Themes in 18Th Century and 19Th Century European Art (Semester 2)
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Katharine Esdaile Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8x63sn4 No online items Katharine Esdaile Papers: Finding Aid Finding aid prepared by John Houlton, Marilyn Olsen, Catherine Wehrey, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © November 2016 The Huntington Library. All rights reserved. Katharine Esdaile Papers: Finding mssEsdaile 1 Aid Overview of the Collection Title: Katharine Esdaile Papers Dates (inclusive): 1845-1961 Bulk dates: 1900-1950 Collection Number: mssEsdaile Collector: Esdaile, Katharine Ada, 1881-1950 Extent: 101 boxes Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of English art historian Katharine Ada Esdaile (1881-1950). Much of the collection relates to her research of British monumental sculpture. Notably the collection includes more than 600 chiefly pre-World War II visitor booklets and pamphlets produced locally by British churches and approximately 3500 photographs taken or collected by Esdaile of sculpture, often funerary monuments in English churches. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher. -
Old Master &British Paintings Evening Sale
Old Master &British Paintings Evening Sale London | 8 Dec 2010, 7:00 PM | L10036 LOT 45 PROPERTY FROM THE COLLECTION OF THE EARL OF MACCLESFIELD GEORGE STUBBS, A.R.A. LIVERPOOL 1724 - 1806 LONDON BROOD MARES AND FOALS signed lower right: Geo: Stubbs pinxit oil on canvas 99.7 by 188.6 cm.; 39 ¼ by 74 ¼ in. ESTIMATE 10,000,000 - 15,000,000 GBP PROVENANCE Colonel George Lane Parker (1724-1791) of Woodbury, Cambridgeshire, second son of George Parker, 2nd Earl of Macclesfield, of Shirburn Castle, Oxfordshire; by descent to elder his brother, Thomas Parker, 3rd Earl of Macclesfield, of Shirburn Castle, Oxfordshire; thence by descent to the present owner EXHIBITION Fig. 1 London, Society of Artists, Spring Exhibition 1768, no. 165; benjamin green, brood mares, London, Society of Artists, Exhibition in Honour of the King of Denmark, November 1768, mezzotint 1768 no 112 Texas, Kimbell Museum &London, National Gallery, Stubbs and the Horse, 2004, no. 57, p. XI, 114, 193-4 LITERATURE M. Parker, Countess of Macclesfield, Scattered Notices of Shirburn Castle, 1887, p. 39; W. Gilbey, Life of George Stubbs RA, London 1898, p. 169; J. Egerton, 'George Stubbs and the Landscape of Creswell Craggs,' Burlington Magazine, London 1984, p. 743; J. Egerton, George Stubbs 1724-1896, Exhibition Catalogue, Tate London 1984 a, p. 109; C. Lennox-Boyd, R. Dixon, and T. Clayton, George Stubbs: The Complete Engraved Fig. 2 Works, London 1989, pp. 74-76 with detail pp. 76-77 (cited below under engraved); george stubbs, 'portrait of a J. Egerton, George Stubbs: Painter, Yale, 2007, pp. -
Lowell Libson Limited British Art
LOWELL LI BSON LTD 2 0 12 • LOWELL LIBSON LIMITED BRITISH ART 3 Clifford Street · London w1s 2lf +44 (0)20 7734 8686 · [email protected] www.lowell-libson.com LL 2012 text for Alta.indd 1 01/12/2011 13:05 LOWELL LIBSON LTD 2012 LL 2012 text for Alta.indd 2 01/12/2011 13:05 LL 2012 text for Alta.indd 3 01/12/2011 13:05 INDEX OF ARTISTS LOWELL LIBSON LTD Richard Parkes Bonington 96–101 Robert Carpenter 64 3 Clifford Street · London w1s 2lf John Constable 86–95 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 David Cox 112–117 Email: [email protected] Richard Earlom 58 Website: www.lowell-libson.com Henry Edridge 73 The gallery is open by appointment, Monday to Friday James Jefferys 56 The entrance is in Old Burlington Street Thomas Gainsborough 18–31 Daniel Gardner 42 In 2012 