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Victoria Albert &Art & Love Queen Victoria, Prince Albert and Their Relations with Artists
Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Essays from two Study Days held at the National Gallery, London, on 5 and 6 June 2010. Edited by Susanna Avery-Quash Design by Tom Keates at Mick Keates Design Published by Royal Collection Trust / © HM Queen Elizabeth II 2012. Royal Collection Enterprises Limited St James’s Palace, London SW1A 1JR www.royalcollection.org ISBN 978 1905686 75 9 First published online 23/04/2012 This publication may be downloaded and printed either in its entirety or as individual chapters. It may be reproduced, and copies distributed, for non-commercial, educational purposes only. Please properly attribute the material to its respective authors. For any other uses please contact Royal Collection Enterprises Limited. www.royalcollection.org.uk Victoria Albert &Art & Love Queen Victoria, Prince Albert and their relations with artists Vanessa Remington Victoria and Albert: Art and Love, a recent exhibition at The Queen’s Gallery, Buckingham Palace, was the first to concentrate on the nature and range of the artistic patronage of Queen Victoria and Prince Albert. This paper is intended to extend this focus to an area which has not been explored in depth, namely the personal relations of Queen Victoria, Prince Albert and the artists who served them at court. Drawing on the wide range of primary material on the subject in the Royal Archive, this paper will explore the nature of that relationship. It will attempt to show how Queen Victoria and Prince Albert operated as patrons, how much discretion they gave to the artists who worked for them, and the extent to which they intervened in the creative process. -
Eastlake's Scholarly and Artistic Achievements Wednesday 10
Eastlake's Scholarly and Artistic Achievements Wednesday 10 October 2012 Lizzie Hill & Laura Hughes Overview I will begin this Art Bite with a quotation from A Century of British Painters by Samuel and Richard Redgrave, who refer to Eastlake as one of "a few exceptional painters who have served the art they love better by their lives than their brush" . This observation is in keeping with the norm of contemporary views in which Eastlake is first and foremost seen as an art historian and collector. However, as a man who began his career as a painter, it seems it would be interesting to explore both of these aspects of his life. Therefore, this Art Bite will be examining the validity of this critique by evaluating Eastlake's artistic outputs and scholarly achievements, and putting these two aspects of his life in direct relation to each other. By doing this, the aim behind this Art Bite is to uncover the fundamental reason behind Eastlake's contemporary and historical reputation, and ultimately to answer; - What proved to be Eastlake's best weapon in entering the Art Historical canon: his brain or his brush? Introduction So, who was Sir Charles Lock Eastlake? To properly be able to compare his reputation as an art historian versus being a painter himself, we need to know the basic facts about the man. A very brief overview is that Eastlake was born in Plymouth in 1793 and from an early age was determined to be a painter. He was the first student of the notable artist Benjamin Haydon in January 1809 and received tuition from the Royal Academy schools from late 1809. -
John Keats 1 John Keats
John Keats 1 John Keats John Keats Portrait of John Keats by William Hilton. National Portrait Gallery, London Born 31 October 1795 Moorgate, London, England Died 23 February 1821 (aged 25) Rome, Italy Occupation Poet Alma mater King's College London Literary movement Romanticism John Keats (/ˈkiːts/; 31 October 1795 – 23 February 1821) was an English Romantic poet. He was one of the main figures of the second generation of Romantic poets along with Lord Byron and Percy Bysshe Shelley, despite his work only having been in publication for four years before his death.[1] Although his poems were not generally well received by critics during his life, his reputation grew after his death, so that by the end of the 19th century he had become one of the most beloved of all English poets. He had a significant influence on a diverse range of poets and writers. Jorge Luis Borges stated that his first encounter with Keats was the most significant literary experience of his life.