thaginian Paintings and the Sublimation of Colonial hall, nicholas h. j., ed., Fearful Symmetry: George —— ‘Francis Towne’s Views of Rome: Time-Telling and Desire’, Oxford Art Journal, vol. 18, no. 1 (1995), pp. Stubbs, Painter of the English Enlightenment, New York, Ideology in Provincial England’, British Art Journal, 116–32. 2000. vol. 10, no. 3 (Winter/Spring 2009/10), pp. 46–55. miller, michele l., ‘J. M. W. Turner’s Ploughing up lennox-boyd, christopher, dixon, rob and —— ‘New Material for Francis Towne’s Biography’, Turnips, near Slough: The Cultivation of Cultural clayton, timothy, George Stubbs: The Complete Burlington Magazine, vol. 138, no. 1121 (August Dissent’, Art Bulletin, vol. 77, no. 4 (December 1995), Engraved Works, Abingdon, 1989. 1996), pp. 500–5. pp. 572–83. myrone, martin, George Stubbs, London, 2002. wilcox, timothy, Francis Towne, exhibition catalogue, nicholson, kathleen, ‘Naturalizing Time / rott, herbert w., ed., George Stubbs 1724–1806: Sci- Tate Gallery, London, 1997. Temporalizing Nature: Turner’s Transformation of ence into Art, exhibition catalogue, Neue Pinakothek, —— Francis Towne and His Friends: An Exhibition of Landscape Painting’, in Katharine Baetjer, ed., Glori- Munich, 2012. Watercolours, exhibition catalogue, John Spink at P. & ous Nature: British Landscape Painting 1750–1850, D. Colnaghi, London, 2005. exhibition catalogue, Denver Art Museum, Denver, 1993, pp. 31–46. This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 364 • bibliography bibliography • 365

—— Turner’s Classical Landscapes: Myth and Meaning, robinson, michael s., Van de Velde: A Catalogue of mitage, exhibition catalogue, Houghton Hall, Norfolk, Princeton, 1991. the Paintings of the Elder and the Younger Willem van de London, 2013. shanes, eric, Turner’s England 1810–38, London, 1990. Velde, 2 vols., Greenwich, 1990. —— Turner’s Human Landscape, London, 1990. James Ward smiles, sam, The Turner Book, London, 2006. Simon Verelst fussell, g. e., James Ward R.A.: Animal Painter, solkin, david h., ed., Turner and the Masters, exhibi- lewis, frank, Simon Pietersz Verelst 1644–1721, Leigh- 1769–1859, and His England, London, 1974. tion catalogue, Tate Britain, London, 2009. on-Sea, 1979. munro, jane, James Ward R.A. 1769–1859, exhibition townsend, joyce h., Turner’s Painting Techniques, taylor, paul, ‘Verelst, Simon Pieterszoon (bap. catalogue, Fitzwilliam Museum, Cambridge, 1992. exhibition catalogue, Tate Gallery, London, 1993. 1644, d. 1710×17)’, Oxford Dictionary of National nygren, edward j., ‘The Art of James Ward, R.A. turner, joseph mallord william, Collected Cor- Biography, Oxford University Press, 2004, online edn (1769–1859)’, Ph.D. dissertation, 2 vols., Yale Univer- respondence of J. M. W. Turner, ed. John Gage, Oxford, January 2008, http://www.oxforddnb.com/view/ sity, 1976. 1980. article/28222 —— ‘James Ward RA (1769–1859): Papers and Patrons’, venning, barry, Turner: Art and Ideas, London, 2003. Walpole Society, vol. 75 (2013), pp. 1–346. wilton, andrew, The Life and Work of J. M. W. Antonio Verrio —— James Ward’s Gordale Scar: An Essay in the Sublime, Turner, London, 1979. exhibition catalogue, Tate Gallery, London, 1982. —— ‘The “Monro School” Question: Some Answers’, brett, cécile, ‘Antonio Verrio (c1636–1707): His Career and Surviving Work’, British Art Journal, vol. Turner Studies, vol. 4, no. 2 (Winter 1984), pp. 8–23. John Webber —— Turner and the Sublime, exhibition catalogue, Art 10, no. 3 (Winter/Spring 2009), pp. 4–17. Gallery of Ontario, Toronto, 1980. dolman, brett, ‘Antonio Verrio (c1636–1707) and the hauptman, william, ed., John Webber 1751–1793: —— Turner as Draughtsman, Aldershot and Burlington, Royal Image at Hampton Court’, British Art Journal, Landschaftsmaler und Südseefahrer mit Captain Cook / VT, 2006. vol. 10, no. 3 (Winter/Spring 2009/10), pp. 18–28. Captain Cook’s Painter: John Webber 1751–1793 Pacific —— Turner in His Time, rev. edn, London, 2006. gibson, katharine, ‘The Decoration of St George’s Voyager and Landscape Artist, exhibition catalogue, ziff, jerrold, ‘“Backgrounds, Introduction of Hall, Windsor, for Charles II: “Too resplendent Kunstmuseum, Bern, 1996. Architecture and Landscape”: A Lecture by J. M. bright for subjects’ eyes”’, Apollo, vol. 147, no. 435 jordan, sandra johnson, ‘The Life and Art of John W. Turner’, Journal of the Warburg and Courtauld (May 1998), pp. 30–40. Webber, R.A.; and His Relationship to the Watercolor Institutes, vol. 26 (1963), pp. 124–47. hemery, axel, ed., Antonio Verrio: chroniques d’un pein- and Picturesque Movements in Eighteenth-Century tre italien voyageur (1636–1707), exhibition catalogue, England’, Ph.D. dissertation, University of Georgia, William Turner of Oxford Musée des Augustins, Toulouse, 2010. 1991. wilcox, timothy and titterington, chris- George Vertue Benjamin West topher, William Turner of Oxford (1789–1862), exhibition catalogue, Oxfordshire County Museum, alexander, david, ‘George Vertue as an Engraver’, abrams, ann uhry, The Valiant Hero: Benjamin West Woodstock, 1984. Walpole Society, vol. 70 (2008), pp. 207–517. and Grand-Style History Painting, Washington, DC, bignamini, ilaria, ‘George Vertue: Art Historian’, 1985. John Vanderbank Walpole Society, vol. 54 (1991), pp. 2–18. bermingham, ann, ‘Apocalypse at the Academy: vertue, george, ‘Vertue Note Books: Volume I–VI’, Death on the Pale Horse and the Revelation of burton, elizabeth a., ‘John Vanderbank’s Don Quix- Walpole Society, vols. 18, 20, 22, 24, 26, 29 (Index to Benjamin West’, in Sarah Monks, John Barrell and ote’, M.A. dissertation, Courtauld Institute of Art, Volumes I–V), 30 (1930–55). Mark Hallett, eds., Living with the Royal Academy: University of London, 1994. Artistic Ideals and Experiences in England, 1768–1848, hammelmann, h. a., ‘John Vanderbank’s “Don Quix- Horace Walpole Farnham and Burlington, VT, 2013, pp. 153–70. ote”’, Master Drawings, vol. 7, no. 1 (Spring 1969), carson, jenny mayfield, ‘Art Theory and Produc- pp. 3–15. adams, c. kingsley and lewis, w. s., ‘The Portraits of Horace Walpole’, Walpole Society, vol. 42 (1970), tion in the Studio of Benjamin West’, Ph.D. disserta- tion, City University of New York, 2000. Cornelius Varley pp. 1–34. snodin, michael, ed., Horace Walpole’s Strawberry conlin, jonathan, ‘Benjamin West’s General Johnson lowell libson, Cornelius Varley: The Art of Observa- Hill, exhibition catalogue, Yale Center for British Art, and Representations of British Imperial Identity, tion, exhibition catalogue, London, 2005. New Haven and London, 2009. 1759–1770: An Empire of Mercy?’, Journal for p. & d. colnaghi, Exhibition of Drawings and Wa- walpole, horace, Anecdotes of Painting in England; Eighteenth-Century Studies, vol. 27, no. 1 (March tercolours by Cornelius Varley, exhibition catalogue, With Some Account of the Principal Artists; and Inci- 2004), pp. 37–59. London, 1973. dental Notes on Other Arts; Collected by the late Mr. dias, rosie, ‘Venetian Secrets: Benjamin West and the pidgley, michael, ‘Cornelius Varley, Cotman, and the George Vertue; And now Digested and Published from Contexts of Colour at the Royal Academy’, in Sarah Graphic Telescope’, Burlington Magazine, vol. 114, His Original MSS., 4 vols., Strawberry Hill, 1762–80. Monks, John Barrell and Mark Hallett, eds., Living no. 836 (November 1972), pp. 781–6. —— Anecdotes of Painting in England, vol. 5, ed. Freder- with the Royal Academy: Artistic Ideals and Experiences wilcox, timothy, ‘English Watercolors of the River ick W. Hilles and Philip B. Daghlian, New Haven and in England, 1768–1848, Farnham and Burlington, VT, Thames by David Cox and Cornelius Varley’, Record London, 1937. 2013, pp. 111–30. of the Princeton Museum, vol. 66 (2007), pp. 21–9. —— ‘Notes by Horace Walpole, Fourth Earl of Orford, erffa, helmut von and staley, allen, The Paint- on the Exhibitions of the Society of Artists and the ings of Benjamin West, New Haven and London, 1986. John Varley Free Society of Artists, 1760–1791’, ed. Hugh Gatty, galt, john, The Life, Studies, and Works of Benjamin kauffmann, michael, John Varley 1778–1842, Lon- Walpole Society, vol. 27 (1939), pp. 55–88. West, Esq., 2 vols., London, 1820. don, 1984. —— The Yale Edition of Horace Walpole’s Correspondence, greenhouse, wendy, ‘Benjamin West and Edward lyles, anne, ‘John Varley’s Early Work’, Old Water- ed. W. S. Lewis, 43 vols., New Haven, 1937–83; III: A Neoclassical Painter and Medieval History’, Art Colour Society’s Club, vol. 59 (1984), pp. 1–22. online edn 2011, http://images.library.yale.edu/ History, vol. 8, no. 2 (June 1985), pp. 178–91. hwcorrespondence/. monks, sarah, ‘The Wolfe Man: Benjamin West’s Willem van de Velde the Elder and Younger Anglo-American Accent’, Art History, vol. 34, no. 4 (September 2011), pp. 652–73. Sir Robert Walpole national maritime museum, The Art of the Van de neff, emily ballew and weber, kaylin h., eds., Veldes: Paintings and Drawings by the Great Dutch morel, thierry, moore, andrew, harris, john American Adversaries: West and Copley in a Transat- Marine Artists and Their English Followers, exhibition and dukelskaya, larissa, Houghton Revisited: The catalogue, Greenwich, 1982. Walpole Masterpieces from Catherine the Great’s Her-

