Dispelling the Myths Surrounding Nineteenth-Century British
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The Rhinehart Collection Rhinehart The
The The Rhinehart Collection Spine width: 0.297 inches Adjust as needed The Rhinehart Collection at appalachian state university at appalachian state university appalachian state at An Annotated Bibliography Volume II John higby Vol. II boone, north carolina John John h igby The Rhinehart Collection i Bill and Maureen Rhinehart in their library at home. ii The Rhinehart Collection at appalachian state university An Annotated Bibliography Volume II John Higby Carol Grotnes Belk Library Appalachian State University Boone, North Carolina 2011 iii International Standard Book Number: 0-000-00000-0 Library of Congress Catalog Number: 0-00000 Carol Grotnes Belk Library, Appalachian State University, Boone, North Carolina 28608 © 2011 by Appalachian State University. All rights reserved. First Edition published 2011 Designed and typeset by Ed Gaither, Office of Printing and Publications. The text face and ornaments are Adobe Caslon, a revival by designer Carol Twombly of typefaces created by English printer William Caslon in the 18th century. The decorative initials are Zallman Caps. The paper is Carnival Smooth from Smart Papers. It is of archival quality, acid-free and pH neutral. printed in the united states of america iv Foreword he books annotated in this catalogue might be regarded as forming an entity called Rhinehart II, a further gift of material embodying British T history, literature, and culture that the Rhineharts have chosen to add to the collection already sheltered in Belk Library. The books of present concern, diverse in their -
'The Publishers of the 1723 Book of Constitutions', AQC 121 (2008)
The Publishers of the 1723 Book of Constitutions Andrew Prescott he advertisements in the issue of the London newspaper, The Evening Post, for 23 February 1723 were mostly for recently published books, including a new edition of the celebrated directory originally compiled by John Chamberlayne, Magnae Britanniae Notitia, and books offering a new cure for scurvy and advice Tfor those with consumption. Among the advertisements for new books in The Evening Post of 23 February 1723 was the following: This Day is publiſh’d, † || § The CONSTITUTIONS of the FREE- MASONS, containing the Hiſtory, Charges, Regulations, &c., of that moſt Ancient and Right Worſhipful Fraternity, for the Uſe of the Lodges. Dedicated to his Grace the Duke of Montagu the laſt Grand Maſter, by Order of his Grace the Duke of Wharton, the preſent Grand Maſter, Authoriz’d by the Grand Lodge of Maſters and War- dens at the Quarterly Communication. Ordered to be publiſh’d and recommended to the Brethren by the Grand Maſter and his Deputy. Printed for J. Senex, and J. Hooke, both over againſt St Dunſtan’s Church, Fleet-ſtreet. An advertisement in similar terms, also stating that the Constitutions had been pub- lished ‘that day’, appeared in The Post Boy of 26 February, 5 March and 12 March 1723 Volume 121, 2008 147 Andrew J. Prescott and TheLondon Journal of 9 March and 16 March 1723. The advertisement (modified to ‘just publish’d’) continued to appear in The London Journal until 13 April 1723. The publication of The Constitutions of the Free-Masons, or the Book of Constitutions as it has become generally known, was a fundamental event in the development of Grand Lodge Freemasonry, and the book remains an indispensable source for the investigation of the growth of Freemasonry in the first half of the eighteenth century. -
British Pa Inters Their Story and Their
H rTP S BRIT ISH PA INT ERS T H EIR ST O RY A ND T H EIR A RT J E . DGC UMBE ST A LEY A UT H OR OF WA TT EA U A ND H I S SCH OOL ET C . WIT H TWENTY -FO UR EXAMPLES IN C OLOUR O F T H EIR WO RK P RE FA C E “ BRI TI SH P A I NT E RS : Their Story and their Art l o f o f is a presentation, in popu ar form , the Story — - British Painting a well worn but never wearying t o Story , which for ever offers fresh charms young o ld and , and stirs in British hearts feelings of patriotism and delight . In a work o f the size of this volume it is im possible to d o more than lightly sketch the more sa lient features o f the glorious panorama o f seven hundred years . My purpose , in this compilation , —t o is threefold . First bring into stronger light the painting glories o f the earlier artists o f Britain many people are unfamiliar with the lives and s o f work of the precur ors Hogarth . Secondly to t reat especially o f the persons and art of painte rs Whose works are exhibited in o u r Public Galleries pictures in private holding are often inaccessible t o o f and the generality people, besides, they — co nstantly changing locality this is true of T — the Royal Collections . hirdl y t o vindicate the a of t o cl im Britain be regarded as an ancient , vii BRIT I S H P A I NT E RS consistent , and renowned Home of the Fine Arts and to correct the strange insular habit o f self depreciation, by showing that the British are supreme as a tasteful and artistic people . -
