William Westall and Richard Westall Collection of Papers and Correspondence: Finding Aid
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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 -
Ophelia: a Psychological Portrait Xena Fitzgerald Class of 2017
Ophelia: A Psychological Portrait Xena Fitzgerald Class of 2017 The tragic image of Ophelia, a young representation in art contributed to a variety of popular noblewoman who drowns during the play Hamlet, interpretations of her character. has haunted Britain since Shakespeare wrote her into Ophelia as a character is frequently represented existence around the year 1600. Ophelia reached the as various forms of femininity. Art historian Kimberly peak of her popularity around the mid-nineteenth Rhodes explains that during the Victorian era Ophelia century. In the realm of painting, she was a popular represented a range of female typologies from the subject for Pre-Raphaelite painters who were concerned “dutiful daughter” to the “madwoman.”3 Because with tropes of Victorian femininity as well as with Ophelia has very few lines within the play and her most the psychology of their subjects. In this paper I will signifcant action, her death, does not even appear on consider how the artist Anna Lea Merritt (1844-1930), stage, Rhodes describes her as “a blank page on which who was infuenced by the Pre-Raphaelite movement, patriarchy can inscribe and project its desires.”4 Along leapt beyond popular tropes to visually portray Ophelia with other Shakespearean heroines, Ophelia was taken in her 1880 painting with emotional and psychological up as an exemplar for femininity.5 Moral guides such depth more successfully than her contemporaries (fg. 1). as Anna Jameson’s Characteristics of Women, Moral, Born in Pennsylvania, Merritt, like Mary Poetical, and Historical instructed women and girls to Cassatt, pursued an artistic career in Europe. -
Captain Matthew Flinders (1774~1814)
Captain Matthew Flinders (1774~1814) Captain Matthew Flinders was born 16 March, 1774. He was one of the most successful cartographers and navigators of his time. In a career that only spanned twenty years he circumnavigated Australia, proved Tasmania was an island and was the person responsible for the name “Australia” being adopted. Born in Lincolnshire, England, Matthew Flinders was introduced to the sea through reading the book Robinson Crusoe. Coming from a family of doctors, Flinders was expected to follow the same profession, but at the age of 15 he joined the Royal Navy. By 1790, Flinders had been made a midshipman and worked transporting breadfruit from Tahiti to Jamaica where he developed his navigation skills under the leadership of Captain Bligh. Flinders first trip to Port Jackson, New South Wales was in 1795 as a midshipman. On this voyage he quickly proved himself as a fine navigator and cartographer. He also became friends with the ship’s surgeon George Bass. Not long after arriving in Port Jackson, Bass and Flinders made two small expeditions in small open boats, both named Tom Thumb. Their first journey was to Botany Bay and Georges River; the second south from Port Jackson to Lake Illawarra . These journeys allowed Flinders to upgrade the maps of the New South Wales coast. In 1798 Flinders was given command of the ship, Norfolk and given orders to investigate beyond the Furneaux’s Islands and explore the extent of the strait between the mainland and Van Diemen's Land ( now known as Tasmania). Flinders and Bass journeyed through the strait and circumnavigated Van Diemen's Land, proving that it was a separate island. -
Does Early Colonial Art Provide an Accurate Guide to the Nature and Structure of the Pre-European Forests and Woodlands of South