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lantic World, exhibition catalogue, Museum of Fine Richard Wilson 1768–1848, Farnham and Burlington, VT, 2013, pp. Arts, Houston, New Haven and London, 2013. constable, w. g., Richard Wilson, London, 1953. 89–110. noble, courtney, ‘Rescuing Difference: Ambiguous ford, brinsley, The Drawings of Richard Wilson, —— ‘Laying Siege to the Royal Academy: Wright of Heroism in Benjamin West’s General Johnson Saving a London, 1951. Derby’s View of Gibraltar at Robins’s Rooms, Covent Wounded French Officer from the Tomahawk of a North postle, martin and simon, robin, eds., Richard Garden, April 1785’, Art History, vol. 30, no. 4 (Sep- American Indian’, Immediations: The Research Journal Wilson and the Transformation of European Landscape, tember 2007), pp. 521–44. of the Courtauld Institute of Art, vol. 1, no. 1 (Spring exhibition catalogue, Yale Center for British Art, New cummings, frederick, ‘Boothby, Rousseau, and the 2004), pp. 60–75. Haven and London, 2014. Romantic Malady’, Burlington Magazine, vol. 110, no. prown, jules d., ‘The Expedition Against the Ohio solkin, david h., ‘The Battle of the Ciceros: Richard 789 (December 1968), pp. 659–67. Indians in 1764 under Colonel Bouquet: Two Early Wilson and the Politics of Landscape in the Age of duro, paul, ‘“Great and Noble Ideas of the Moral Drawings by Benjamin West’, in Guilland Suther- John Wilkes’, Art History, vol. 6, no. 4 (December Kind”: Wright of Derby and the Scientific Sublime’, land, ed., British Art 1740–1820: Essays in Honor of 1983), pp. 406–22. Art History, vol. 33, no. 4 (September 2010), pp. Robert R. Wark, San Marino, CA, 1992, pp. 205–33. —— Richard Wilson: The Landscape of Reaction, exhibi- 660–79. staley, allen, Benjamin West, American Painter at tion catalogue, Tate Gallery, London, 1982. egerton, judy, Wright of Derby, exhibition catalogue, the English Court, exhibition catalogue, Baltimore spencer-longhurst, paul, ed., Richard Wilson Tate Gallery, London, 1990. Museum of Art, Baltimore, 1989. Online Catalogue Raisonné, http://www.richardwil- graciano, andrew, ‘Art, Science and Enlightenment —— ‘Benjamin West, Raphael West and the Floating sononline.ac.uk Ideology: Joseph Wright and the Derby Philosophical Batteries’, Burlington Magazine, vol. 155, no. 1321 sutton, denys and clements, ann, An Italian Society’, Ph.D. dissertation, University of Virginia, (April 2013), pp. 243–6. Sketchbook by Richard Wilson RA: Drawings Made by 2002. trumble, angus and aronson, mark, Benjamin the Artist in Rome and its Environs in the Year 1754, 2 —— Joseph Wright of Derby, Esq. Painter and Gentleman, West and the Venetian Secret, exhibition catalogue, Yale vols., London, 1968. Newcastle, 2012. Center for British Art, New Haven, 2008. wright, thomas, Some Account of the Life of Richard —— ‘Observation, Imitation and Emulation in An Wilson, Esq. R.A., London, 1824. Academy by Lamplight by Joseph Wright of Derby Richard Westall (1734–97)’, British Art Journal, vol. 14, no. 3 westall, richard j., ‘The Westall Brothers’, Turner John Wootton (2013/14), pp. 36–41. hargraves, matthew, ‘Joseph Wright of Derby and Studies, vol. 4, no. 1 (Summer 1984), pp. 23–38. meyer, arline, ‘The Landscape Paintings of John —— ‘Westall, Richard (1765–1836)’, Oxford Dictionary the Society of Artists of Great Britain’, British Art Wootton (1682–1764): Painter of the Augustan Age’, Journal, vol. 11, no. 1 (March 2010), pp. 53–61. of National Biography, Oxford University Press, 2004, Ph.D. dissertation, Columbia University, 1982. http://www.oxforddnb.com/view/article/29106 leach, stephen, ‘Good Monsieur Melancholy: Joseph —— John Wootton 1682–1764: Landscapes and Sporting Wright’s Portrait of Sir Brooke Boothby’, British Art Art in Early Georgian England, exhibition catalogue, Francis Wheatley Journal, vol. 15, no. 1 (Autumn 2014), pp. 110–12. Iveagh Bequest, Kenwood House, London, 1984. may, suzanne e., ‘Attempts Toward Fame and Fortune: webster, mary, Francis Wheatley, London, 1970. millar, oliver, ‘Gilbert Coventry and His Sporting Joseph Wright of Derby and Late-Renaissance and Other Paintings’, Burlington Magazine, vol. 133, Humanism’, British Art Journal, vol. 11 no. 1 (March Samuel Whitbread II no. 1061 (August 1991), pp. 537–41. 2010), pp. 41–52. deuchar, stephen, Painting, Politics & Porter: Samuel nicolson, benedict, Joseph Wright of Derby: Painter Whitbread II (1764–1815) and British Art, exhibition John Michael Wright of Light, 2 vols., London, 1968. catalogue, Museum of London, London, 1984. howarth, david, ‘A Little Local Difficulty: John —— ‘Wright of Derby: Addenda and Corrigenda’, Bur- Michael Wright and His Patrons’, Apollo, vol. 149, no. lington Magazine, vol. 130, no. 1027 (October 1988), Henry Wigstead 447 (May 1999), pp. 27–30. pp. 745–58. payne, m. t. w. and payne, j. e., ‘Henry Wigstead, stevenson, sara and thomson, duncan, John Mi- pressly, william l., ‘Joseph Wright of Derby’s Mira- Rowlandson’s Fellow-Traveller’, British Art Journal, chael Wright: The King’s Painter, exhibition catalogue, van Breaking open the Tomb of His Ancestors: Variations vol. 4, no. 3 (Autumn 2003), pp. 27–38. Scottish National Portrait Gallery, Edinburgh, 1982. on an Arabian Tale’, British Art Journal, vol. 2, no. 1 (Autumn 2000), pp. 14–19. solkin, david h., ‘Joseph Wright of Derby and the David Wilkie Joseph Wright of Derby Sublime Art of Labor’, Representations, vol. 83, no. 1 chiego, william, miles, h. a. d. and brown, da- barker, elizabeth e., ‘“A very great and uncommon genius in a peculiar way”: Joseph Wright of Derby (Summer 2003), pp. 167–94. vid blayney, Sir David Wilkie of Scotland (1785– —— ‘ReWrighting Shaftesbury: The Air Pump and the 1841), exhibition catalogue, North Carolina Museum and Candlelight Painting in Eighteenth-Century Brit- ain’, Ph.D. dissertation, New York University, 2003. Limits of Commercial Humanism’, in John Barrell, of Art, Raleigh, NC, 1987. ed., Painting and the Politics of Culture: New Essays on cunningham, allan, The Life of Sir David Wilkie; —— and kidson, alex, Joseph Wright of Derby in Liverpool, exhibition catalogue, Walker Art Gallery, British Art 1700–1850, Oxford, 1992, pp. 73–99. with His Journals, Tours, and Critical Remarks on wright, amina, Joseph Wright of Derby: Bath and Works of Art; and a Selection from His Correspondence, Liverpool, New Haven and London, 2007. barker, elizabeth e., ‘Documents Relating to Joseph Beyond, exhibition catalogue, Holburne Museum, 3 vols., London, 1843. Bath, 2014. errington, lindsay, Tribute to Wilkie, exhibition Wright “of Derby” (1734–97)’, Walpole Society, vol. 71 (2009), pp. 1–216. catalogue, National Gallery of Scotland, Edinburgh, Jan Wyck 1985. baudot, laura, ‘An Air of History: Joseph Wright’s mount, harry, ‘“The Pan-and-Spoon Style”: The and Robert Boyle’s Air Pump Narratives’, Eighteenth- gibson, katharine, ‘Jan Wyck c1645–1700: A Painter Role of the Accessories in David Wilkie’s Academy Century Studies, vol. 46, no. 1 (Fall 2012), pp. 1–28. with “a grate deal of fire”’, British Art Journal, vol. 2, Pictures 1806–9’, British Art Journal, vol. 4, no. 3 bermingham, ann, ‘The Origin of Painting and the no. 1 (Autumn 2000), pp. 3–13. (Autumn 2003), pp. 17–26. Ends of Art: Wright of Derby’s Corinthian Maid’, in millar, oliver, ‘Jan Wyck and John Wootton at tromans, nicholas, David Wilkie: Painter of Ev- John Barrell, ed., Painting and the Politics of Culture: Antony’, in The National Trust Year Book 1975–76, eryday Life, exhibition catalogue, Dulwich Picture New Essays on British Art 1700–1850, Oxford, 1992, London, 1975, pp. 38–41. Gallery, London, 2002. pp. 135–65. —— David Wilkie: The People’s Painter, Edinburgh, bonehill, john, ‘“The Eye of Delicacy”: Joseph Johann Zoffany 2007. Wright of Derby Reviewed’, in Sarah Monks, John crossman, colette, ‘Priapus in Park Street: Reveal- Barrell and Mark Hallett, eds., Living with the Royal ing Zoffany’s Subtext in Charles Townley and Friends’, Academy: Artistic Ideals and Experiences in England, This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 366 • bibliography

British Art Journal, vol. 6, no. 1 (Spring/Summer 2005), pp. 71–80. millar, oliver, Zoffany and His Tribuna, London, 1967. postle, martin, ed., Johann Zoffany RA: Society Observed, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2011. pressly, william l., The French Revolution as Blas- phemy: Johan Zoffany’s Paintings of the Massacre at Paris, August 10, 1792, Berkeley, Los Angeles and London, 1999. —— ‘Genius Unveiled: The Self Portraits of Johann Zoffany’, Art Bulletin, vol. 69, no. 1 (March 1987), pp. 88–101. treadwell, penelope, Johan Zoffany: Artist and Adventurer, London, 2010. webster, mary, Johan Zoffany 1733–1810, exhibition catalogue, National Portrait Gallery, London, 1976. —— Johan Zoffany 1733–1810, New Haven and Lon- don, 2011. wilson, david, Johan Zoffany RA and ‘The Sayer Family of Richmond’: A Masterpiece of Conversation, London, 2014.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 index • 369 Index

Page numbers in italics refer to pages on which illustrations appear; page numbers followed by n and a number refer to information in a note. Artists’ works appear at the end of their index entries.

absolutism and Stuart monarchy 3, Angelis, Pieter 82, 88–9 Augusta, Dowager Princess of Wales and positive effects of luxury 91–2, 126 18–19, 36–9, 51, 53 Angerstein, John Julius 265, 288, 304–5 138–9, 138 and sensibility in art 240–1 academic tradition Anglo-Dutch Wars 6, 10, 15, 18 Augustan literature 69–71, 73 see also philanthropy; virtue in Britain 44, 80–1, 83, 85, 101, 116, Anne, Princess of Denmark, queen Bernard, Sir Thomas 307–8 125 of Great Britain 33, 33, 46, 53, 56–7, Banks, Thomas 169–70 Bible 36–7, 55, 103–4, 149, 254, 256, 300, artists 4, 129, 225 74, 76, 79 Baretti, Giuseppe 200, 200 307–9, 314–5 see also Royal Academy, London Verrio’s Hampton Court Palace Baring, Sir Francis 297–8, 297 see also history-painting in Europe 10, 84 decorations 50–1, 51 Baring, John 297–8, 297 Bible Gallery 251, 306 Addison, Joseph 72, 76–8, 78, 89–90, 99 antiquarians, antiquarianism 24, 310, 313 Barker, Robert 257, 265 Bifrons Park, Kent 66–7, 67 Aggas, Robert 26–7 and views of Britain 75, 122, 228–9, Barlow, Francis 27–8, 67, 83 Bigg, William Redmore 240–1, 281, 286 Landscape, Sunset 26–7, 26 261 The Decoy at Pyrford with Waterfowl A Lady and Her Children Relieving a agriculture antiquity Startled by a Bird 28, 28, 29 Cottager 240, 240 and Gainsborough’s Cottage Doors 238 and history-painting 312–16 The Happy Instruments of Englands Bird, Edward and landowning class 65, 114, 116, 215, Barry’s Society of Arts cycle 171 Preservation (anon. engraving) Good News 285 280 Hamilton’s all’antica scenes 144–7 29–30, 29 Village Choristers Rehearsing an Anthem landscapes 66, 114, 117–19, 274 and portrait poses 86, 133–4, 145–6 Baron, Bernard 93, 93 for Sunday 284, 285 and Wilkie’s Distraining for Rent and Wilson’s landscapes 144, 212–14, Barret, George, the Elder 217–19, 226 Blake, William 252, 254–6, 307 289–90 220–1 Landscape with the Effect of a Rainbow Exhibition of 1809 310–12 see also country life, countryside; see also ancient Greece; ancient Rome; 217–18, 217 preference for fresco 311 georgic; labour; poor in art classicism Barry, James 166–7, 183, 310, 313 Albion Rose 254–6, 255 Aken, Joseph Van 88–9, 129, 131, 135 aquatint 224, 227, 228, 247, 256, 266, and French Revolution 251, 254 The Ancient Britons 311 Aliamet, François Germain 269 Progress of Human Culture cycle 171–4 ‘Continental Prophecies’ 254, 255 Mrs Pritchard in the Character architecture 27, 48, 56, 60, 69, 75, 276, Commerce, or the Triumph of the Europe – A Prophecy and The Ancient of Hermione (after Pine) 87 310 Thames 174 of Days 255–6, 255 The Surrender of Calais to Edward III classical 60, 85, 120, 144, 200, 215 Crowning the Victors at Olympia ‘Illuminated Books’ 254, 256 (after Pine) 151 Gothic 261 171, 172–3, 307, frontispiece The Spiritual Form of Nelson Guiding allegory 26, 29, 50, 58, 82 see also country houses and estates (detail) Leviathan 311–12, 311 Barry’s Commerce, or Triumph of the art criticism 210, 261–5, 284–5, 292–4, Elysium, or the State of Final The Spiritual Form of Pitt Guiding Thames 174 304 Retribution 172–3, 174 Behemoth 311 Blake’s use of allegory 254–5, 311–12 see also Hazlitt, Holt, Pasquin Orpheus Instructing a Savage People Blenheim Palace, Oxon 57–60, 59 Hayman at Vauxhall 148 art education 171, 254 Blome, Richard 67 Hogarth’s The Lottery 83–4, 84 apprenticeship 3 Paradise Lost 251 bodycolour 37, 215–17, 216–17, 259­–61 Hoppner’s allegorical portraits 208, 302 and history painters 170 The Temptation of Adam 166–7, 167 book illustration, illustrators 81, 99, Reynolds’ use of allegory 199, 200, London academies 80–1, 83, 85, 101, Bartolozzi, Francesco 176, 183 110­–11, 183, 185, 236 202–3 116, 125 Batoni, Pompeo 146 Boothby, Brooke 231, 232 Romney’s portraits of Emma Hart 236 Royal Academy 160–2, 179, 277 Sir Robert Davers, 5th Baronet 142, 142 Boughton House, Northants 48–50, 50 Streeter’s Truth Descending 7, 7, 10 Society of the Virtuosi of St Luke 44 battle-painting Bowles, John Thornhill’s Blenheim Palace ceiling 58, training in Italy 4, 129, 133 and Copley 176–9, 203, 258 Life of Charles I series 81–2, 82 59, 60 see also Painter-Stainers’ Company de Loutherbourg’s Glorious First Bowles, Thomas 58 Thornhill’s Royal Naval Hospital cycle art market 1 of June 256–8, 257 Life of Charles I series 81–2, 82 52, 53–4, 54 clubs and societies 79, 92–3, 93 Laguerre’s Battles of the Duke Bowyer, Robert 183, 177–8, 251, 258, 306 Vanderbank’s Cervantes as Hercules 81, curiosity 74–6 of Marlborough 57–60 Boydell, John 164, 182, 253 81 Dutch art 22, 31–2, 92, 196–7 naval battles 123–4, 256–8 and Copley’s history paintings 176–8, Verrio’s Hampton Court Palace Girtin and Turner 266–7 and print culture 256–8 203 decorations 50–1, 51 Heaphy’s lowlife scenes 287 and Seven Years’ War 148–9, 157 and landscape artists 210, 212 Verrio’s Sea Triumph of Charles II, 8, ideal art and design 253 Trumbull’s Bunker’s Hill 243 and Opie 182 8–9 landscapes in Norfolk 273–4 West’s Death of Wolfe 163–5 Shakespeare Gallery 183–5, 183–5, Verrio’s Windsor decorations 9, 9–10, sale of Old Masters 307 see also military portraits 235, 244, 251–2, 256, 306, 331n.21 31 Wilkie’s everyday life scenes 289 Beale, Charles 20–1 Boyle, Richard see Burlington West’s Sketch for a Monument to Lord see also commercial galleries; exhibi- Beale, Mary 20–1 Boyle, Robert 6 Nelson 309, 309–10 tions; print culture, publishers Self-portrait 21, 21 Bradford, Thomas 218 Wright’s Astraea Returns to Earth 4–5, art theory, theorists 62, 81, 153, 158, 162, Beaumont, Sir George 272–3, 282, 312, Brandoin, Michel Vincent 4, 7, 10 310, 314 317–18 The Exhibition of the Royal Academy see also mythology European art theory 44, 72, 80–1, 161 Beckford, William 232, 233, 309 of Painting in the Year 1771 amateur artists 75 British art theory Bedlam Hospital 97 (mezzotint by Earlom) 163, 163, drawing 115, 123, 218–19, 300 Gilpin 227 Beechey, William 292–4, 300–1 165–6 and Picturesque landscapes 227 Reynolds 61, 136, 165, 199, 269, Pasquin’s support for 293–4 Bridgeman, Charles 93, 93 and watercolours 23–4, 123, 260 277–8, 316 Horatio, Viscount Nelson 294–5, 295 Bridgewater, Francis Egerton, 3rd Duke Amigoni, Jacopo 88, 125, 139, 140 Richardson 71–2 John Bannister 292, 293–4 of 267, 307 Frederick, Prince of Wales 88, 88 Shaftesbury 61–2 Princess Elizabeth 300–1, 300 British Empire see Empire ancient Greece 146–7, 166–7, 171, 252–4 see also Picturesque benevolence British Institution for Promoting the Fine ancient Rome 133–4, 142, 144, 152, 162, artisanal status of art 3, 13, 115, 125, 260 and Foundling Hospital 102–3, 126 Arts in the United Kingdom 267, 312–13, 315–18 see also professionalisation of art history-painting and war 148–9, 156–7 277, 290, 300, 307–8, 310, 313