our exhibition schedule is: Hubert Gravelot 12 Master Drawings New York Valentine Green 60 January 21–28 William Holman Hunt 118 George Lambert 16 TEFAF Maastricht Thomas Lawrence 76–79 March 16–25 John Linnell 102 Master Drawings London Thomas Malton 70 June 27 – July 5 Master of the Giants 56 John Hamilton Mortimer 54 Matthew William Peters 50 George Romney 32–41 Michael Angelo Rooker 68 George Stubbs 52 Peltro William Tomkins 44 Francis Towne 62 William Turner of Oxford 104–111 George Augustus Wallis 80 Cover: a sheet of 18th-century Italian paste paper (collection: Lowell Libson) Richard Westall 48, 84 John Michael Wright 8 Frontispiece: detail from Sir John Morshead George Romney (see pages 38–41) Joseph Wright of Derby 58–61 LL 2012 text for Alta.indd 4 01/12/2011 13:05 LL 2012 text for Alta.indd 5 01/12/2011 13:05 We are delighted to be able to publish some of the acquisitions – paintings, drawings, watercolours, prints and sculpture – which we have made over the last year. -
Robert Adam's Revolution in Architecture Miranda Jane Routh Hausberg University of Pennsylvania, [email protected]
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2019 Robert Adam's Revolution In Architecture Miranda Jane Routh Hausberg University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Hausberg, Miranda Jane Routh, "Robert Adam's Revolution In Architecture" (2019). Publicly Accessible Penn Dissertations. 3339. https://repository.upenn.edu/edissertations/3339 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/3339 For more information, please contact [email protected]. Robert Adam's Revolution In Architecture Abstract ABSTRACT ROBERT ADAM’S REVOLUTION IN ARCHITECTURE Robert Adam (1728-92) was a revolutionary artist and, unusually, he possessed the insight and bravado to self-identify as one publicly. In the first fascicle of his three-volume Works in Architecture of Robert and James Adam (published in installments between 1773 and 1822), he proclaimed that he had started a “revolution” in the art of architecture. Adam’s “revolution” was expansive: it comprised the introduction of avant-garde, light, and elegant architectural decoration; mastery in the design of picturesque and scenographic interiors; and a revision of Renaissance traditions, including the relegation of architectural orders, the rejection of most Palladian forms, and the embrace of the concept of taste as a foundation of architecture. -
Benjamin West: General Wolfe and the Art of Empire Contents
Carole McNamara with an essay by Clayton A. Lewis Benjamin West: General Wolfe and the Art of Empire Contents This publication is presented in conjunction with the exhibition 5 Director’s Foreword %HQMDPLQ:HVW*HQHUDO:ROIHDQGWKH$UWRI(PSLUH at the Joseph Rosa University of Michigan Museum of Art, September 22, 2012– January 13, 2013, in the A. Alfred Taubman Gallery I. 6 Acknowledgments This exhibition is generously supported by the Joseph F. McCrindle Foundation, the University of Michigan Health System, the Carole McNamara University of Michigan Office of the Provost and Office of the Vice President for Research, the Richard and Rosann Noel Endowment 8 Benjamin West Fund, and THE MOSAIC FOUNDATION (of R. & P. Heydon). and the Art of Empire Carole McNamara 26 William L. Clements Copyright © 2012 The Regents of the University of Michigan and 6JG&GCVJQH)GPGTCN9QNHG All rights reserved. No part of this publication may be reproduced, Clayton A. Lewis stored in a retrieval system, or transmitted in any form or by any means, whether electronic or mechanical, including photocopying, 34 Plates recording, or otherwise, without the prior permission in writing of the publisher. 56 Checklist of Works in the Exhibition ISBN: 978-1-930561-16-8 Library of Congress Control Number: 2012941765 58 Selected Bibliography Published by the University of Michigan Museum of Art 525 South State Street Ann Arbor, Michigan 48109-1354 www.umma.umich.edu Regents of the University of Michigan Julia Donovan Darlow, Ann Arbor Laurence B. Deitch, Bloomfield Hills Denise Ilitch, Bingham Farms Olivia P. Maynard, Goodrich Andrea Fischer Newman, Ann Arbor Andrew C. -