UNITED STATES DISTRICT COURT NORTHERN DISTRICT of INDIANA SOUTH BEND DIVISION in Re FEDEX GROUND PACKAGE SYSTEM, INC., EMPLOYMEN
USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 1 of 354 UNITED STATES DISTRICT COURT NORTHERN DISTRICT OF INDIANA SOUTH BEND DIVISION ) Case No. 3:05-MD-527 RLM In re FEDEX GROUND PACKAGE ) (MDL 1700) SYSTEM, INC., EMPLOYMENT ) PRACTICES LITIGATION ) ) ) THIS DOCUMENT RELATES TO: ) ) Carlene Craig, et. al. v. FedEx Case No. 3:05-cv-530 RLM ) Ground Package Systems, Inc., ) ) PROPOSED FINAL APPROVAL ORDER This matter came before the Court for hearing on March 11, 2019, to consider final approval of the proposed ERISA Class Action Settlement reached by and between Plaintiffs Leo Rittenhouse, Jeff Bramlage, Lawrence Liable, Kent Whistler, Mike Moore, Keith Berry, Matthew Cook, Heidi Law, Sylvia O’Brien, Neal Bergkamp, and Dominic Lupo1 (collectively, “the Named Plaintiffs”), on behalf of themselves and the Certified Class, and Defendant FedEx Ground Package System, Inc. (“FXG”) (collectively, “the Parties”), the terms of which Settlement are set forth in the Class Action Settlement Agreement (the “Settlement Agreement”) attached as Exhibit A to the Joint Declaration of Co-Lead Counsel in support of Preliminary Approval of the Kansas Class Action 1 Carlene Craig withdrew as a Named Plaintiff on November 29, 2006. See MDL Doc. No. 409. Named Plaintiffs Ronald Perry and Alan Pacheco are not movants for final approval and filed an objection [MDL Doc. Nos. 3251/3261]. USDC IN/ND case 3:05-md-00527-RLM-MGG document 3279 filed 03/22/19 page 2 of 354 Settlement [MDL Doc. No. 3154-1]. Also before the Court is ERISA Plaintiffs’ Unopposed Motion for Attorney’s Fees and for Payment of Service Awards to the Named Plaintiffs, filed with the Court on October 19, 2018 [MDL Doc. -
FALL 2019 2 | from the Executive Director
Americans in Alliance with the National Trust of England, Wales, and Northern Ireland The Horse and the Country House The Lost House Revisited Restoring Britain’s Waterways FALL 2019 2 | From the Executive Director THE ROYAL OAK FOUNDATION 20 West 44th Street, Suite 606 New York, New York 10036-6603 212.480.2889 | www.royal-oak.org BOARD OF DIRECTORS Chairman Lynne L. Rickabaugh Vice Chairman Renee Nichols Tucei Treasurer Susan Ollila Montacute House in Somerset is a masterpiece of Elizabethan Renaissance architecture and design. Secretary Royal Oak members visited the house on this year’s annual garden tour. Prof. Sir David Cannadine Directors Cheryl Beall Michael A. Boyd Dear Members & Friends, Michael J. Brown Though we are nearing the final quarter of 2019, our year is far from over. On November Susan Chapman 6, we will host our fall benefit dinner at the Century Association in New York City. This Constance M. Cincotta year’s event will honor the Duke of Devonshire for his contribution to the preservation Robert C. Daum of British culture and the 10 year restoration of Chatsworth. Sir David Cannadine will Tracey A. Dedrick join in discussion with the Duke about his project to restore Chatsworth to its full glory Anne Blackwell Ervin and it promises to be wonderful evening. Pamela K. Hull Linda A. Kelly We are well on our way to achieving our goal of raising $250,000 to preserve the library at Hilary McGrady Blickling Hall. This is one of the most significant libraries under the care of the National Eric J. -
Microscopy and Archival Research: Interpreting Results Within the Context of Historical Records and Traditional Practice
Microscopy and archival research: interpreting results within the context of historical records and traditional practice Jane Davies 32 ISSUE 3 SEPT 2006 The analysis of paint samples is an invaluable tool in the armoury of historic paint research. However, powerful as the techniques of pigment, cross-sectional and instrumental analysis may be, they cannot always provide complete answers to the questions posed. Historical records relating to specific buildings and projects, as well as painters’ manuals recording traditional painting techniques can offer clues which are vital to solving analysis puzzles. Historical text records which are particular to buildings and/or paintings can provide definitive dates for paint schemes which could otherwise only be dated approximately if key ‘marker’ pigments with known dates of introduction or obsolescence are present. Reference sources may be useful in suggesting or guiding proposed research and conversely, sample analysis can lead to a reassessment of archive records and a refinement of their interpretation. The application of cross-sectional analysis to the or redecoration decisions. To fulfil this role, I look investigation of architectural paint was pioneered in to a broad range of clues, drawing from diverse the 1970s by Ian Bristow and Josephine Darrah. sources, such as standing structure archaeology and During my research degree I was fortunate enough archival research — using all pieces of evidence to study microscopy with Jo Darrah at the Victoria available. Paper based archives such as accounts, and Albert Museum.This training, together with my correspondence and diaries, and artists images, tend painting conservator’s understanding of artist’s to be site specific. -