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 index • 369

Britishness see national school and British views of Commonwealth and low point in art 3 Cotman, John Sell 273–4, 276 art; patriotism/nationalism/ Buck’s The South Prospect of the connoisseurs, connoisseurship 1, 92–3, Marl Pit, Norfolk 274, 274 Britishness Ancient City of York 75, 75 93, 188, 282 cottage door motif 238, 240, 281, 286 Brown, John 169 Canaletto’s London seen through an artists as connoisseurs 92–3, 93, 133 country houses and estates 46, 197, 210, Brown, Lancelot ‘Capability’ 215, 259 Arch of Westminster Bridge 120, audiences for landscapes 210 216, 221 Brown, Mather 250–1, 256 120 British Institution 267, 307, 309–10, artists and interiors 26, 27, 48–51, The Final Interview of Louis XVI and The Thames, London, from the 313 57–8, 115–16, 166 His Family 250–1, 250 Terrace of Somerset House 120, Committee of Taste 310 estate portraits 24, 27, 63–5, 66–7, 116, Lord Cornwallis Receiving the Sons 121 Frederick, Prince of Wales 87 144, 214, 227 of Tippoo Sahib as Hostages 250 Girtin’s Eidometropolis and and Girtin 261 gardens as status symbols 62, 63–4, 115 Buck, Nathaniel 75, 122 Picturesque Views in Paris 266–7 and Hogarth 85 country life, countryside 63–73 Buck, Samuel 75, 122 Scott’s The Building of Westminster and Netherlandish art 273 elite enjoyment of 66, 116 The South Prospect of the Ancient City Bridge 121–2, 121 and Sandby 228 land ownership and nature 63–7, 113, of York 75–6, 75 Wilson’s Rome from the Villa Madama Society of Dilettanti 133–4, 145–6 116, 259–60, 280 Burghley House, Cambs 48, 49, 306 212, 212 and Turner 267, 317–18 local demand for landscapes 274 Burke, Edmund 252, 256 City of London 37–9, 122 and watercolours 263, 275–6 sentimental view of poor 238–41, 281, Reflections on the Revolution in France mercantile class and land ownership and Wootton 69 286 248–251, 259–60 65–6, 119 see also antiquarians, antiquarianism; sport 22, 27–8, 67–9, 113–14, 157, 197 on the Sublime 158–60, 167, 227, 229, and Stuart monarchs 37–8 collectors, collecting; virtuosi/ see also agriculture; country houses and 316 as a symbol 53 virtuosity estates; horses; hunting; landscape Burlington, Richard Boyle, 3rd Earl of 56, see also London Constable, Archibald 298 art; nature and art; pastoral, 60–1, 84–5 classicism Constable, John 1, 277–80, 315 pastoralism; tourism Burlington House, London 56, 57, 84–5, aesthetics 60–2, 84–5 Dedham from Langham 277, 278–9 Coventry, Gilbert 67–9 85 and Augustan literature 69, 70–1, 73 Flatford Mill from the Lock series 278, Cowley, Abraham 20–1 and land as patrician touchstones 279 Cozens, Alexander 229 Callcott, Augustus Wall 272–3 69-71, 115–6, 142–4 View of Dedham 279–80, 280 Cozens, John Robert 229–30, 261, 264 Littlehampton Pier 272–3, 272 privatisation 252–4 consumption see commerce, luxury Between Chamonix and Martigny Canaletto, Antonio 99, 119–22 reassessment 146–7, 166, 167 conversation 229–30, 229, 232 London seen through an Arch of West­ and Royal Academy civilising effects 156–7, 160 Tomb of Caecilia Metella 230, 230, minster Bridge 120, 120 and art education 161–2 and politeness 76–9, 111–12, 160 232 The Thames, London, from the Terrace and history-painting 162–3, 167–8 conversation piece 88–93, 96, 140 criminality 96, 286–7 of Somerset House 120, 121 see also ancient Greece; ancient Rome; and Devis 113–14 Cristall, Joshua 276 Carracci, Annibale 4, 60–1, 195 antiquity; Grand Style/Grand and Gainsborough 114 Crome, John 273 Carriera, Rosalba 134, 139 Manner; and Gawen Hamilton 92–3 Yarmouth Jetty 273, 273, 274 Carter, George 236 Claude Gellée, called Claude Lorrain 274 and Hayman 112 Cromek, Robert 306 Catherine of Braganza, queen of Scotland importance for British artists 69–70, and Hogarth 89–92 Cromwell, Oliver 12, 13 and England 16–18, 18, 23, 36 115, 210 historical conversations 156–7 curiosity and art market 74–6 Catherine the Great, empress of Russia Aggas 26–7 and the Kitcat club 77 Cuyp, Aelbert 68, 269, 273 203–4, 222 Constable 278, 279 middle-class patronage 111–13, 197–8 Catholicism 10, 29–30 Gainsborough 218–20 narrative and theatrical pieces 154–7, Dahl, Michael 46–7, 71, 86, 92–3, 93 and art 16–18, 35–6, 174 155 admirals series 46–7, 47 Cecil, John, 5th Earl of Exeter 47, 47, 48 Gilpin 227 and sport 113–14 Henry Liddell 86-7, 87, 112, 125–6 charity see benevolence; philanthropy Lambert 116 theatrical conversations 154–5 ‘Petworth Beauties’ 46, 46, 86 Charles I, king of Great Britain 1, 5, 40, Smith (of Chichester) 210 and Zoffany 195–6 Rachael Russell, Duchess of 40 Turner 265, 269, 272, 317–18 Cook, Captain James 223–4, 241–2, Devonshire 46, 46 art collection 3, 55 Wilson 143–4, 213–14, 221 242 Sir James Wishart 47, 47 Life of Charles I print series 81–2, 82 Wootton 69–70 Cooke, George 270, 272 Dance, Nathaniel 152, 165, 166, 183 Charles II, king of Scotland and England impact on Netherlandish artists 25, 27, Cooke, William Bernard 270, 272 Virginia, The Unfortunate Roman Maid 1, 3–13, 16, 18, 29, 34 66 Cooper, Anthony Ashley see Shaftesbury (mezzotint by Haid) 152, 153, 167 Gennari’s paintings for 36–7 Liber Veritatis 269 Cooper, Edward 33 Danckerts, Hendrick 24–6 and imperial ambitions 23–4 Closterman, John 43–4 Cooper, Samuel 9, 12, 21 View of Greenwich and the Queen’s palaces 25–6 The Family of the 1st Duke of Marlbor- Charles II in Garter Robes 12, 12 House from the Southeast 25–6, 25 portraits by ough 44–6, 45, 200 Copley, John Singleton 174–9, 250, 256, David, Jacques-Louis 251, 252, 308 Cooper 12, 12 Grinling and Elizabeth Gibbons 306 Dawkins, James 145, 145 Fuller 5, 6, 5 (mezzotint by John Smith) 43, 43, Brook Watson and the Shark 175 Dayes, Edward 260, 264 Verrio 8, 9, 11 44 The Death of Major Peirson, 5 January de Loutherbourg, Philip James 183, John Michael Wright 19, 19, 38 clubs and societies 76–80, 92–3, 93 1781 176–7, 177, 180, 203, 231–2 206–7, 206, 256-8 Charlotte, queen of Great Britain 189, Collier, Edward Trompe l’oeil Letter Rack The Death [or Collapse] of the Earl theatrical background and Eido- 194, 195, 292, 294, 301 79, 79 of Chatham in the House of Lords phusikon 225–6 ‘charter pictures’ 38 Combe, William The Tour of Dr Syntax 175–6, 175, 180 The Cataracts of the Nile 225 Chatham, William Pitt the Elder, Earl 272 The Defeat of the Floating Batteries at The Glorious First of June, 1794 256–8, of 171, 175–6, 175 comedy 5–6, 185 Gibraltar, 14th September 1782 257 Chaucer, Geoffrey 306–7, 306 ‘drolls’ 22, 31–2, 90, 92 177–9, 178, 203, 231–2, 242, 258 The Grand Attack on Valenciennes 256, Chéron, Louis 48–51, 55, 81, 83 Hogarth’s comic histories 105–10 copyright 43, 97 258 Vulcan Catches Venus and Mars 48–51, 107–8 Engravers’ Copyright Act (‘Hogarth’s Lodore Waterfall, near Keswick 226–7, 50 see also satirical prints Act’) 97 226, 232 Cheselden, William 81 commercial galleries 251, 258, 306 Coram, Captain Thomas 103, 126–8, 127 Devis, Arthur 112, 151, 195 children 100, 237–8, 240, 244, 304–5 Fuseli’s Milton Gallery 251, 252 cosmopolitanism 125–47, 195 John Orde, His Wife Anne, His Eldest see also family and Reynolds’s work 203 costume and clothing see dress; fashion Son William, and a Servant 113–14, Christ’s Hospital, London 37–9, 38–9 Shakespeare Gallery 183–5, 183–5, Cosway, Maria 182, 302 113 Churchill see Marlborough 235, 251, 306, 331n.21 Cotes, Francis 194–5 Devonshire, Georgiana, Duchess of 233, cities Westall’s solo exhibition 253, 313 Queen Charlotte and the Princess Royal 234 Hogarth’s urban poor 109–10 see also Bowyer; Boydell; Macklin 194, 195 dilettanti see Society of Dilettanti Reynolds’s street children 237 Committee of Taste 310 Sir Richard Hoare 139–40, 139 drapery painters 129, 131 This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 370 • index index • 371 drawing DuBosc 58 Old Masters 307 France/Frenchness 18 commercial value 150, 260 Earlom 165, 249, 269 Painter-Stainers’ Hall 26–7 British antipathy to 90,106–7, 248–51 as feminine accomplishment 300 Gribelin 61 Society of Arts/Society of Artists British admiration of 90 Flaxman’s Iliad and Odyssey drawings Haughton 252 of Great Britain 149–60 British engagement with French art 252–3 Heath 308 see also British Institution; commercial and fashionable tastes 101–2, 106, 111 Fuseli and Mortimer 169, 170 and Highmore’s Pamela 111 galleries, Royal Academy Gravelot as intermediary 101, 131, as gentlemanly pursuit 115, 123, Hogarth 83, 94–8, 105 exoticism 74–5, 223–5 139–40 218–19 Kip 64 history-painting 148, 150, 154, 244 life drawing 80, 83, 161–2 Muller 99 Faber, John, the Younger 98 Hogarth’s Frenchness 106, 140 scientific appreciation 24, 123 and Picturesque landscapes 227–8 The Choice (after Mercier) 98, 98 landscape 66, 70, 115–16, 120 and watercolour 23–4, 123, 260 John Smith 43 John Knight, His Wife Anna, and His portraiture 86–7, 125–6, 140 see also academic tradition; amateur Taylor 182 Stepson Jacob Newsam (after French artists in Britain artists; art education and topographical landscapes 122, 214, Vanderbank) 87, 87 Chéron 48–51, 55, 81, 83 dress 216 family de Loutherbourg 183, 206, 225–6, and aristocracy after ‘Glorious Charles Turner 269 and genre painting 105–6, 240–1, 281, 256–8 Revolution’ 47 and J.M.W. Turner 267, 269–70 283–5, 287, 289–90 Mercier 88–90, 98–9, 139 Byron in Albanian dress 296 Vandergucht 75 and history-painting 146–7, 156–7, Van Loo 125–6, 140 Classical dress 133–4, 145–6 Van Somer 31 159–60, 166, 176–7, 211, 244, Watteau 88 drapery painters 129, 131 Van der Vaart 31 249–51 Revolution of 1789 248–58 French dress 139 Vertue 93 and landscape 211, 228, 239–40, 245 Frederick, Prince of Wales 87–90, 88–9 Gainsborough’s skill 205, 207, 234–5 Watson 199 and portraiture 16–18, 38, 44–6, 53–4, Free Society of Artists 151, 197, 198 Garter robes 12, 200, 294 Woollett 164, 210, 212, 218, 309 87, 136–8, 194–5, 197–8, 200–4, fresco 311 military portraits and Napoleonic Wars see also aquatint; etching, etchers; 233–4, 297–8, 303–4 Fresnoy, Charles Alphonse du 44, 72 295–6 mezzotint; print culture; publishers; conversation-piece portraiture Fuller, Isaac, the Elder painter’s dress 21, 46, 136–7 stipple 88–92, 112–4, 195–6 The Escape of Charles II after the Battle Restoration portraits 12, 15, 18 erotic, eroticism 16, 49, 170 marriage portraiture 147, 148–9, of Worcester series 5–6, 320n.4 Reynolds and fashions 136, 202, 204 Chéron’s Vulcan Catches Venus and 152, 234–5, 305 Charles II on Humphry Penderel’s Mill in royal portraits 12, 41 Mars in his Net 48–50, 50 see also children; marriage Horse 5, 5, 16 Van Dyck dress 131, 142 Dahl’s ‘Petworth ‘Beauties’ 46, 46 fancy pictures Fuller, Isaac, the Younger 26 Van Loo’s skill 126 Fuseli’s Titania and Bottom 184, 184 and Gainsborough 237–8, 240, 281 Fuseli, Henry (b. Johann Heinrich Füssli) and women’s status 301 Gennari’s paintings for Charles II 36–7 as Mercier’s invention 98–9 168–70, 183, 219, 254, 256, 307 see also fashion Hayman’s Play at the See-Saw 100–1, and Reynolds 164, 237 and his circle in Rome 168–70, 230 ‘drolls’ 22, 31–2, 90, 92 100 and Romney 237–8 Milton Gallery 251–2 Dryden, John 72, 106 Hodges’ views of Tahiti 224 and Wright of Derby 159–60 prints after 182, 252 DuBosc, Claude The Battle of Tanieres, Hogarth’s Progresses 95–7, 90–6 and sensibility 235–41 Royal Academy professorship 252 near Mons (after Laguerre) 57–8, 58 Hoppner’s Mrs Jordan 207–8 Farren, Elizabeth 209, 209 The Nightmare 181–2, 181 Dughet, Gaspard 25, 66, 69–70, 115–116, Hoppner’s and Lawrence’s images fashion Titania and Bottom 184, 184 143, 211, 214 of aristocratic women 302–3 and Frenchness 106–7, 191 The Vision of the Lazar House 251–2, Huysmans’ Catherine of Braganza and Gainsborough 206–7, 234–5 252 Earlom, Richard 17–18, 18 Hogarth’s satire on 84–5, 85 The Witches Show Macbeth the The Exhibition of the Royal Academy Lely’s female portraits 16, 31, 42 luxury and moral degeneration 85, Descendants of Banquo (engraving by of Painting in the Year 1771 (after Reynolds’ Venus Chiding Cupid for 89–98, 95–7, 106, 174 Haughton) 169, 169 Brandoin) 163 Learning to Cast Accounts 165, 165 and Reynolds 136, 202, 204, 234 Liber Veritatis (after Claude) 269 Ricci’s Diana and her Nymphs Bathing and sensibility 232 Gainsborough, Thomas 101, 112, 161, Plundering the King’s Cellar at Paris 56, 57 Van Dyck dress 131, 142 179, 183, 192–4, 204–7, 208–9 (after Zoffany) 249 Verrio’s Mars and Venus Discovered by see also dress exhibition strategies 186, 206, 207, 226 education Vulcan 48–9, 49 femininity 160 responses to Old Masters 116–18, 219, as theme in art 290–1 West 153 and the Beautiful 158, 167, 170, 317 220, 238, 240 see also art education; knowledge and see also nudity and history-painting 61, 152, 154, fancy pictures and sensibility 237–8, learning etching, etchers 30 167–8, 170 240, 281 effeminacy 85, 90, 94, 98, 101, 146 Blake 254–5 and portraiture 16, 21, 42, 44, 92, 112, as landscape artist 210, 218–20, 278, see also luxury Gillray 248 131, 191, 193, 299–305 279 Empire 1, 146, 223–5, 241–7 Hollar 24 and women artists 21, 166 and Van Dyck 140, 142, 193–4, 204–5, Africa 34, 51, 244, 328 Piroli 253 see also effeminacy; gender; heroes and 219 America 74, 175–7, 179, 182, 232, 243, Place 24 heroines; luxury; masculinity Mr and Mrs Robert Andrews 114, 114, 243, 293, 312 Rowlandson 234, 247 fêtes galantes 88, 90, 99, 112, 287 116 Canada 74, 148, 164 Paul Sandby 228 Fielding, Henry 105, 110 Ann Ford 193–4, 193, 205 India 224–5, 224, 225, 245–7 Thomas Smith of Derby 124 fiscal-military state 42, 47, 51 Mr and Mrs William Hallett (‘The see also slavery Thornhill 79–80 Fisher, Edward 188 Morning Walk’) 234–5, 234 empirical, empiricist 21–2, 104, 214, 258 Turner 269 Fisher, Kitty 191–2, 191 Philip James de Loutherbourg 206–7, Engravers’ Copyright Act (Hogarth’s Act) Evelyn, John 28, 30 Flatman, Thomas 21 206 97 everyday life see genre painting Flaxman, John 254, 305, 305, 307, 313 Isabella, Viscountess Molyneux 204–6, engraving, engravers 30, 74, 82, 82, 97, Exclusion Crisis (1678–81) 29–30 Fury of Athamas (sculpture) 253 205 105, 123, 227–8, 251, 256 Exeter, Earl of see Cecil, John Iliad and Odyssey drawings 252–3 James Quin 192–3, 192 Aliamet 151 exhibitions 148–247 Thetis Bringing the Armour to Mrs Siddons 207, 207 Barlow 29 accessibility of works 148, 157–60, 181, Achilles (etching) 253, 253 Captain William Wade, Master Baron 93 190, 223, Nelson monument in St Paul’s 310 of Ceremonies at Bath 165, 205, 206 Bartolozzi 176, 237 Blake’s Exhibition of 1809 310–12 Flemish art see Netherlandish art William Wollaston 140, 141 Blake 254–6 British Institution as rival to Royal Foundling Hospital, London 102–4, 126 Cornard Wood, near Sudbury, Suffolk and British landscapes 122, 214, 216, Academy 267, 277, 307 General Court Room paintings 103–4, (‘Gainsborough’s Forest’) 116–18, 118 227–8 Copley’s one-picture shows 176–7, 179, 118, 128–9 The Cottage Door series 238, 239, 240 Cooke, George and William Bernard 251, 306, 310 Fox, Charles James 234, 248, 256, 293, Cottage Girl with Dog and Pitcher 238, 270 Foundling Hospital 103, 118, 128–9 294 238