“Exalted Ideas of the Arts”: John Francis Rigaud's Vision of the Role of the Artist in Eighteent
ABSTRACT Title of thesis: “EXALTED IDEAS OF THE ARTS”: JOHN FRANCIS RIGAUD’S VISION OF THE ROLE OF THE ARTIST IN EIGHTEENTH-CENTURY ENGLAND AS SEEN IN HIS PORTRAITS OF FELLOW ARTISTS AND IN HIS SELF- PORTRAITS Lyrica Taylor, Master of Arts, 2008 Thesis directed by: Professor William L. Pressly Department of Art History and Archaeology This thesis analyzes John Francis Rigaud’s (1742-1810) vision of the role of the artist in eighteenth-century England by examining his portraits of fellow artists and by examining his self-portraits with his family, particularly in light of Facts and Recollections of the XVIIIth Century in a Memoir of John Francis Rigaud Esq., R.A., his memoir as compiled by his son, Stephen Francis Dutilh Rigaud. Rigaud’s Memoir is one of the few surviving documents that illustrates the working life and aspirations of an artist in late-eighteenth-century England. Throughout the Memoir and in his paintings of himself and other artists, Rigaud supported the academic construction, as voiced by Sir Joshua Reynolds and as promoted by the Royal Academy of Arts, of the artist as a learned, hard-working, academic genius, rather than as notions of the artist as an original, creative genius popularized by the Romantic Movement. “EXALTED IDEAS OF THE ARTS”: JOHN FRANCIS RIGAUD’S VISION OF THE ROLE OF THE ARTIST IN EIGHTEENTH-CENTURY ENGLAND AS SEEN IN HIS PORTRAITS OF FELLOW ARTISTS AND IN HIS SELF- PORTRAITS by Lyrica Taylor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: William L. -
Paul Mellon Centre for Studies in British Art - Yale University June 2007 Issue 24 Newsletter
The Paul Mellon Centre for Studies in British Art - Yale University June 2007 Issue 24 newsletter Paul Mellon by Yousuf Karsh, gelatin-silver print 1980 © Virginia Museum of Fine Arts 2007 Paul Mellon (1907-1999) This year is the centenary of the birth of the Centre’s (on 11th July) the Virginia Museum of Fine Arts in benefactor Paul Mellon and it is being marked by a series Richmond, Virginia will open the exhibition Great British of exhibitions focussing on his life as a collector and Watercolors from the Paul Mellon Collection at the Yale philanthropist. On 17th April the Yale Center for British Center for British Art (until 30th September) which will Art opened the exhibition Paul Mellon’s Legacy transfer to the State Hermitage Museum in St Petersburg, A Passion for British Art (until 29 July) which will transfer Russia for an opening on 23rd October. Many other to open at the Royal Academy of Arts in London on institutions such as the National Gallery of Art in 20th October. At the Fitzwilliam Museum, Cambridge Washington, D.C. are organising events to mark Paul Mellon A Cambridge Tribute will open on Paul Mr Mellon’s centenary and the most important of these Mellon’s birthday (11th June) and a few weeks later are listed on the following page. 16 Bedford Square London WC1B 3JA Tel: 020 7580 0311 Fax: 020 7636 6730 www.paul-mellon-centre.ac.uk Paul Mellon Centre exhibitions Paul Mellon Centenary: selected shows and events Yale Center for British Art Jaques-Laurent Agasse given to the ‘Paul Mellon’s Legacy: a Passion for museum by Mellon through the British British Art’ (18 April-29 July). -