Does early Colonial Art provide an accurate guide to the nature and structure of the pre-European forests and woodlands of South-Eastern Australia? A study focusing on Victoria and Tasmania By Michael Francis Ryan B For Sei, University of Melbourne Submitted in fulfilment of the requirement for the degree of: Master of Forestry Australian National University November 2009 Candidate’s Declaration I declare that this is the original work of Michael Francis Ryan of 84 Somerville Rd Yarraville, Victoria submitted in fulfilment of the requirement for the degree of Master of Forestry at the Australian National University. 2 Acknowledgements I am very grateful for the assistance and patience especially of Professor Peter Kanowski of the Australian National University for overseeing this work and providing guidance and advice on structure, content and editing. I would also like to acknowledge Professor Tim Bonyhady also of the Australian National University, whose expertise in the artwork field provided much inspiration and thoughtful analysis understanding early artwork. Bill Gammage, also from the ANU, provided excellent critical analysis using his extensive knowledge of the artists of the period to suggest valuable improvements. Ron Hateley from the University of Melbourne has an incredible knowledge of the early history of Victoria and of the ecology of Australia’s forests and woodlands. Ron continued to be a great sounding board for ideas and freely shared his own thoughts on early artwork in Western Victoria and the nature of the pre-European forests and I thank him for his assistance. Pat Groenhout, formally from VicForests, provided detailed comments and proof reading of manuscripts and this has considerably improved the readability and structure. -
The Flower Chain the Early Discovery of Australian Plants
The Flower Chain The early discovery of Australian plants Hamilton and Brandon, Jill Douglas Hamilton Duchess of University of Sydney Library Sydney, Australia 2002 http://setis.library.usyd.edu.au/ozlit © University of Sydney Library. The texts and images are not to be used for commercial purposes without permission Source Text: Prepared with the author's permission from the print edition published by Kangaroo Press Sydney 1998 All quotation marks are retained as data. First Published: 1990 580.994 1 Australian Etext Collections at botany prose nonfiction 1940- women writers The flower chain the early discovery of Australian plants Sydney Kangaroo Press 1998 Preface Viewing Australia through the early European discovery, naming and appreciation of its flora, gives a fresh perspective on the first white people who went to the continent. There have been books on the battle to transform the wilderness into an agriculturally ordered land, on the convicts, on the goldrush, on the discovery of the wealth of the continent, on most aspects of settlement, but this is the first to link the story of the discovery of the continent with the slow awareness of its unique trees, shrubs and flowers of Australia. The Flower Chain Chapter 1 The Flower Chain Begins Convict chains are associated with early British settlement of Australia, but there were also lighter chains in those grim days. Chains of flowers and seeds to be grown and classified stretched across the oceans from Botany Bay to Europe, looping back again with plants and seeds of the old world that were to Europeanise the landscape and transform it forever. -
Tim Croft Contract Botanist State Herbarium of South Australia
TIM CROFT CONTRACT BOTANIST STATE HERBARIUM OF SOUTH AUSTRALIA EARLY DUTCH AND SPANISH EXPLORATION TO 1744 MATTHEW FLINDERS 1802 COASTAL EXPLORATION Homoranthus homoranthoides (Pt Lincoln Ground-myrtle) Pultenaea vestita (Feather Bush-pea) Lepidosperma viscidum (Sticky Sword-sedge) Convolvulus remotus (Grassy Bindweed) Grevillea aspera (Rough Grevillea) Adenanthos terminalis (Yellow Gland Flower) Eyre Peninsula Endemic Plant Species Acacia hexaneura (Cowell Spine-bush) Acacia cretacea (Chalky Wattle) Bossiaea peninsularis (Sword Bossiaea) Prostanthera calycina (West Coast Mintbush) Brachyscome xanthocarpa (Yellow-fruit Daisy) Eyre Peninsula Plant Communities Eyre Peninsula Blue Gum Woodland Drooping Sheoak Open Woodland River Red Gum grassy Woodland Mallee Box grassy Woodland Granite inselbergs and outcrops Mallee WAUNGERRI LAKE and MABLE RANGE, after ANGAS, 1844 Banksia marginata (Silver Banksia) & Xanthorrhoea semiplana tateana (Yacca) Shrubland Eyre Peninsula Blue Gum (Eucalyptus petiolaris) Woodland Ecological Community Cleve Hills Koppio Hills Nationally Threatened EPBC Act 1999 Port Lincoln - A distant view (William Westall sketch, 1802) BOSTON BAY and PORT LINCOLN from WINTER HILL, after ANGAS, 1844 Hills clothed in Allocasuarina verticillata (DROOPING SHEOAK) Allocasuarina verticillata (Drooping Sheoak) Remnant Low Open Woodland Allocasuarina verticillata (Drooping Sheoak) Dead trees of the former Low Open Woodland Eucalyptus camaldulensis ssp. camaldulensis (River Red Gum) Woodland over grassy and herbaceous Groundcover (Polda -