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 370 • index index • 371

The Harvest Wagon 219–20, 219 View near Beddgelert, North Wales ‘Hampton Court Beauties’ 41–2, 46 Granby 156–7, 156, 190, 190, The Watering Place 220, 221, 232 263–4, 263, 265–6 see also Kneller 231–2 Gamble, Ellis 83 The White House at Chelsea 266, Hampton Court Palace 50–1, 51, 55 Howard, John 241, 241 gambling 97 266 Hanoverian succession 53–4, 54 Marlborough 44–6, 45, 57–60, 59, Game Act of 1671 67, 113 ‘Glorious Revolution’ 39–42, 47–8, 51 Harley, Edward (later 2nd Earl of Oxford) 200 gardens 62–4, 115, 259–60 Gothic 69–71 Nelson 294–5, 309–12, 295, 309, Garrick, David 195, 198, 225 architecture 261 Hart, Emma (later Lady Hamilton) 236, 311 portraits 140, 140, 188, 189 literature 181–2 237 Peirson, Major 176–7, 177, 180, and theatrical conversation-pieces gouache see bodycolour Hastings, Warren 224–5, 245 203, 231–2 155–6, 155 Goupy, Joseph 92–3, 93 Haughton, Moses 252 Pitt the younger 296–7, 296 Gascar, Henri 18, 30 Granby, John Manners, Marquess Haughton Hall, Notts 64–5, 64 Stewart, Charles William (Vane) James Duke of York as Lord High of 156–7, 156, 190, 190 Havell, William 276 295–6, 295 Admiral 9, 18, 19 Grand Style/Grand Manner 196–7, 258, Hawkins, Frances 303–4, 303 Wolfe, General 163–5, 164, 168, Gaugain, Thomas Portraits Painted from 307–16 Haydon, Benjamin Robert 309 175–6, 231–2, 242, 309 Life, Representing Capt. Englefield &c. and art theory 61–2, 146–7, 150 The Assassination of Dentatus 312–13, hierarchy of genres 62, 80, 105, 149 (after Northcote) 179 and genre painting 284, 291 312 Highmore, Joseph 129, 131, 134–5 gender see femininity; masculinity and history-painting 103, 146–7, Hayman, Francis 106, 116, 150–1, 164 Pamela series 111 genius 166–170, 252, 255 160–85, 252–6, 308–14 John Conyers (?with Lambert) 116, 117 Pamela II: Pamela and Mr B in the Cozens, John Robert 230 and landscape art 70–1, 115–16, 143–4, The Finding of Moses in the Bullrushes Summer House 110, 111 Girtin’s originality 263–4, 273 211–14, 219–23, 314–18 103 Mr Oldham and His Guests 111–12, 111 Turner’s critical reception 272 and portraiture 135–9, 187–91, Pamela illustrations 110–11 Hilliard, Nicholas 13 Gennari, Benedetto 197–204, 302 Samuel Richardson, with His Wife Historic Gallery see Bowyer and Whitehall Palace chapel 36–7 see also academic tradition; classicism; Elizabeth, Their Daughters, and Miss history–painting 4–10, 48–62, 103–8, The Annunciation 36–7, 37 history-painting; Reynolds; Royal Midwinter 112–13, 112 146–85, 241–4, 248–56, 307–18 genre painting Academy Vauxhall Gardens paintings 100–2, 220 allegorical subjects 4, 7, 9, 51–4, 59–60 ‘drolls’ 22, 31–2, 90, 92 Grand Tour, Tourists Building Houses with Cards Barry’s Progress of Human Culture and Hayman’s Vauxhall Gardens supper- and Batoni 142 (designed by Gravelot; engraved Knowledge 171–4 boxes 100–2 and Canaletto 119 by Truchy) 101–2, 101 Biblical subjects 37, 55–6, 103–4, and sensibility 235–41 collecting 48, 253 Lord Clive Receiving the Homage 180–1, 307–12 Wilkie and his followers 281–91 and Fuseli and his circle 169 of the Nabob 148, 149, 156 British history 150–2, 182–3 see also comedy; fancy pictures; and Gavin Hamilton 144–7 The Play at See-Saw 100–1, 100 classical subjects 48–50, 60–1, 146–7, Hogarth; lowness; vulgarity and Knapton 133–4 The Surrender of Montreal to 152–4, 162–3, 165–8, 312–14 George I, king of Great Britain 53–4, 58, and landscape watercolourists 230 General Amherst (modello) comic history-painting 105–8 60 and Wilson 142–4, 212, 221 148–50, 149, 154, 156, 231–2 decorative history-painting 4, 7, 9, George II, king of Great Britain 86–7, graphic satire, see satirical prints The Play Scene from ‘Hamlet’ 48–61 123 Gravelot, Hubert François (Bourguignon) (modello) 102, 102 historical landscapes 211–2, 220–2, George III, king of Great Britain 150, 101, 106, 116, 131, 139–40 Hazlitt, William 296 314–8 183, 189, 256, 292 Building Houses with Cards (designed Heaphy, Thomas 285–6, 290 history-painting without heroes 157–60 and family portraits 194–5 for Hayman; engraved by Truchy) Inattention 286, 286 literary subjects 167–8, 184–5, 236, and patronage 195, 258, 301 101–2, 101 Hearne, Thomas 261, 262 306–7 Cotes 195 Pamela illustrations 110–11, 110 Heath, Charles Our Saviour Healing the modern subjects 148, 156–7, 163–5, Ramsay 186, 191, 195 Standing Man (engraved by Truchy) Sick in the Temple (after West) 308 174–80, 241–4, 249–56, Royal Academy 160–3, 294, 309–10 131, 134 Heath, James 309 see also academic tradition; allegory; West 162–3, 180–1, 309 Great Queen Street Academy 80–1 Heemskerck, Egbert van, the Elder 32, Grand Style/Grand Manner; heroes Zoffany 161–2, 195 Green, Rupert 256–8 88–9 and heroines; Royal Academy George IV, king of Great Britain 9 Green, Valentine 256–8 Tavern Scene with Boors Carousing and Hoare, Henry, II 115 as Prince of Wales 293, 294 Greenwich, London Playing Cards 32 Hoare, Sir Richard 139 George of Denmark, Prince 46, 53 Queen’s House and King’s House Henley-on-Thames 65–6, 65 Hobbema, Meindert 116, 279 Georgiana, Duchess of Devonshire 233, 25–6, 25 heroes, heroines Hodges, William 223–5, 331n.17 234 see also Royal Naval Hospital, ancient Benares with Aurangzeb’s Mosque georgic 28, 116, 122, 171, 210, 269–70, Greenwich Achilles 253 224–5, 225 277, 279–80 Greuze, Jean-Baptiste 250, 284 Albion 254–6, 255 Select Views in India 224 Gibbons, Elizabeth 43, 43, 44 La Dame Bienfaisante 241 Dentatus 312, 315–16, 315 Travels in India 224, 225 Gibbons, Grinling 43, 43, 44 Young Girl Weeping over the Death Dido 317–18 A View Taken in the Bay of Otaheite Gibbs, James 93, 93 of Her Pet Bird 237 Hannibal 315–16 Peha 224, 224 Gibson, Thomas Gilbert Coventry on Gribelin, Simon The Judgment of Hercules Hercules 60, 61–2, 78, 81, 84, 94, Hogarth, William 83–5, 90–2, 94–8, Horseback (attrib. with Wootton) 68 (after Matteis) 61, 62 98, 108, 157 105–10, 126–9, 285–6 Gillray, James 248–9, 258 Oscar 168 apprenticeship as engraver 83 Presages of the Millenium 256, 256 Haid, Johann Gottfried Virginia, The Penelope 166 and British School 288 The Zenith of French Glory; – The Unfortunate Roman Maid (after Regulus 162 and Britishness 106–10, 126–8 Pinnacle of Liberty 248–9, 248 Dance) 153 Scipio 153–4, 154 as comic history-painter 105–10 Gilpin, William 227, 260–1, 272, 278 Hamilton, Emma see Hart, Emma Telemachus 166 conversation pieces 90–2, 96, 112 Picturesque Tours 227 Hamilton, Gavin 152, 166, 183 Ulysses 60–1 Gainsborough’s James Quin as tribute The New Weir, on the River Wye Iliad cycle 168, 253 Virginia 152–3 to 192–3, 192 227, 227 Andromache Bewailing the Death modern genre constraints and reputation 110 Giordano, Luca 9 of Hector (modello) 146–7, 146 Amherst 148–50, 149, 154, 156, as Governor of the Foundling Hospital Girtin, Thomas 260–7, 273–5 Dawkins and Wood Discovering Palmyra 231–2 103 comparisons with Turner 261–2, 263 144–6, 145 Chatham, William Pitt the Elder, Hone’s Kitty Fisher as tribute to 191–2, Eidometropolis 266–7 Hamilton, Gawen A Conversation Earl of 171, 175–6, 175 191 Rievaulx Abbey, Yorkshire 262–3, 262 of Virtuosis at the Kings Armes 92–3, Cook, Captain James 241–2, 242 ‘Modern Moral Subjects’ 94–8, 105–6 A Selection of Twenty of the Most 93, 115 Eliott (Lord Heathfield) 177–9, ‘popular prints’ 109–10 Picturesque Views in Paris and its Hamilton, William The Happy Cottagers 202–3, 202 portraits 90–2, 126–8,140 Environs 266–7 281, 281 Englefield 179–80, 179 St Bartholomew’s Hospital murals 103, 104