LOWELL LIBSON LTD 2 016 • New York · Annual Exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–30 January 2016
LOWELL LIBSON LTD 2 016 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–30 January 2016 Maastricht TEFAF: The European Fine Art Fair 11–20 March 2016 LONDON MASTERPIECE LONDON 30 June–6 July 2016 London LONDON ART WEEK 1–8 July 2016 [ B ] LOWELL LIBSON LTD 2016 • Agostino Aglio 80 Catherine Andras 54 Mary Black 38 Adam Buck 56 3 Clifford Street · London w1s 2lf Edward Burch 64 Telephone: +44 (0)20 7734 8686 John Constable 84, 88 Email: [email protected] Website: www.lowell-libson.com Richard Cosway 68 John Robert Cozens 28 Lowell Libson [email protected] Sir Nathaniel Dance 18 Jonny Yarker [email protected] John Downman 42 Deborah Greenhalgh [email protected] Richard Eurich 106 Thomas Gainsborough 26 Cressida St Aubyn [email protected] Benjamin Robert Haydon 74 John Hoppner 48 Thomas Hudson 14 James Jefferys 58, 62 Louis Laguerre 9 Lady Mary Lowther 34 Samuel Palmer 98 George Richmond 77 Thomas Rowlandson 32 John Russell 50 We are delighted to be supporting the following exhibitions in 2016: Archibald Skirving 45 NEW YORK Michael Henry Spang 64 Pierre-Jean Mariette and The Art of Collecting Drawings George Stubbs 22 The Morgan Library & Museum, New York, Henry Tonks 102 22 January – 1 May William Turner of Oxford 94 LONDON Light, time, legacy: Francis Towne’s Benjamin West 70 watercolours of Rome The British Museum, Rex Whistler 104 21 January – 14 August Matthew Cotes Wyatt 72 This catalogue presents some of the remarkable acquisitions that we have made over the last year. -
Lone Star International Film Festival Fort Worth in Sundance Square Names Competition Jurors
Contact: Thomas Moore Blanchard Schaefer Advertising & Public Relations 817.226.4332 x223 [email protected] Lone Star International Film Festival Fort Worth in Sundance Square Names Competition Jurors Participants internationally recognized in film and art communities FORT WORTH, Texas – Nov. 6, 2009 – The Lone Star Film Society (LSFS), has announced the competition jurors for its upcoming 2009 Lone Star International Film Festival Fort Worth in Sundance Square, Nov. 11-15. The juries are comprised of esteemed professionals from the creative and business aspects of the film and art community. (Complete list and biographies of jurors below.) “The credentials of this year’s jurors bring a tremendous amount of credibility to our festival, and speaks to the quality of work being presented,” said Alec Jhangiani, LSFS artistic director. “With such an accomplished and diverse mix of talented jury participants, the films that will eventually be recognized as winners in their respective categories will hold tremendous merit in domestic and international film circles. We are very fortunate to have such high caliber individuals participate in this festival.” Film lineup and schedules for the 2009 Lone Star International Film Festival Fort Worth in Sundance Square are available at www.lsiff.com. CATEGORIES & JURORS: Narrative Feature Competition Foreign Language Feature Competition Christian Gaines – Director of Festivals, IMDB Harris Dew – Director of Programs and Promotions, Betty Buckley – Actress/Singer IFC Center, New York Melonie Diaz – Actor Kelly Williams – Director of Programming, Austin Film Festival Documentary Feature Competition Andrei Plakhov – President, International Federation Erin Owens – Vice President of Distribution, of Film Critics Arthouse Films Malcolm Warner, Ph.D. -
