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Select Bibliography 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”:
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