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St Martin’s Lane Academy 101, 125 Hunt, John 317 Kensington Palace commission 60–1, landscape art 22–8, 63–7, 70, 72–3, 75–6, in Zoffany’s Plundering the King’s Cellar Hunt, Leigh (James Henry) 317 61 115–23, 210–30, 259–80, 314–18 249 Hunt, Robert 291, 312, 315 Ulysses Listening to the Sirens 60–1, 61 amateur artists 24, 123, 227 The Analysis of Beauty 109 Hunt, William Henry 276 Kéroualle, Louise de, Duchess of Ports- and classicism 25–7, 70–1, 115–16, The Artist with a Pug 108–9, 108 hunting 67–9, 68, 113–14, 218 mouth 18, 30, 31 143–4, 211–14, 219–23, 314–18 The Bad Taste of the Town (‘Masquer- Hutcheson, Francis 91–2 Kettle, Tilly 245 Augustanism 70 ades and Operas’) 84–5, 85 Huysmans, Jacob Catherine of Braganza as Kip, Johannes ideal landscapes 25, 26, 27, 70, Captain Coram 103, 126–8, 127, 192 a Shepherdess 16–18, 18 Britannia Illustrata 64 115, 116, 221 Female Nude Seated 83, 83 Hysing, Hans 92–3, 93, 129 Haughton in the County of Notting- and cosmopolitanism 142–4 David Garrick with His Wife, Eva- ham (after Knyff) 64–5, 64 estate portraits 24, 27, 63–7, 116, 144, Maria Veigel 140, 140 idealism see classicism; Grand Style/ Kit-Cat Club, London 76–7, 132 214, 227 Garrick as Richard III 187 Grand Manner Knapton, George 129, 131, 139, 145–6 historical landscapes 211–12, 220–2, The Lottery 83–4, 84 immigrant artists in Britain Charles Sackville, Earl of Middlesex 314–18 The March to Finchley 107–8, 108, 249, display of work in Painter-Stainers’ 133–4, 133 and interior decoration 26, 27, 115–16, 288 Hall 26–7 Kneller, Godfrey 31, 33–6, 71–2, 126 213 ‘Modern Moral Subjects’ drapery painters 129, 131 and court of William and Mary 42 middling classes as purchasers 227–8, Beer Street 109, 109, 110–12 Hogarth’s satire on 85 and Great Queen Street Academy 80 229 The Four Stages of Cruelty 109 Italian artists in Britain 8–10, 11, 36–7, ‘Hampton Court’ beauties 41–2, 46 Netherlandish tradition 24–7, 66, 67–8 Gin Lane 109, 109, 110 56, 88, 119–20, 139 Kit-Cat Club portraits 77, 132, 134 and reinforcement of Restoration 25–6 A Harlot’s Progress 94–7, 95, 105, market for Dutch art 22, 92 legacy 86–7, 111, 125, 132 the Picturesque 227–9, 259–60, 261, 192 Netherlandish artists and impact 66–8 mezzotints 44 263, 272 Industry and Idleness 109 and eighteenth-century portraiture royal portraits 42 plein air practice 143–4, 274–80 Marriage A-la-Mode 105–6, 105, 138–42 Self-portrait 35, 35 and panoramas 257, 265–7 113 in Restoration period 4, 8–11 John Cecil, 5th Earl of Exeter 47, 47 and print culture 122, 210, 212, 214, A Rake’s Progress 96–7, 97–8, 105, improvement Margaret Cecil, Countess of Ranelagh 216, 218, 227–8 219, 241 Hogarth and moral improvement 109 41, 42 and Royal Academy exhibitions 165, Moses Brought before Pharaoh’s labour and progress 118, 120 Michael Alphonsus Shen Fu-Tsung, the 220–3, 274 Daughter 103–4, 104 of morality 76, 85, 99, 171, 210 ‘Chinese Convert’ 35–6, 36 and social hierarchy 66–7, 73, 119 O the Roast Beef of Old England (‘The national improvement 153 Grinling Gibbons 43–4 and tourism 24, 122, 216, 227–9 Gate of Calais’) 106–7, 107, 249 of nature 64–5, 66, 118, 238, 270, 274 Mary II 41 watercolours 230, 260–72, 273 Wollaston Family 90, 91, 92 of taste 151, 181, 283, 308, 313 Isaac Newton 42–3, 42 see also country life, countryside; Holbein, Hans 1 urban improvement 119–22 Mohammed Ohadu, the Moroccan labour, in rural landscapes; pastoral/ Henry VIII and the Barber Surgeons 38 Interregnum 3, 6, 12 Ambassador (with Jan Wyck) 34, 34, pastoralism; topographical Holland 10, 22, 30, 34, 83, 85, 110, 298 Italy 67 landscapes; watercolour see also Anglo-Dutch Wars; British artists in Italy 5, 60, 129, 131–3, Matthew Prior 43, 43, 71 Langhorne, John The Country Justice 244 Netherlandish art 142–7, 152, 166–70, 195, 198, 230, Sir Richard Steele 77, 77, 86 Laroon, Marcellus, the Elder Hollar, Wenceslaus 23–4 253, 299 William III 40, 41 Cryes of London print series 31 Prospect of Tangier from the Land 23, 23, British patrons in Italy 49, 60, 133–4, Knight, Richard Payne 170, 229–30, 267, An Old Woman Feeding a Man Seated 123 142–4 272, 313 on a Close Stool (mezzotint) 31–2, 31 Holt, Francis Ludlow 284–5 views of Italy 142–4, 212, 222–3, 230 The Landscape (poem) 259 Lascelles, Edward 263–4 Homer 146–7, 146, 166, 168, 252–3 Italian artists in Britain 8–11, 36–7, 56, Knyff, Leonard Lawrence, Thomas 1, 209, 293, 301 Hone, Nathaniel 88, 119–20, 133, 139 Britannia Illustrata 64, 66 The Children of John Angerstein, Esq. Kitty Fisher 191–2, 191 see also academic tradition; Haughton in the County of Notting- 304–5, 304 Pictorial Conjuror 192 classicism; cosmopolitanism; ham (engraved by Kip) 64–5, 64 Sir Francis Baring, John Baring and Hooke, Robert 24 Grand Tour, Tourists; ancient Charles Wall 297–8, 297 Micrographia 22 Rome labour, representation of, Lady Charlotte Campbell 302–3 Hope, Thomas 313 in London views 122, 276, 277 Miss Elizabeth Farren 209, 209, 294 Hoppner, John 179, 207–9, 293, 301 Jacobites 53, 106–8, 122–3 in rural landscapes 116–18, 269–70, Frances Hawkins and Her Son, John George IV when Prince of Wales 293, Jacobsen, Theodore 103, 128–9, 128 272–3, 279, 280 James Hamilton 303–4, 303 294 James II, king of England cottage scenes 281, 286 Francis Osborne, 5th Duke of Leeds 293, Lady Charlotte Campbell in the abdication and exile in France 40–1 poor in agrarian landscapes 64, 294 Character of Aurora 302–3, 302 as Duke of York 9, 10, 18, 19, 25 66–7, 114, 119, 215, 220 Queen Charlotte 294 Mrs Jordan in the Character of the and Lely’s ‘Flaggmen’ 15, see also agriculture; poor in art Charles William (Vane-)Stewart 295–6, Comic Muse 207–8, 208 46–7 Ladbrooke, Robert 273 295 William Pitt the Younger 296–7, 296 portraiture at court of 32–6 Laguerre, Louis 37, 48 Mrs Isabella Wolff 301–2, 301 horses 5, 66–7, 69, 113, 157–8, 197 religious commissions 36–7 Marlborough House murals 57–8 Le Blanc, Abbé Jean-Bernard 125, 131 hospitals succession and reign 29–30 The Battle of Tanieres, near Mons Le Brun, Charles 8–10, 49 Hogarth’s murals at St Bartholomew’s Verrio’s Christ’s Hospital mural 37–9, 57–8, 58 Alexander before the Tent of Darius 148, Hospital 103 38–9 Lambert, George 115–16, 143, 210 150, 154, 244 see also Bedlam Hospital; Christ’s Jervas, Charles 71, 86 Classical Landscape with Rustics: Lely, Peter 12–13, 16–8, 20–2, 32–3, 34, Hospital, London; Foundling Henrietta, Countess of Suffolk 72–3, 72 Morning 115–16, 116 80, 138 Hospital; Royal Naval Hospital, Johnson, Joseph 251–2, 254 John Conyers (landscape in?) (with as art collector 13, 16 Greenwich Jones, Inigo 25, 60 Hayman) 117 and mezzotint 30 Howard, Henry Jones, Thomas 230 View of Copped Hall, Essex, from across and Van Dyck 16 Anne Flaxman 305, 305 Jordan, Dorothy 207–8, 208 the Lake (with Hayman) 116, 117 Self-portrait 13, 13 John Flaxman 305, 305 landownership 63–73, 115–17, 277–80 Barbara Villiers, Countess of Castlemaine, Sarah Trimmer 299–300, 300 Kauffman, Angelica 161, 165–6, 183, 192 and culture of politeness 113–14 and Her Son, Charles Fitzroy, as the Madonna and Child 16, 17, 193 Howard, John 241, 241 Maria of Moulines, from Sterne (stipple mercantile classes and status 65–7, 113, ‘Flaggmen’ 15–16, 46–7 Hudson, Thomas 128–9, 135, 170, by Ryland ) 236–7, 236 119 Admiral Sir John Harman (Lely and 200 The Return of Telemachus 165–6, 166, and public virtue 62, 64, 220–1 studio) 15, 15 Lady Frances Courtenay 130, 131 231–2 politics of the Picturesque 259–60 Loiuse Dutchess [sic] of Portsmouth Theodore Jacobsen 128–9, 128 Kensington Palace, London 60, 61 and sport 67–9, 113–14, 197, 218 (mezzotint after) 30, 31 Clerke Willshaw, MD 130, 131 Kent, William 60–2, 69, 85, 92–3, 93 see also country life, countryside; gentry