The Spirit & Force Of
THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 THE SPIRIT & FORCE OF ART: DRAWING IN BRITAIN 1600–1750 3 Clifford Street, London 20 June to 6 July 2018 London London Art Week 29 June to 6 July 2018 new york TeFAF New York Fall 27 to 31 October 2018 THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 Lowell Libson & Jonny Yarker Ltd London 2018 Contents Index of Artists 6 Foreword Lowell Libson 7 Introduction Jonny Yarker 8 3 Clifford Street · London w1S 2LF +44 (0)20 7734 8686 ‘The spirit and force of art’: [email protected] Defining Drawing in England, 1600–1750 www.libson-yarker.com Richard Stephens 11 Lowell Libson [email protected] A Lost Art? Collecting Early British Drawings Jonny Yarker & their Critical Fate [email protected] Richard Stephens and Jonny Yarker 33 Cressida St Aubyn [email protected] CATALoGUe Published by Lowell Libson & Jonny Yarker Ltd 2018 I Towards an English School 41 Text and publication © Lowell Libson & Jonny Yarker Ltd All rights reserved II Academies 69 ISBn 978 1 9999783 1 0 Designed by Dalrymple III The Rise of the Sketch 85 Set in Mário Feliciano’s Rongel type Photography by Rodney Todd-White & Son Ltd VI From Prospect to Landscape 101 Colour reproduction by Altaimage Ltd Printed in Belgium by Albe De Coker V From Ceiling to Exhibition Room: the Progress of History Painting 127 VI Face Painting 147 VII ‘A noble, delightful and useful art’: Drawings by Antiquarians, Amateurs and Artisans 169 VIII The Age of Hogarth 181 Notes and References 199 Index of Artists Foreword References are to catalogue numbers Laguerre, Louis 47 We are delighted to publish this catalogue which represents the culmination of over ten years of gathering these rare drawings which were created before the ‘Golden Age’ Amigoni, Jacopo 58 Laroon, Marcellus 73 of British watercolours and which demonstrate the formation of an identifiable ‘British’ Baron, Bernard 74 Laroon, Marcellus, the younger 84 School. -
Rezension Von: Malcolm Warner / Robin Blake: Stubbs & The
In KUNSTFORM 6 (2005), Nr. 12, https://www.arthistoricum.net/kunstform/rezension/ausgabe/2005/12/ Malcolm Warner / Robin Blake: Stubbs & the Horse, New Haven / London: Yale University Press 2004, XVII + 229 S., 110 color, 131 b/w illus., ISBN 978-0-300-10472-1, GBP 30,00 Rezensiert von Alexis Joachimides, Ludwig-Maximilians-Universität München ([email protected]) Zu seinen Lebzeiten war der Künstler George Stubbs zwar die unbezweifelbare Autorität auf dem Gebiet der Pferdedarstellung, die er auf eine neue Stufe empirischer Präzision geführt hatte, aber zugleich auch das Opfer einer idealistischen Kunsttheorie, die ihn auf Grund seiner Spezialisierung nicht aus dem Getto der "sporting art" herauskommen ließ. Sosehr sich der Künstler auch bemühte, seinem Bildrepertoire etwa durch Anleihen bei der Historienmalerei eine größere Bedeutungszuweisung zu verschaffen, blieb seine Anerkennung weitgehend auf den Kreis jener aristokratischen Landbesitzer und Pferdezüchter beschränkt, die seine Käufer und Auftraggeber gewesen sind. Die zählebigen Vorbehalte gegen die "sporting art" als vor allem von außerkünstlerischen Interessen geprägte, periphere Gattung des Kunstbetriebs und gegen den empirischen, geradezu naturwissenschaftlichen Zugriff des Künstlers haben eine Neubewertung von Stubbs' Beitrag zur britischen und europäischen Kunstgeschichte lange Zeit verzögert. Inzwischen jedoch gehört der führende Meister der britischen Pferdemalerei jedenfalls in seinem Heimatland und in der weiteren anglophonen Welt zu den am höchsten geschätzten