Wren and the English Baroque
What is English Baroque? • An architectural style promoted by Christopher Wren (1632-1723) that developed between the Great Fire (1666) and the Treaty of Utrecht (1713). It is associated with the new freedom of the Restoration following the Cromwell’s puritan restrictions and the Great Fire of London provided a blank canvas for architects. In France the repeal of the Edict of Nantes in 1685 revived religious conflict and caused many French Huguenot craftsmen to move to England. • In total Wren built 52 churches in London of which his most famous is St Paul’s Cathedral (1675-1711). Wren met Gian Lorenzo Bernini (1598-1680) in Paris in August 1665 and Wren’s later designs tempered the exuberant articulation of Bernini’s and Francesco Borromini’s (1599-1667) architecture in Italy with the sober, strict classical architecture of Inigo Jones. • The first truly Baroque English country house was Chatsworth, started in 1687 and designed by William Talman. • The culmination of English Baroque came with Sir John Vanbrugh (1664-1726) and Nicholas Hawksmoor (1661-1736), Castle Howard (1699, flamboyant assemble of restless masses), Blenheim Palace (1705, vast belvederes of massed stone with curious finials), and Appuldurcombe House, Isle of Wight (now in ruins). Vanburgh’s final work was Seaton Delaval Hall (1718, unique in its structural audacity). Vanburgh was a Restoration playwright and the English Baroque is a theatrical creation. In the early 18th century the English Baroque went out of fashion. It was associated with Toryism, the Continent and Popery by the dominant Protestant Whig aristocracy. The Whig Thomas Watson-Wentworth, 1st Marquess of Rockingham, built a Baroque house in the 1720s but criticism resulted in the huge new Palladian building, Wentworth Woodhouse, we see today. -
An Examination of the Artist's Depiction of the City and Its Gardens 1745-1756
Durham E-Theses Public and private space in Canaletto's London: An examination of the artist's depiction of the city and its gardens 1745-1756 Hudson, Ferne Olivia How to cite: Hudson, Ferne Olivia (2000) Public and private space in Canaletto's London: An examination of the artist's depiction of the city and its gardens 1745-1756, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/4252/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk 2 Public and Private Space in Canaletto's London. An Examination of the Artist's Depiction of the City and its Gardens 1745-1756. The copyright of this thesis rests with the author. No quotation from it should be published in any form, including Electronic and the Internet, without the author's prior written consent. -
Gallery Painting in Italy, 1700-1800
Gallery Painting in Italy, 1700-1800 The death of Gian Gastone de’ Medici, the last Medici Grand Duke of Tuscany, in 1737, signaled the end of the dynasties that had dominated the Italian political landscape since the Renaissance. Florence, Milan, and other cities fell under foreign rule. Venice remained an independent republic and became a cultural epicenter, due in part to foreign patronage and trade. Like their French contemporaries, Italian artists such as Giovanni Battista Tiepolo, Francesco Guardi, and Canaletto, favored lighter colors and a fluid, almost impressionistic handling of paint. Excavations at the ancient sites of Herculaneum and Pompeii spurred a flood of interest in classical art, and inspired new categories of painting, including vedute or topographical views, and capricci, which were largely imaginary depictions of the urban and rural landscape, often featuring ruins. Giovanni Paolo Pannini’s paintings showcased ancient and modern architectural settings in the spirit of the engraver, Giovanni Battista Piranesi. Music and theater flourished with the popularity of the piano and the theatrical arts. The commedia dell’arte, an improvisational comedy act with stock characters like Harlequin and Pulcinella, provided comic relief in the years before the Napoleonic War, and fueled the production of Italian genre painting, with its unpretentious scenes from every day life. The Docent Collections Handbook 2007 Edition Francesco Solimena Italian, 1657-1747, active in Naples The Virgin Receiving St. Louis Gonzaga, c. 1720 Oil on canvas Bequest of John Ringling, 1936, SN 165 Giovanni Antonio Pellegrini Italian, 1675-1741, active in Venice The Entombment, 1719 Oil on canvas Bequest of John Ringling, 1936, SN 176 Amid the rise of such varieties of painting as landscape and genre scenes, which previously had been considered minor categories in academic circles, history painting continued to be lauded as the loftiest genre. -