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 372 • index index • 373

Frances Teresa Stuart (later Duchess in society 64, 79, 87, 96, 98–100, 110, mezzotints 182, 249 urban poor and Hogarth 109–10, 109, of Richmond and Lennox) 16, 17, 42 179, 185–6, 197–8, 207, 241, 249, fancy pictures 98–9, 241 286 Horatio, Baron Townshend 13, 14, 15 291, 294 portrait reproduction 30–1, 33, 44, 86, Vauxhall Gardens paintings 100–2 ‘Windsor Beauties’ 16, 42 see also ‘drolls’; genre painting; poor in 188, 191, 199 voluntary associations 292 life drawing 80, 83, 161–2 art; vulgarity Turner’s Liber Studiorum 269–70, 269 see also benevolence; sympathy; vice; limning tradition 12, 320n.2 luxury Michelangelo Buonarroti 85, 169, 180, virtue Linnell, John 276–7 and Barry’s Commerce, or Triumph of the 198, 203, 301 More, Jacob 230 Kensington Gravel Pits 276, 277 Thames 174 military portraits 294–6 Morland, George 240, 281 Liotard, Jean-Étienne 195 economic necessity 90–1, 96–7 admirals 15, 46–7 African Hospitality (mezzotint by John Augusta, Princess of Wales 138–9, 138 and Hogarth’s ‘Modern Moral Marlborough in battle scenes 57–8 Raphael Smith) 244–5 literary culture Subjects’ 94–8, 105–6, 192, 219, Beechey’s Nelson 294–5 Morning (The Benevolent Sportsman) authors 241, 285 Dahl’s and Kneller’s admirals 46-7 240–1, 241 Addison 72, 76–8, 78, 89–90, 99 luxury goods 6, 71, 101, 193, 196, 236, Copley’s Floating Batteries at Gibraltar Slave Trade (mezzotint by John Byron 296, 296 253 178, 178 Raphael Smith) 244–5, 245 Chaucer 306–7 Mandeville and re-evaluation of luxury Lawrence’s Charles William (Vane-) Morland, Henry Robert 240 Cicero 220–1 90–2 Stewart 295–6, 295 Mortimer, John Hamilton 331n.20 Dryden 106 positive effects of 91–2, 126 Lely’s ‘Flaggmen’ 15-6 Banditti Returning 170, 170 Fielding 105–6 as threat to morality 74, 85, 89–92, 96, Reynolds Moser, John Michael 161 Fuseli 180–1 98, 101, 197, 316 Granby 190, 190 Moser, Mary 161 Gay 96, 220 see also effeminacy Heathfield 202, 203–4 Mulgrave, Henry Phipps, 1st Earl of 282, Gray 169, 214, 256 Commodore Keppel 131–2, 132 283, 296–7, 312 Homer 60–1, 87, 146–7, 116, Mackenzie, Henry The Man of Feeling 231 Captain Keppel 135–6, 135, 139 Muller, Johann Sebastian 252–3 Macklin, Thomas 181, 253 Ligonier 190 Vauxhall Gardens (after Wale) 99 Hooke 312 Bible Gallery 251, 306 and sensibility 243–4 Mulready, William 276, 277 Horace 70 Poets’ Gallery 183, 251, 281, 306 military survey 123 Idle Boys 290–1, 290 Macpherson 168–9 Mandeville, Bernard 90–1, 96–7 millenarianism 256 mythology 4–5, 9–10, 16 Mackenzie 231 Manners, John see Granby Milton, John 251–2 and decorative history-painting 48, Mallet 265 manners see morality; politeness Miniaturists see limning tradition 49–50, 49–50, 56, 60–2 Milton 166–7, 251–2 Mansfield, David William Murray, 3rd modernity 22, 139, 142 and landscape 211–12 Ossian 168–9 Earl of 282 arguments in favour of 85, 89, 92, 113, see also allegory; classicism Ovid 211 Marie Antoinette, queen of France 250 119 Pepys 20, 22, 25–6, 30, 37–9 marine painting 10–11, 22, 123–4, 256–8, crisis of confidence in 147 Napoleon, Napoleonic Wars 248, 252, Pope 69–73, 71, 87, 213 273 construction of Westminster Bridge 268, 280, 286, 289, 295, 306–18 Ridley 317 and the van de Veldes 10–11, 124, 120 National Gallery 265, 290, 307–8, 318 Rousseau 232 267–8, 272 and landscape painting 73, 118–20, national school of British art 1, 11, Scott 298–9, 298 see also de Loutherbourg, Scott, 221, 268–71, 273 248–58, 314 Shakespeare 84, 102, 102, 109, Turner, van de Velde Westminster Bridge 120 and Blake’s exhibition of 1809 310–12 169, 174, 184, 185, 186, 187, 193, market see art market; commerce Wilkie’s modernity 283 and Boydell as promoter 183–5 313 Marlborough, John Churchill, 1st Duke and Wright of Derby’s candlelights and British Institution 307, 308–9 Steele 51, 53, 76–8, 77–8, 89–90 of 44–6, 45, 57–8, 200 159–60 genre painting 281–91 Sterne 187–9, 187 Marlborough, Sarah Churchill, Duchess see also commerce; history-painting: Hogarth’s support for 85, 288 Virgil 28 of 44–6, 45, 57 modern subjects; Hogarth: ‘Modern and landscape painting during Augustan poetry and prose 69–71, 73 Marlborough House, London 57 Moral Subjects’ Revolutionary and Napoleonic Wars Celtic Revival 214 marriage 82, 90–2, 105–6, 109–13, 140, monarchy 259–80 guidebooks and the Picturesque 227 195, 234–5, 300 execution of Louis XVI 250 historical landscapes 314–18 the Harley circle 69–71 see also family Exclusion Crisis 29–30 responses to French Revolution 248–58 and Hogarth’s The Bad Taste of the Martin, John 314 Hanoverian succession 53–4, 54 see also British Institution; Royal Town 84–5 Sadak in Search of the Waters see also individual monarchs; Academy; history-painting; Samuel Richardson’s Pamela 110–33 of Oblivion 316, 317 ‘Glorious Revolution’; patriotism/nationalism/Britishness see also book illustration; georgic; Mary II, queen of Great Britain 40–1, 51, Restoration; nationalism see patriotism/nationalism/ Poets’ Gallery; sensibility; sister arts; 52, 53 Monro, Thomas 260–1, 275 Britishness theatre masculinity Montagu, Lady Mary Wortley 72 naturalism Lodge, William 24 and history-painting 9, 146–7, 150, Montagu, Ralph, 1st Duke of 8, 48, 50 as marker of Britishness 258 London 1, 3, 30–1, 39, 44, 56–7, 62, 75, 152, 167–70, 181 morality and Heaphy’s watercolours 285–6 79, 84, 107, 125, 174, 185 and male artists 136, 166–70 and early nineteenth-century genre and landscape art 143–4, 267–8, 272, Barker’s panorama 257, 265 and portraiture 15–6, 32, 47, 87, 92, painting 286–8, 289–90, 291 273, 274–80 Canaletto’s views 119–20, 120, 121 112, 294, 296, 299 fancy pictures and politeness 98–9 and portraiture 20–1, 136, 140, 195, Great Fire of 6, 25–6 and the Sublime 158, 301 Fuseli’s indifference to morality in art 196, 234 Girtin’s Eidometropolis 266–7 see also gender; heroes and heroism 169 naval battles in art 123–4, 256–8 Netherlandish artists in 21­–22 Mason, William 214, 227 Hogarth’s ‘Modern Moral Subjects’ Nelson, Viscount Horatio 294–6, 295 Scott’s views 121–2, 121 masquerades 84, 85, 132, 133–4 93, 94–8, 95–7, 105, 106 death of 309–10, 309, 311–12, 311 urban improvements 119–22 Matteis, Paolo de The Judgment as an issue for female portraiture Netherlandish art see also City of London; Hogarth; of Hercules (engraving by Gribelin) 190–1, 193, 203, 233–4, 302–4 art market in Britain 22, 31–2, 92, Somerset House; Vauxhall Gardens 61–2, 61 and luxury 85, 89–92, 174, 316 196–7 Lorrain, Claude see Claude Gellée, called Mead, Richard 129, 129 Mortimer and the amoral Sublime artists in Restoration court 10–11 Claude Lorrain Mechel, Christian von 256–8 170 ‘drolls’ 22, 31–2, 90, 92 Louis XIV, king of France 6, 18 Mengs, Anton Raphael 139, 142, 147, 166 Pamela and the ‘middling orders’ genre painting 240, 282–5, 288–9, 291 Louis XVI, king of France 248–9, 249–51 Mercier, Philip (Philippe) 88–90, 139 110–13 history-painting 313 lowness fancy pictures and mezzotints 98–9 Shaftesbury’s Judgment of Hercules as landscape painting 24–7, 63–8, 116–19, in art 5, 30, 32, 82–4, 90, 92, 101–2, The Choice (mezzotint by Faber) moral exemplum 62, 63, 157, 167, 265–6, 269, 272–4, 279 105–6, 110, 113, 165, 219–20, 226, 98 288, 316 marine painting 11, 124, 267–8 238, 284, 287–91 Frederick, Prince of Wales and His Society for the Reformation portraiture 21, 68, 78, 111, 159 of artists 21, 30, 79, 92 Sisters 88–90, 89 of Manners 42 see also individual artists

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Newton, Isaac 42–3, 42, 71 Pellegrini, Giovanni Antonio 55 in Vauxhall Gardens paintings 101 heterogeneity and broad appeal 29, 30, Northcote, James 169, 183, 304 The Adoration of the Trinity 56, 56 as labourers in agrarian landscapes 64, 32 Marc Isambard Brunel 299, 299, 305 Penicuik, nr Edinburgh 167–8 66–7, 114, 119, 215, 220 and high and low art 6, 30, 32, 83 The Murder of the Princes in the Tower Penny, Edward 156–7, 164, 240 see also genre painting Hogarth’s satirical prints 84, 219 183–4, 183, 231–2 The Death of General Wolfe 156 Pope, Alexander 69–73, 71, 213 and history-painting 81–3, 164, 166, Portraits Painted from Life, Representing The Marquess of Granby Relieving a ‘Popish Plot’ 29, 31 182 Capt. Englefield 179–80, 179, 203 Sick Soldier 156–7, 156, 190, 231–2 popular culture see press; print culture; commercial ventures 183–5 Norwich Society of Artists and ‘Norwich Pepys, Samuel 20, 22, 25–6, 30, 37, 38, 39 public and viewers: mass audience Copley 176–8 School’ 273 Petworth, West Sussex 46 portraiture 3, 12–21, 32–6, 40–7, 70–2, Hogarth’s A Harlot’s Progress 96–7, 105 nudity 56, 166, 255–6 philanthropy 86–93, 110–4, 125–42, 186–209, and landscape art 210, 212, 216 see also eroticism and Foundling Hospital 102–3, 126, 231–5, 292–305 British landscapes 122, 214, 218, 308 antique models for 86, 133–4, 145–6 227–8 O’Brien, Nelly 190–1, 191 visualisation and sensibility 240–1 celebrity portraits 71, 140, 186 and politics 6, 29–31, 58 Old Masters voluntary associations 292 actors and actresses 187, 190, and status of watercolourists 260 and Angerstein’s collection 265 see also benevolence; morality; 192–3, 202–3, 207–9, 293–4 and subscription and British Institution 267, 307 sympathy; virtue Reynolds’s Royal Academy battle scenes 58, 123–4 copying of 81, 117, 265, 267, 269 Philips, Thomas Lord Byron in Albanian portraits 190–1, 202–3 Buck, Samuel and Nathaniel 75, Gainsborough’s emulation of 219, 220, Dress 296, 296 codified poses and formats 72, 86–7, 122 238, 240 Phipps, Henry see Mulgrave 111, 125, 128, 131 Highmore’s Pamela series 111 exhibitions 307 Picart, Bernard 83–4 in Commonwealth and Interregnum 3 Hogarth 95–7, 105–6, 109 and the Louvre 307 Picturesque context of original settings 15–16 Kip and Knyff’s Britannia and Reynolds’s art theory 136, 150, 269 the Picturesque in theory 227, 259–60, conversation pieces 88–93, 96, 111–14, Illustrata 64, 66 Turner’s responses to 265, 267–72, 317 282 140, 154–7, 195–6 Stothard’s Pilgrimage to Canterbury see also individual artists; Netherland- the Picturesque in practice, 122, 227–9, cosmopolitanism 125–42, 195 306 ish art 259–63, 278, 282 and court of James II 32–6 Turner’s Liber Studiorum 269 Oldham, Nathaniel 111–12, 111 see also Gilpin; Knight; Price; tourism criticism of sitters 292–4, 304 Verelst’s ‘Four Indian Kings’ 74–5 Oliver, Isaac 12 (domestic) cultural imperialism 146 see also aquatint; engraving; etching; one-picture exhibitions 176–7, 179, 251, Pindar, Peter (John Wolcot) 182 curiosity and exotic subjects 74–5 mezzotint; publishers; satirical 306 Pine, Robert Edge 170 demand for and artists’ reliance on 166 prints; stipple Onslow, Denzil 28 Mrs Pritchard in the Character drapery painters 129, 131 Prior, Matthew 43, 43, 69, 71 Opie, John 179, 183, 307 of Hermione (engraving by Aliamet) and exhibitions 186–209, 234, 292–304 Pritchard, Hannah 86–7, 87 Assassination of James I of Scotland 182 186, 187 formats and pricing 86, 305, 323 n.1 professionalisation of art 79–80, 92–3, The Murder of David Rizzio (etching The Surrender of Calais to Edward III and the Foundling Hospital 127–9 115, 147, 198 and engraving by Isaac Taylor) 182, (engraving by Aliamet) 150–2, 151, and gender 16, 44–6, 112–14, 196, 200, and watercolourists 260 182 186–7 234–5 Protestantism and religious art 55, 56 Orientalism 34, 225, 246, 296, 317–8 Piranesi, Giovanni Battista 142, 230 and hierarchy of genres 72, 80, 152 public sphere Orme, Daniel 241 Piroli, Tomasso Iliad and Odyssey Grand Style 135, 139, 190 and culture of politeness 76–9, 112 Ossian (James Macpherson) 168–9 etchings (after Flaxman) 253, 253 Kneller’s legacy 86–7, 111, 125, 132 benevolence and public display Ostade, Adriaen van 31, 240, 269, 282 Pitt, William, the Elder see Chatham marriage portraits 140. 234–5 of art 102–4 Overton, Henry 24, 58, 123 Pitt, William, the Younger 248, 256, 293, mezzotint reproductions 30–1, 33, 44, moral concerns and art 93, 94–9, 296–7, 296, 311 86, 188, 191 105–11, 112–13 Painter-Stainers’ Company 3, 26–7, 80 Place, Francis 24, 75, 123 military portraits 15, 46–7, 243–4 public spaces and decoration Palladianism 60, 72–3, 125, 213 Part of Tenby Castle in Pembrokeshire 24, pastels 138–40, 195 99–102 panoramas 257, 265–7 24 and politeness 86–93, 111–12, 113–14, emergence in late Stuart period 39 Pars, William 230 plein air landscapes 143–4, 274–80 131, 134, 136 societies and exhibitions 149–52 Pasquin, Anthony (John Williams) 292–4, Poets’ Gallery 183, 251, 281, 306 and Restoration politics 12–21 see also art criticism; exhibitions; 301–2 politeness Richardson on 71–2 politeness; print culture; Vauxhall pastels 138–40, 195 art and culture of 76–80, 85 Reynolds’s legacy and posthumous Gardens pastoral, pastoralism benevolence and public display reputation 294, 300, 302 publishers 30–1, 44, 71, 74, 80–1, 166, Cozens’s Italian watercolours 230 of art 102–4 and sensibility 232–5 175, 183, 216, 253, 306 fêtes galantes 88, 90, 112, 287 conversation and social commerce size and pricing 86, 305 Archibald Constable 298 and Gainsborough 220, 238 76–9, 111–12, 114 Van Dyck’s legacy 3–4, 12, 13, 16, 33, Thomas Bowles and Henry Overton and Heaphy’s anti-pastoralism 286 fancy pictures 98–9, 165 34, 47, 77, 136 58, 123 and interior decoration 26, 27, 115, opposition to politeness 62, 148, dress 131, 142 Thomas Bowyer 183, 251, 258, 306 116, 213 170, 245–7 Gainsborough 140, 142, 193–4, John Boydell 164, 177–8, 182, 253 and Lely’s female portraits 31 land ownership and sporting 204–5 George and William Bernard Cooke philosophy and nature 70–1 pursuits 113–14 Verrio’s borrowings from 9 270 and Turner 269, 272 and marine painting 124 see also individual artists; dress; family; Joseph Johnson 251–2, 254 and Wilson144, 214 and moral concerns 93, 94–9, femininity; Grand Style/Grand of magazines 228 patriotism/nationalism/Britishness 105–11, 112–13 Manner; marriage; masculinity; and Turner 216, 267, 276 and antiquarian views 75, 122, 261 and portraiture 86–93, 111–12, naturalism; military portraits; see also book illustration; commercial and battle-paintings 58, 123–4, 256–8 113–14, 131, 134, 136 patriotism/nationalism/Britishness; galleries; literary culture; print and genre painting 149–50 and professionalisation of art politeness; Royal Academy; culture and Hogarth 106–10, 126–8 79–80, 92–3, 115, 147 workshop practice Pughe, William Owen 311 and history-painting 51–3, 147–51, 156–7, and Vauxhall Gardens 99–102 Portsmouth, Duchess of see Kéroualle Pulteney, Sir William 132 163–5, 174–80, 182–5, 242–4, 309–12 and sensibility 231 Poussin, Nicolas 70, 103, 147, 153, 162 Pyrford Manor, Surrey 28, 28 and landscape 75–6, 120–2, 258, see also Addison; conversation see also Hazlitt; Holt; Pasquin 259–61, 268–74 pieces; Hutcheson; Shaftesbury, Price, Uvedale 259–60, 272, 282 Quicke, Andrew 77–8, 78 and portraiture 106–12, 203, 294–7 Steele primitivism 167, 170, 220, 224, 253 Quin, James 192, 192 nationalism and naturalism in the Pond, Arthur 139 print culture 6, 29–32, 185, 191 1790s 251, 258, 259–60 poor in art 238–42, 281–91 and battle scenes 58, 123–4, 256–8 radicalism see also Napoleon/Napoleonic Wars; and Gainsborough 219–20, 238–40 book illustration 81, 110–11, 183, 236, and French Revolution 248, 251–2, national school of British art; Seven and Hogarth’s ‘Modern Moral 306–7 254, 255–6 Years’ War Subjects’ 109–10, 286 and ‘curiosity’ 74–6 Wilkie’s Village Politicians 282, 283 This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 374 • index index • 375