[2] The poetry of Keats is characterised by sensual imagery, most notably in the series of odes. Today his poems and letters are some of the most popular and most analysed in English literature. Biography Early life John Keats was born in Moorgate, London, on 31 October 1795, to Thomas and Frances Jennings Keats. There is no clear evidence of his exact birthplace.[3] Although Keats and his family seem to have marked his birthday on 29 October, baptism records give the date as the 31st.[4] He was the eldest of four surviving children; his younger siblings were George (1797–1841), Thomas (1799–1818), and Frances Mary "Fanny" (1803–1889) who eventually married Spanish author Valentín Llanos Gutiérrez.[5] Another son was lost in infancy. -
THE POLITICS of CATASTROPHE in the ART of JOHN MARTIN, FRANCIS DANBY, and DAVID ROBERTS by Christopher J
APOCALYPTIC PROGRESS: THE POLITICS OF CATASTROPHE IN THE ART OF JOHN MARTIN, FRANCIS DANBY, AND DAVID ROBERTS By Christopher James Coltrin A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (History of Art) in the University of Michigan 2011 Doctoral Committee: Professor Susan L. Siegfried, Chair Professor Alexander D. Potts Associate Professor Howard G. Lay Associate Professor Lucy Hartley ©Christopher James Coltrin 2011 For Elizabeth ii Acknowledgements This dissertation represents the culmination of hundreds of people and thousands of hours spent on my behalf throughout the course of my life. From the individuals who provided the initial seeds of inspiration that fostered my general love of learning, to the scholars who helped with the very specific job of crafting of my argument, I have been the fortunate recipient of many gifts of goodness. In retrospect, it would be both inaccurate and arrogant for me to claim anything more than a minor role in producing this dissertation. Despite the cliché, the individuals that I am most deeply indebted to are my two devoted parents. Both my mother and father spent the majority of their lives setting aside their personal interests to satisfy those of their children. The love, stability, and support that I received from them as a child, and that I continue to receive today, have always been unconditional. When I chose to pursue academic interests that seemingly lead into professional oblivion, I probably should have questioned what my parents would think about my choice, but I never did. Not because their opinions didn‟t matter to me, but because I knew that they would support me regardless. -
Národní Galerie V Čr a Uk
Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Veřejná ekonomika INSTITUCIONÁLNÍ KOMPARACE KONTINENTÁLNÍHO A ANGLOAMERICKÉHO MODELU: NÁRODNÍ GALERIE V ČR A UK Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Diplomová práce Vedoucí diplomové práce: Autor: Ing. František Svoboda, Ph.D. Bc. Veronika Králíková Kyjov, 2009 Jméno a příjmení autora: Veronika Králíková Název diplomové práce: Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK Název v angličtině: Institutional comparison of a continental and an Anglo- american models: National Gallery in UK and CZ Katedra: Veřejná ekonomika Vedoucí diplomové práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2009 Anotace Předmětem diplomové práce „Institucionální komparace kontinentálního a angloamerického modelu: Národní Galerie ČR a UK“ je analýza historického vývoje těchto institucí a jejich vzájemná komparace. První část popisuje historický vývoj a tedy i východiska, na kterých byly obě galerie vybudovány. Druhá část je věnována dnešní podobě galerií. Závěrečná kapitola je zaměřena na jejich vzájemnou komparaci. Annotation The objective of the thesis „Institutional comparison of a continental and an Anglo-american models: National Gallery in UK and CZ“ is historical development analysis and their mutual comparison. The first part describes the historical making and thus also origins of the establishment of both galleries. The second part presents their contemporary form. The closing -
The Turner Collector: Elhanan Bicknell