Prolegomena to Pastels & Pastellists
Prolegomena to Pastels & pastellists NEIL JEFFARES Prolegomena to Pastels & pastellists Published online from 2016 Citation: http://www.pastellists.com/misc/prolegomena.pdf, updated 10 August 2021 www.pastellists.com – © Neil Jeffares – all rights reserved 1 updated 10 August 2021 Prolegomena to Pastels & pastellists www.pastellists.com – © Neil Jeffares – all rights reserved 2 updated 10 August 2021 Prolegomena to Pastels & pastellists CONTENTS I. FOREWORD 5 II. THE WORD 7 III. TREATISES 11 IV. THE OBJECT 14 V. CONSERVATION AND TRANSPORT TODAY 51 VI. PASTELLISTS AT WORK 71 VII. THE INSTITUTIONS 80 VIII. EARLY EXHIBITIONS, PATRONAGE AND COLLECTIONS 94 IX. THE SOCIAL FUNCTION OF PASTEL PORTRAITS 101 X. NON-PORTRAIT SUBJECTS 109 XI. PRICES AND PAYMENT 110 XII. COLLECTING AND CRITICAL FORTUNE POST 1800 114 XIII. PRICES POST 1800 125 XIV. HISTORICO-GEOGRAPHICAL SURVEY 128 www.pastellists.com – © Neil Jeffares – all rights reserved 3 updated 10 August 2021 Prolegomena to Pastels & pastellists I. FOREWORD ASTEL IS IN ESSENCE powdered colour rubbed into paper without a liquid vehicle – a process succinctly described in 1760 by the French amateur engraver Claude-Henri Watelet (himself the subject of a portrait by La Tour): P Les crayons mis en poudre imitent les couleurs, Que dans un teint parfait offre l’éclat des fleurs. Sans pinceau le doigt seul place et fond chaque teinte; Le duvet du papier en conserve l’empreinte; Un crystal la défend; ainsi, de la beauté Le Pastel a l’éclat et la fragilité.1 It is at once line and colour – a sort of synthesis of the traditional opposition that had been debated vigorously by theoreticians such as Roger de Piles in the previous century. -
Chasing Eliza: Shifting and Static Women in Elizabeth Craven's the Miniature Picture
ABO: Interactive Journal for Women in the Arts, 1640-1830 Volume 6 Issue 1 Volume 6.1 (Spring 2016) Article 2 2016 Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture Heather A. Ladd University of Lethbridge, [email protected] Follow this and additional works at: https://scholarcommons.usf.edu/abo Part of the Dramatic Literature, Criticism and Theory Commons, English Language and Literature Commons, and the Feminist, Gender, and Sexuality Studies Commons Recommended Citation Ladd, Heather A. (2016) "Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture," ABO: Interactive Journal for Women in the Arts, 1640-1830: Vol. 6 : Iss. 1 , Article 2. https://www.doi.org/http://dx.doi.org/10.5038/2157-7129.6.1.2 Available at: https://scholarcommons.usf.edu/abo/vol6/iss1/2 This Scholarship is brought to you for free and open access by Scholar Commons. It has been accepted for inclusion in ABO: Interactive Journal for Women in the Arts, 1640-1830 by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Chasing Eliza: Shifting and Static Women in Elizabeth Craven's The Miniature Picture Abstract Georgian actress and author Mary Robinson famously wore a miniature portrait of her royal lover, the Prince of Wales, whom she captivated in the Shakespearean breaches role of Perdita. Intriguingly, Robinson’s final stage appearance was as the cross-dressing heroine of The Miniature Picture (1781), a three-act comedy penned by writer and socialite Lady Elizabeth Craven, later Baroness Craven and Margravine of Brandenburg-Ansbach. -
Copyright Statement
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 Dogs and Domesticity Reading the Dog in Victorian British Visual Culture Robson, Amy http://hdl.handle.net/10026.1/10097 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii Dogs and Domesticity Reading the Dog in Victorian British Visual Culture by Amy Robson A thesis submitted to Plymouth University in partial fulfilment for the degree of PhD Art History, 2017 Humanities and Performing Arts 2017 iii Acknowledgements I would like to express my deepest gratitude to my supervisors, Dr James Gregory and Dr Jenny Graham, for their ongoing support throughout this project. I would also like to extend immeasurable thanks to Dr Gemma Blackshaw, who was involved in the early and later stages of my research project. Each of these individuals brought with them insights, character, and wit which helped make the PhD process all the more enjoyable.