Raeburn, Henry John Manners, Marquess of Granby 190, exhibitions and critical reception and Royal Academy 163, 163, 166 Sir John and Lady Clerk 235, 235 190 163–6, 163, 186 science and art 24, 123, 160, 276–7 Sir Walter Scott 298–9, 298 Lord Heathfield 202, 203 foundation and aims 153, 160–3 empiricism 20–2, 258 Ramberg, Johann Heinrich Death Captain the Hon. Augustus Keppel (c. and French Revolution 249, 251 Scott, Samuel 121–2 of Captain Cook 242, 242 1752) 135–6, 135, 139, 187, 294 Fuseli as Professor of Painting 252 The Building of Westminster Bridge Ramsay, Allan 129–31, 139, 191, 325n.6 Commodore the Hon. Augustus Keppel and genre painting 281–5, 289–91 121–2, 121 royal patronage 186, 191, 195 (1749) 131–2, 132 hanging procedure and rivalries 293–4, Vice Admiral Sir George Anson’s Victory Queen Charlotte with Her Two Eldest Commodore the Hon. Augustus Keppel 312–13 off Cape Finisterre 124, 124 Sons 186, 194, 195 (c. 1752) 135–6, 135, 139, 187, 294 and history-painting 160–74, 179–82, Scott, Sir Walter 298–9, 298 Lady Helen Dalrymple 138, 139 Lady Elizabeth Keppel Adorning a Term 306 sensibility 147, 166, 229–30, 231–47, 258, Jane Hale (later Mrs Madan) 130, 131 of Hymen 189–90, 189 and landscape 165, 220–6, 239–40, 287 Norman, 22nd Chief of Macleod 134–6, The Duchess of Manchester and Her Son 259–65, 277–80, 314–18 sentimental view of rural poor 238–41, 134 Lord Mandeville (mezzotint by ‘the line’ 179, 186, 202, 209, 294, 302, 281, 286 Dr Richard Mead 129, 129 Watson) 198–9, 199 312 see also sympathy and narrative art Sir John Pole, 5th Baronet 130, 131 The Family of the 4th Duke of Marlbor- and portraiture 198–209, 292–305 Seven Years’ War 147, 148–9, 157 Raphael (Raffaello Sanzio) 55–6, 60, ough 200–2, 201 and promotion of British school 160–1, Seymour, James The Stables belonging to 84–5, 102, 153 Nelly O’Brien 190–1, 191 179, 183 the Duke of Bolton 113, 113 refinement see politeness Mrs Siddons as the Tragic Muse 202–3, Reynolds as President 160–2, 198–204 Shaftesbury, Anthony Ashley Cooper, 3rd religious art and biblical subjects 202, 207, 301 Turner as Professor of Perspective 267 Earl of 61–2, 104 Blake 254, 256 Laurence Sterne 187–9, 187 West as President 267, 306, 309 Characteristics of Men, Manners, and Protestantism 55, 56 Infant Hercules Strangling the Serpents Wilkie’s success 281–5, 287 Opinions, Times 76 West 180–1, 314–15 in His Cradle 203–4 see also Somerset House Judgment of Hercules (painted by Whitehall Palace chapel 36–7 Lesbia (stipple by Bartolozzi) 237, 237 Royal Naval Hospital, Greenwich Matteis, engraved by Gribelin) 61–2, see also Catholicism; history-painting; Venus Chiding Cupid for Learning to Thornhill’s murals 51–4, 52, 54 63, 76, 84, 98, 147, 157, 167, 189, St Paul’s Cathedral Cast Accounts 165, 165 West’s Nelson pediment 310 288, 316 Ricci, Sebastiano 55, 56 Royal Society 6, 24, 30, 74, 129 and politeness 76 Rembrandt van Rijn 34, 35, 43 Diana and her Nymphs Bathing 56, 57 and empiricist aesthetic 20–2 Shakespeare, William 71, 84, 102, 109, Restoration 1, 3–11 Richardson, Jonathan, the Elder 3, 55, 80, Rubens, Peter Paul 7, 20, 43, 51, 61, 129, 169, 174, 193, 313 allegories of 4–5, 7, 9–10 86, 92, 128, 133 203–3, 218–19, 220, 240, 269, 287, and Barry 174 and landscape painting 25–6 Essay on the Theory of Painting 71–2 303, 315 and Fuseli 169, 169, 184, 184 portraiture and politics of 12–21 Alexander Pope 71, 71, 72–3 Duke of Buckingham 34 Hayman’s Hamlet 102, 102 and print culture 6, 30 George Vertue 86, 86 Maria de’Medici cycle 82 Pine’s A Winter’s Tale 187, 186 see also Charles II Richardson, Samuel Whitehall ceiling 7, 51 Smirke’s Much Ado About Nothing 185 Reynolds, Sir Joshua 131–3, 135–9, Clarissa 231 ‘Rubens’ wife’ 131 Shakespeare Gallery 183–5, 183–5, 235, 149–50, 179, 185, 196, 208, 267, 291, Hayman’s conversation piece 112–13, Ruisdael, Jacob van 116, 273 251, 306, 331n.21 298 112 Wooded Landscape with a Flooded Road see also Boydell as art theorist 136, 149–50, 163, 165, Pamela and art 110–13, 231 117 Shee, Sir Martin Archer 286, 288 182, 199, 221, 227, 269, 277–8, 291, Ridley, James 317 Runciman, Alexander 167–8 Sheldonian Theatre, Oxford 6–7, 7 316 Riley, John 32–3, 42, 44, 71 Study for ‘The Death of Oscar’ 168, 168 Shepperson, Matthew 267 as history painter 165 Bridget Holmes 32, 33 Runciman, John 167 Sherwin, William 30 and Boydell’s Shakespeare Gallery 183 Robinson, Matthew 93, 93, 115 Rupert, Prince 30 Shipley, William 150, 170 competition and rivals 142, 191–5, Rococo 88, 101, 111, 116, 126, 139, 147 Ryland, William Wynne 164 Siberechts, Jan 27 197–8, 202, 204–9 reaction agains 147 Maria of Moulines, from Sterne (after View of Henley from the Wargrave Road Continental journey and change in Rome see ancient Rome; Italy Kauffman) 236, 236 65–6, 65 style 131–3, 135–8, 139, 187 Romney, George 170, 179, 183, 186, 207 Rysbrack, John Michael 93, 93, 103 View of Longleat House 27, 27, 63 criticisms of technique 206 fancy pictures and sensibility 236, 237 Wollaton Hall and Park 63–4, 63 Discourses 136, 163, 199, 269, 277–8 republican sympathies and French Sackville, Charles, Earl of Middlesex and Siddons, Sarah 202–3, 202, 207, 207, 301 exhibition strategies 186–91, 198–204, Revolution 251, 252 2nd Duke of Dorset 133–4, 133 Siegen, Ludwig von 30 226, 234 Willian Beckford 232, 233 St Martin’s Lane Academy 81, 83, 85, Simon, John Tee Yee Neen Ho Ga Row, fancy pictures 165, 237 Emma Hart (later Lady Hamilton) in a 101, 116, 125, 139, 160, 170 Emperour of the Six Nations (after and French Revolution 251 Cavern 236, 237 St Paul’s Cathedral 171 Verelst) 74–5, 74 Grand Style 149–50, 160, 165, 185, The Leigh Family 197–8, 198 Thornhill’s decoration 55–6, 55, 80 sister arts 72–3 199, 202, 204, 269 Henrietta, Countess of Warwick and Her Sandby, Paul 123, 215–17, 227–8, 230, see also literary culture and portraiture 135–8, 207, 209, 292, Children 204, 204 269 Sketching Society 273 300 The Leigh Family 197–8, 198 Hubberstone Priory, Pembrokeshire 228, slavery and sensibility 240, 244–5 legacy and posthumous reputation 294, William Beckford 232, 233 228 Smirke, Robert 183, 185 300, 302 Rosa, Salvator 122, 170, 274, 317 The Iron Forge between Dolgelli and ‘Much Ado About Nothing’ 185, 185 on Liotard 139 Rose and Crown Club 80 Barmouth in Merioneth Shire Smith, George (of Chichester) 210, 213 prints after 188, 199 Roubiliac, Louis François 99 (aquatint) 228, 228 The First Premium Landscape of the and Royal Academy 153, 160–2, Rouquet, Jean André 124 Morning 259–60, 259 Society of Arts (engraving by 198–204 Rousseau, Jean-Jacques 232 North West View of Wakefield Lodge in Woollett) 210, 210, 217 Self-portrait 198, 199 Rowlandson, Thomas 234, 247, 272 Whittlebury Forest, Northamptonshire Smith, John Grinling and Elizabeth Giuseppe Baretti 200, 200 A Kick-Up at a Hazard Table! 247, 247 215–16, 216, 259 Gibbons (after Closterman) 43, 44 Mrs Billington 209 Royal Academy, London 160–6, 161, 176, Plans and Views of Castle Tyrim 123, 123 Smith, John (of Chichester) 210, 213 Jane, Lady Cathcart and Her Daughter 179 Windsor Castle from Datchet Lane on a Smith, John Raphael Slave Trade (after 136–8, 137 annual exhibitions and public reception Rejoicing Night 216, 217 Morland) 244, 245 Georgiana, Duchess of Devonshire, and 163–6, 163, 186 Sandby, Thomas 123, 216 Smith, John Thomas 272 Her Daughter, Lady Georgiana and art education 160–2, 179, 277 satirical prints Smith, John ‘Warwick’ 230 Cavendish 233, 234 artists returned from Italy 166–70, 222 and Duchess of Devonshire 234 Smith, Thomas, of Derby 214 Garrick between Comedy and Tragedy Barry as Professor of Painting 252, 254 and Exclusion Crisis 29–30 A Prospect of that Beautiful Cascade 188, 189, 192, 288 British Institution as competition 267, Gillray 248–9, 248, 256, 256 before Matlock Bath 122, 122 Maria Gideon and Her Brother William 277, 307 Hogarth 83–5, 94–8, 109–10 Smithson, Sir Hugh (later 1st Duke 203, 204 and Committee of Taste 310 Rowlandson 247 of Northumberland) 120