The Turner Collector: Elhanan Bicknell PETER BICKNELL Cambridge with HELEN GUITERMAN London `There took place last Saturday an event in London such as, we serge business; this had been moved to London from Taunton earlier venture to think, could scarcely in the same time and under the same in the century. William was musical, a mathematician, something of a conditions have happened in any other city in the world. It was not a writer and a great reader. He found the wool trade uncongenial and the great national event - a Royal reception, or a popular demonstration. It year after Elhanan's birth sold the business to buy the freehold of an was not anything attaching to or symbolising institutions or sentiments 'Academy' attended by some i 00 scholars, in the old palace of the peculiarly British. It had nothing to do with our glorious constitution, Bishop of Lincoln at Ponder's End, Enfield. The school prospered, our lords, our commons, our free press, our meteor-flag, our climate, and in December 1804 he moved it and his residence to Surrey our racehorses, or our bitter beer . It was merely a sale of Hall, Lower Tooting. Elhanan's curious name' came through the pictures. The collection of paintings thus sold had been gathered Bicknell connection with the Free Churches, John Wesley having been together by a private Englishman, a man of comparatively obscure a friend of the family at Taunton and in London; William's closest position, a man engaged at one time in mere trade - a man not even friend was the American preacher, the Reverend Elhanan pretending to resemble a Genoese or Florentine merchant prince, but Winchester, author of Universal Restoration, a book which gave simply and absolutely a Londoner of the middle class actively William great comfort and satisfaction. -
Albert Moore
MA Dissertation Laurence Shafe Albert Moore and the Science of Beauty June 2008 Supervisor: Caroline Arscott Word count: 10,448 (excluding footnotes and bibliography) Abstract Albert Moore and the Science of Beauty This dissertation investigates the work of Albert Moore (1841-1893) and is based on his sketches at the Victoria and Albert and British Museums and his working principles described in his biography by Alfred Lys Baldry (1858-1939). These working principles were based in part on the work of the interior decorator and theoretician David Ramsey Hay (1798-1866) whose ideas were described in his book Science of Beauty and incorporated in the training given by the Schools of Design that Moore attended. Hay’s work was related to the work of the palaeontologist Richard Owen (1804-1892) who, in 1848, proposed a theory of an archetype based on ideal Platonic forms, and in 1852 Hay described mathematical rules of beauty for the human figure based on the proportions of classical works of art thought to represent the Platonic idea of beauty. Moore’s classical figures referenced this aesthetic classical ideal rather than the conventional heroic narrative of early nineteenth-century Neoclassical works. Moore was also influenced by the International Exhibition at South Kensington in 1862 which presented art and science as a single experience, introduced Japanese art to a wider audience and positioned the classicized nude as an example of modernity. It argues that Moore, and to some extent the other members of the Aesthetic Movement, were influenced not only by French aesthetic ideas but also by the Neoclassical theories of Hay and others and their scientific approach to achieving beauty through the use of mathematical proportions based on musical intervals, the Neoplatonic ideas of beauty that parallel Owen’s work on the archetype and Japanese art seen at the International Exhibition of 1862. -
Art History Scholarship Between the 1820S and 1870S: Contextualising the Eastlake Library at the National Gallery, London
Art history scholarship between the 1820s and 1870s: contextualising the Eastlake library at the National Gallery, London Katie Lissamore and Jonathan Franklin Figure 1 Carte de visite photograph of Charles Lock Eastlake, undated. National Gallery Archive NG67/5/1. Photo: The National Gallery, London. The Eastlake Library began life as the personal library of Sir Charles Lock Eastlake (pictured in figure 1).1 He had been a practising painter for a number of years before moving into official roles as Secretary to the Fine Arts Commission that was tasked with overseeing the decoration of the new Houses of Parliament (as of 1841); as Keeper (1843-1847) and then first Director (1855-1865) of the National Gallery; and simultaneously as President of the Royal Academy (1850-1865). At the same time, Eastlake was a researcher and scholar, publishing his pioneering classic of technical art history, Materials for a History of Oil Painting,2 in 1847.3 The Library, numbering 1 The authors would like to thank Dr Susanna Avery-Quash for her kind assistance with this article, which has been adapted and expanded from a presentation with the same title that was delivered in the session ‘Historic Libraries and the Historiography of Art (II)’ at the College Art Association conference in Chicago on Friday, February 14, 2020. The subject of the article arises from a doctoral project which is being co-supervised by Robert Gordon University in Aberdeen, Scotland, and the National Gallery in London, England. Of the two co-authors, Katie Lissamore is the PhD candidate and Jonathan Franklin is one of her three co-supervisors. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Usher Gallery Rehang 2014
Usher Gallery Rehang 2014 (Landscape) Mestre, Near Venice Oil Usher Gallery Rehang 2014 (Landscape) Church of St. Maria Della Salute, c.1885 Oil Usher Gallery Rehang 2014 (Landscape) Venice Oil (Landscape) Venice Oil Usher Gallery Rehang 2014 (Still Life) Flowers in a Persian Bottle Oil Usher Gallery Rehang 2014 (Still Life) Daffodils Oil Usher Gallery Rehang 2014 (Still Life) Garden Flowers Oil Usher Gallery Rehang 2014 Michiel Jansz. van Miereveldt – (1 May 1567 – 27 June 1641) About The artist, Michiel Jansz. van Miereveldt was born in the Delft and was one of the most successful Dutch portraitists of the 17th century. His works are predominantly head and shoulder portraits, often against a monochrome background. The viewer is drawn towards the sitter’s face by light accents revealed by clothing. After his initial training, Mierevelt quickly turned to portraiture. He gained success in this medium, becoming official painter of the court and gaining many commissions from the wealthy citizens of Delft, other Dutch nobles and visiting foreign dignitaries. His portraits display his characteristic dry manner of painting, evident in this work where the pigment has been applied without much oil. The elaborate lace collar and slashed doublet are reminiscent of clothes that appear in Frans Hals's work of the same period. Work in The Usher Gallery (Portrait) Maria Van Wassenaer Hanecops Oil Usher Gallery Rehang 2014 Mary Henrietta Dering Curtois – (1854 - 6 October 1928) About Mary Henrietta Dering Curtois was born at the Longhills, Branston, in 1854 and was the eldest daughter of the late Rev Atwill Curtois (for 21 years Rector of Branston and the fifth of the family to be rector there), and a brother of the Rev Algernon Curtois of Lincoln. -
Formování Veřejného Zájmu: Studie Vzniku a Rozvoje Londýnské National Gallery
Masarykova univerzita Ekonomicko-správní fakulta Studijní obor: Evropská hospodářská, správní a kulturní studia FORMOVÁNÍ VEŘEJNÉHO ZÁJMU: STUDIE VZNIKU A ROZVOJE LONDÝNSKÉ NATIONAL GALLERY Formulating of public interest: essay about the founding and evolving of the National Gallery Bakalářská práce Vedoucí bakalářské práce: Autor: Ing. František SVOBODA, Ph.D. Aleš HORÁČEK Brno, květen 2010 Jméno a příjmení autora: Aleš Horáček Název bakalářské práce: Formování veřejného zájmu: studie vzniku a rozvoje londýnské National Gallery Název v angličtině: Formulating of public interest: essay about the founding and evolving of the National Gallery Katedra : Veřejná ekonomie Vedoucí bakalářské práce: Ing. František Svoboda, Ph.D. Rok obhajoby: 2010 Anotace v češtině: Předmětem bakalářské práce na téma „Formování veřejného zájmu: studie vzniku a rozvoje londýnské National Gallery" je analýza prvků veřejného zájmu v péči o kulturní dědictví společnosti, tedy takových faktorů , které stály i u zrodu jedné z největších světových galerií světa - londýnské National Gallery. Této problematice je věnována první část. Díky těmto a dalším vlivům se galerie v čase postupně vyvíjela a rostla, aţ dospěla do současného stavu. Tento proces a jeho výsledky jsou pak náplní druhé části mé práce. Anotace v angličtině: The objective of my bachelor work " Formulating of public interest: essay about the founding and evolving of the National Gallery", is the analysis of the components of public interest in the cultural heritage of our society, i.e. such factors, that led to the creation of one of the greatest galleries in the world - the National Gallery. The first part is dedicated to this topic. Due the influence of this factors, the gallery has been evolving ang getting bigger and ultimately reached the present state. -
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