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 376 • index index • 377

Society of Antiquaries 75 and Stubbs’s Horse Frightened by a topographical landscapes 23–4, 75–6 Charles I, Henrietta Maria, and Their Society of Artists of Great Britain Lion 158–9 Gainsborough’s attitude toward 218–19 Two Eldest Sons 138 first annual exhibitions 149–52 and Turner’s historical landscapes 269, military usage 123 Charles I on Horseback 5–6, 6, 67 and British artists in Rome 152, 156–7 274, 315–7 and print trade 122, 216, 260 Philip Herbert, 4th Earl of Pembroke and exhibition history-paintings 149–60 and Wright of Derby 160, 222 Paul Sandby’s pre-eminence 215–7, His Family 44 exhibition landscapes 210–20 as popular entertainment 180, 182, 317 259–60 Van Loo, Jean-Baptiste 125–6, 129, 133, exhibition portraits 186–98 surveying 123, 123 and status of watercolourists 260 139, 140 and founding of Royal Academy 160 Sutherland, Elizabeth, Countess of 263 and Turner’s early work 261, 270–2 The Right Hon. Stephen Poyntz, Society of Dilettanti 150 sympathy 90, 103, 149–50, 156–7, 159–60, Tories 29, 53, 113, 248, 252 of Midgeham, Berkshire 125–6, 126 Knapton’s portraits 133–4, 139, 145–6 176–7, 236–8, 240–1, 244, 290 Tour, Quentin de la 139 Vanderbank, John 81, 87, 126 Society for the Encouragement of Arts, see also benevolence; sensibility tourism (domestic) 122, 216, 227–9, 261, academic training and book-illustration Manufactures and Commerce 263, 272 81 (SEAMC/Society of Arts) 149–60, Tassie, William 306 see also Grand Tour, Tourists; Cervantes as Hercules 81, 81 170, 190 Tatler, The (periodical) 76, 89 Picturesque John Knight, His Wife Anna, and His and Barry’s Progress of Human Taverner, William Classical Landscape town houses and decoration 56–7 Stepson Jacob Newsam (mezzotint by Culture 171–4, 172–3, 254 with Figures 115, 115 Trafalgar, Battle of 165, 271, 279, 294, Faber) 87, 87 and the Royal Academy 171 Taylor, Isaac The Murder of David Rizzio 309–11 Vandergucht, Gerard The South Prospect premium competitions 150, 152, (etching and engraving after Opie) Tresham, Henry 169 of the Ancient City of York (after 170–1, 174, 182, 210, 212, 312 182 Trimmer, Sarah 299–300, 300 Samuel Buck) 75, 75 Society of Painters in Water Colours Taylor, John (critic) 263, 265 trompe l’oeils 22, 79, 79 van de Velde, Willem the Elder 10, 22 (SPWC) 273, 285 Taylor, John (merchant patron) 66–7 Truchy, Louis 111 van de Velde, Willem the Younger 10, 22, Society for the Reformation of Manners Teniers, David, the Younger 282, 283, Building Houses with Cards (after 47, 267, 268 42 284–5, 287, 288 Gravelot and Hayman) 101, 102 importance for later marine painting Society of the Virtuosi of St Luke 44, 60, Thames, river 10, 26, 53, 65–6, 73, 99, Standing man (after Gravelot) 131 11, 124 79–80 102 Trumbull, John 242–4 The Royal Visit to the Fleet 10–11, 10 Soest, Gerard 21, 32 and Barry 171, 174 The Battle of Bunker’s Hill, June 17, Vandrebanc, Peter The Restoration of the John Wallis 21, 21 and Canaletto 120–1, 120, 121 1775 243, 243 Monarchy (after Verrio) 9–10, 9, 31 Somerset House 176, 179–82, 198, 209, and Girtin 266 Turner, Joseph Mallord William 1, 260–1, Varley, Cornelius 275, 276–7 283, 293, 299, 313 and Scott 121–2, 121 264–5, 267–72, 307, 314 Waterfall near Capel Curig 275, 276 Spectator, The 76, 89, 99 and Turner 268–9, 272 comparisons with Girtin 260–7 Varley, John 290 sport 22, 27–8, 67–9, 113–14 Twickenham 71–3, 213–14 etchings and mezzotints 269, 269 View in the Pass of Llanberis 275–6, 275 see also hunting and Wilson 213–14, 213 emulation of Old Masters 265, 269, Vauxhall Gardens, London (Spring Spring Gardens exhibitions see Society theatre 272, 317 Gardens) 99–102, 99, 148–9 of Artists actors as portrait subjects 186, 187, Thames valley views 268–70 ‘Venetian Secret’ 315, 334 n.17 Stafford, Marquess of 307, 308 190, 192–3, 202–3, 207–9, 293–4 Caernarvon Castle 264, 265 Verelst, John Steele, Richard 51, 53, 76–8, 77–8, 89–90 conversation pieces 154–7 Crossing the Brook 271–2, 271, 278, 317 ‘Four Indian Kings’ portraits 74–5 Steen, Jan 291 and de Loutherbourg 225–6 Dido Building Carthage 272, 317–18, Tee Yee Neen Ho Ga Row, Sterne, Lawrence 187–9, 187, 231 Hogarth’s satire on 84 318 Emperour of the Six Nations Sentimental Journey 236, 236 see also Garrick, Jordan, Pritchard, Dolbadarn Castle 274 (mezzotint by John Simon) 74–5, still lifes 22, 79, 79 Quin, Shakespeare, Siddons Dutch Boats in a Gale (The Bridgewater 74 stipple 166, 179, 182, 236, 236, 237, 256, Thomas, William 93, 93 Sea-Piece) 267–8, (watercolour copy Verelst, Simon Pietersz. 74, 79 281, 292 Thoresby, Ralph 75 by Shepperson) 267, 307 Still-life with Flowers and Butterfly 22, Stothard, Thomas 183, 256, 315 Thornhill, James 51–7, 54, 62, 78, 85, Falmouth Harbour 270–1, 270 22 The Pilgrimage to Canterbury 306–7, 101, 125, 126 The Fifth Plague of Egypt 269 Vernet, Claude-Joseph 143, 211 306 and Great Queen Street Academy 80–1 Liber Studiorum 269–70, 269 Verrio, Antonio 8–10, 35, 42, 62, 126 Streeter, Robert Truth Descending on the Kensington Palace commission 60, 61 ‘M.S.P[oem?]. Fallacies of Hope’ 316 Burghley House 48, 49, 306 Arts and Sciences 7, 7, 10 and Raphael Cartoons 55–6 Pembury Mill, Kent (etching and Mars and Venus Discovered by Stuart, Gilbert William Grant (‘The and Society of the Virtuosi of St Luke mezzotint) 269–70, 269 Vulcan 48, 49, 49 Skater’) 207, 208 79–80 Picturesque Views on the Southern Coast Hampton Court Palace 50–1 Stubbs, George 157–9 The Duke of Marlborough Presenting of England 270–2 Apotheosis of Queen Anne and Five Brood Mares at the Duke Britannia with the Plan of the Battle Snow Storm: Hannibal and His Army Britannia Receiving the Homage of Cumberland’s Stud Farm 197, 197 of Blenheim 58, 59, 60 Crossing the Alps 315–17, 315 of the Four Continents 50–1, 51 Horse Frightened by a Lion 157–9, 158, Invitation Card for the Feast of St Luke Tintern Abbey, Monmouthshire 261, 261 James II Receiving the Mathematical 160, 218 79–80, 80 Walton Bridges 268–9, 268 Scholars of Christ’s Hospital 37–9, Lion Attacking a Horse 157 Quicke group portrait 77–9, 78 Turner, William 276 38–9 Two Gentlemen Going a Shooting 218, Royal Naval Hospital, Greenwich 51–4 Twickenham 71–3, 73, 213–14, 213 The Sea Triumph of Charles II 8, 9, 11 218 Allegory of the Hanoverian Tyers, Jonathan 99, 100, 101, 102, 148 Windsor Castle 9–10 studio practice see workshop practice Succession 53–4, 54 The Restoration of the Monarchy Stukeley, William 75 Glorification of William and Mary Vaart, Jan van der 31 ceiling 9–10, 9 Sublime, the 158–9, 160, 167, 170, 189 51, 52, 53 Anne, Princess of Denmark (with Versailles 9, 10, 66 as popular entertainment 180, 182, 317 St Paul’s Cathedral 55–6, 55, 80 Wissing) 33, 33 Vertue, George 44, 46, 70, 87, 93, 93, 98, and Burke 158–60, 227, 229, 316 Paul Preaching at Athens 55, 56 Bifrons Park, Kent (attrib.) 66–7, 67, 115, 125, 128, 129 and John Robert Cozens 229 Paul Preaching in the Aeropagus 119 on Hogarth 90, 94, 96, 103 and Fuseli and circle 168–9 (after Raphael) 55 Gilbert Coventry in the Hunting Field portrait by Richardson 86, 86 and genius 146, 168–70, 252 Thrale, Henry 200 (with Wyck) 67, 68 vice and Girtin’s watercolours 263–4 Tillemans, Peter 73, 113 Van Dyck, Anthony 3–5, 15, 17, 35, 80 and luxury 92, 96–8, 106, 174, 316 and Haydon 312 View of the Thames at Twickenham 73, legacy 3–4, 12, 13, 16, 33, 34, 47, 77, and the poor 109–10, 285–8, 286, 291 and landscape art 214, 217, 222, 226–9, 73, 213 136 and Shaftesbury’s Judgment of Hercules 276 Titian (Tiziano Vecellio) 12, 34, 56, 134, and Gainsborough 140, 142, 193–4, 62, 288 and Martin’s Sadak 317 136 204–5 voluntary associations and reform 292 and Mortimer’s banditti 170 Tompson, Richard 31 Van Dyck dress 131, 142 see also morality and Northcote’s Captain Englefield 180 Tonson, Jacob 77, 81 workshop practice 3–4, 13, 42, 131 Villiers, Barbara, Countess of Castlemaine and Reynolds’s Mrs Siddons Tonson, Richard 81 Charles I 40, 41, 86 (later Duchess of Cleveland) 16, 17

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4 376 • index index • 377

Virgil 28, 116, 144 Wellington, Arthur Wellesley, 1st Duke Cock Tavern, Cheam Common, Surrey Wyatt, James 260, 261, 306 virtue of 1, 318 118–19, 119 Wyck, Jan 58, 68 and ancient models 146, 147, 162 West, Benjamin 152–4, 166, 175, 183, The Destruction of the Children of Niobe The Hon. Gilbert Coventry in the and commerce 62, 75­–7 243, 250, 256 211–12, 211, 217 Hunting Field (with van der Vaart) and Hogarth’s A Harlot’s Progress 94, pre-eminence as history-painter Landscape Capriccio on the Via Aemilia 67, 68 96–7 307–10, 312 143, 144, 212 Mohammed Ohadu, the Moroccan and luxury 90–2 President of Royal Academy 267, 306, Rome from the Villa Madama 212–13, Ambassador (with Kneller) 34, 34 and Shaftesbury’s Judgment of Hercules 309 212 62, 63, 76, 157, 167, 288, 316 response to Titian and the ‘Venetian Snowdon from Llyn Nantlle 214, 214, York 24, 75–6, 75 see also benevolence; morality; Secret’ 315 224 philanthropy; politeness royal patronage and Windsor Castle View from Moor Park, toward Zoffany, Johann 155 virtuosi/virtuosity 24, 28, 75, 123, 129 commissions 180–1, 309 Cassiobury, Watford and St Albans aristocratic and royal patronage 195–6 artists as virtuosi 13, 43, 72, 92 Alexander III of Scotland Saved from a 215, 215 The Academicians of the Royal Academy Congregazione dei Virtuosi 4 Stag by Colin Fitzgerald 182 View on the Thames near Twickenham 161–2, 161 John Robert Cozens’s watercolours for Christ Rejected 309 213–14, 213 Colonel Mordaunt’s Cock Match 245–7, 229–30 The Continence of Scipio 153–4, 154, Winckelmann, Johann Joachim 146–7, 246 and drawing 24, 93, 115, 123 231–2 166, 167, 168, 197, 253 David Garrick and Mary Bradshaw in Gawen Hamilton’s Conversation The Death of General Wolfe 163–5, 164, ‘Windsor Beauties’ 16, 42 ‘The Farmer’s Return’ 155–6, 155 of Virtuosis 92–3, 115 168, 175–6, 231–2, 242, 309 see also Lely John, 14th Lord Willoughby de Broke and mezzotint techniques 30, 32 Death of Nelson 309 Windsor Castle and Family 195–6, 196 Society of the Virtuosi of St Luke 44, Death on the Pale Horse 309 Sandby’s views of 216–17, 216 Plundering the King’s Cellar at Paris, 60, 79–80 The Departure of Regulus from Rome Verrio’s decorative schemes 9–10, 48, August 10, 1792 249, 249 York Virtuosi 75, 122 162–3, 162, 167 51, 180–1, 309 The Tribuna of the Uffizi 245 see also collectors, collecting; connois- Historical Landscape: Saul before West’s Royal Chapel project 180–1, seurs, connoisseurship; Society Samuel and the Prophets 314–15, 314 307, 309 of Dilettanti Moses Receiving the Law on Mount Wissing, Willem: Anne, Princess Virtuosi’s Museum, The (print series) Sinai 180, 181, 203 of Denmark (with van der Vaart) 33, 228–9 The Oath of Hannibal 165 33 Vivares, Francis A Prospect of that Our Saviour Healing the Sick in the Wolcot, John (‘Peter Pindar’) 182 Beautiful Cascade before Matlock, Temple (engraving by Heath) 290, Woollett, William 164, 212, 218, 309 Bath (after Smith of Derby) 122 307–9, 308 Smith’s First Premium Landscape voluntary associations 292 Sketch for a Monument to Lord Nelson (engraved by) 210, 210 vulgarity 90, 92 309–10, 309, 311 Stubbs’s four Shooting scenes and culture of Restoration court 32 William Penn’s Treaty with the Indians (engraved by) 218 in genre painting 282, 283, 291 165 West’s Death of Wolfe (engraved by) Gainsborough’s The Harvest Wagon Westall, Richard 253–4, 260, 262, 164, 309 220 313–14 Wilson’s Destruction of the Children Hogarth’s Progresses 98, 105, 110 solo exhibition (1814) 313 of Niobe (engraved by) 212 Vauxhall Gardens 99–100 Hesiod Instructing the Greeks in the Arts Wootton, John 67–71, 92–3, 93, 143, 210 see also ‘drolls’; genre painting; of Peace 254, 254 The Duke of Hamilton’s Grey Racehorse lowness; politeness Sappho in the Lesbian Shades 254 ‘Victorious’, at Newmarket 69, 69 Vyner, Sir Robert 19–20, 20 The Sword of Damocles 313–15, 313 Gilbert Coventry on Horseback (with Wheatley, Francis 183, 240, 281 Gibson ?) 67–9, 68 Wale, Samuel Vauxhall Gardens John Howard Visiting and Relieving the A Philosophers’ Grove 70, 70, 72–3, 115 (engraving by Muller) 99, 99 Miseries of a Prison 241, 241 workshop practice Wales 24, 214–15, 228, 263–4, 273, 275–6 Whigs 29–30, 56–7, 76–8, 92, 170, 248, drapery painters 129, 131 Walpole, Horace 136, 157–9 293 Kneller 42 watercolour Whitehall, Robert 7 Lely 13, 33 and amateur practice 23–4, 123, 260 Whitehall Palace, London 4–5, 4, 36–7, Reynolds 193 British watercolourists in Rome 230 37 Van Dyck 3–4, 13, 42 exhibition watercolours 215–7, 260–72, Wijnants, Jan 67, 116 Van Loo 126 285–6 Wilkie, David 281–90, 312 Verrio 37 Girtin v. Turner 260–7 The Blind Fiddler 283–5, 283, 289 Wilson’s ‘good breeders’ 212 Heaphy’s genre scenes 285–7, 286 Distraining for Rent 289–90, 289 Wissing 33 Hollar’s topographical landscapes 23–4, The Letter of Introduction 288–9, 288 Worshipful Company of Painter-Stainers 123 The Rent Day 285 3, 26–7, 80 military usage 123 The Village Holiday 287–8, 287 Wren, Christopher 6–7 and patronage 215, 253–4, 260 Village Politicians 281–3, 282, 285, 289, Wright, John Michael 4–5, 18–19 plein air practice 274–7 298 Astraea Returns to Earth 4–5, 4, 7, 10 and the print trade 23, 216, 227–8, 260, William III, king of Great Britain 40–1, Charles II Enthroned 19, 19, 38 266–7, 270–2 48, 55, 76 The Family of Sir Robert Vyner 19–20, Paul Sandby’s uses of watercolour in art 40, 41, 50, 51–4, 52 20 215–6, 227–8 Williams, John see Pasquin, Anthony Wright, Joseph (‘Wright of Derby’) Westall’s historical watercolours 253–4, Willoughby, Sir Thomas 63, 66 159–60, 183, 269 260 Wilson, Benjamin 154–5 in Italy 222–3 see also individual artists Wilson, Richard 118–19, 142–4, 153, Brooke Boothby 231, 232 Waterhouse, Sir Ellis 1 210–15, 217–18, 220–2, 224, 226, The Dead Soldier 244, 244 Waterloo, battle of 1, 249, 318 228, 230, 264–6, 273, 275, 278, 315 An Eruption of Mount Vesuvius 222–3, Watson, James The Duchess of Manchester and Grand Style 211–12, 214–15, 223 and Her Son Lord Mandeville (after 220–1 An Experiment on a Bird in the Air Reynolds) 199 at the Royal Academy 220–2 Pump 159, 160, 217, 231–2 Watteau, Antoine 88, 92, 99, 112, 128, at the Society of Artists 211–15 A Philosopher Giving That Lecture on 287 Cicero and His Friends 220–1, 222 the Orrery 160

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4