GASTON RENARD Pty. Ltd. the Discovery and Coastal Exploration
GASTON RENARD Pty. Ltd. Established 1945 Postal Address: (A.C.N. 005 928 503) Electronic communications: P.O. Box 1030, ABN: 68 893 979 543 Telephone: +61 (0)3 9459 5040 Ivanhoe, Melbourne, FAX: +61 (0)3 9459 6787 Victoria, 3079, Australia. www.GastonRenard.com E-mail: [email protected] Short List No. 51 - 2012. The Discovery and Coastal Exploration of Australia. (Part I). 2 Gaston Renard Fine and Rare Books Short List Number 51 2012. 1 [Arnot, J. F.; & Holmes, M. M. G.]. ABEL JANSZOON TASMAN: A Bibliography. Med. 8vo, First Edition; pp. 80; mounted col. frontis., 3 b/w. plates, incl. reproduction of the famous Tasman map, 248 entries, index; original stiff wrappers; a fine copy. Sydney; The Trustees of the Public Library of New South Wales; 1963. #15775 A$75.00 3 Gaston Renard Fine and Rare Books Short List Number 51 2012. 2 Austin, K. A. THE VOYAGE OF THE INVESTIGATOR 1801-1803: Commander Matthew Flinders, R.N. F’cap 8vo, First Paperback Edn.; pp. 224(last blank); 1 double-page, 3 full-page & 7 other maps, portrait frontis. & 16 plates, bibliog., index; original stiff wrappers; (“perfect” binding a little crudely repaired; one leaf heavily soiled). (Adelaide); Seal Books, Rigby Limited; (1968). #9082 A$20.00 4 Gaston Renard Fine and Rare Books Short List Number 51 2012. 3 Badger, G. M.; Editor. CAPTAIN COOK: NAVIGATOR AND SCIENTIST. Papers presented at the Cook Bicentenary Symposium, Australian Academy of Science, Canberra, 1 May, 1969. Med. 8vo, First Edition; pp. x, 144; endpaper maps, 2 full- page & 6 text maps, col. -
2020 Reflections on Australian Foundation Narratives in January
2020 reflections on Australian foundation narratives In January 2019 the coincidence of three important events provided a rare moment to reflect on Australian history and its on-going relevance for Australians today. The first of these, Australia Day, has since 1988 - the bicentenary of European settlement, become a major public holiday and national anniversary celebrated on 26 January, the date historically that the colony of New South Wales was officially established with the raising of the Union flag in Sydney Cove in 1788. Prior to 1988, amongst the seven states and territories forming the national federation, the 26 January tended to be looked at as a singularly New South Wales anniversary, leaving the other states to celebrate anniversaries relating to their own distinct colonial foundations. It should be remembered that the initial British settlement in Australia was confined to the east coast of the continent, to that part claimed by Lieutenant James Cook in 1770 during his survey of the east coast on board the bark Endeavour. By 1787, in the commission appointing Arthur Phillip Governor of the new colony, the territory of New South Wales had grown considerably and was defined as: …extending from the northern cape or extremity of the coast, called Cape York, in latitude of ten degrees thirty-seven minutes south, to the southern extremity of the said territory of New South Wales or South Cape, in the latitude of Forty-three degrees thirty-nine minutes south, and of all the country inland to the westward, as far as the one hundred and thirty-fifth degree of east longitude, reckoning from the meridian of Greenwich, including all the islands adjacent in the Pacific Ocean, within the latitudes aforesaid… At the time, the rest of the continent was known as New Holland, the name given to it by the Dutch East India Company following the Dutch discovery of it early in the 17th century and their subsequent mapping of large sections of its coast. -
William Blake Henry Fuseli Auckland City Art Gallery
WILLIAM BLAKE ILLUSTRATIONS OF THE BOOK OF JOB HENRY FUSELI THE THREE WITCHES OF MACBETH AND ASSOCIATED WORKS AUCKLAND CITY ART GALLERY AUGUST 8 - OCTOBER 2 1980 WILLIAM BLAKE (1757-1827) As poet, watercolourist and engraver, Blake was the creator of an idiosyncratic mythology. Born of a lower middle class merchant family, Blake had no academic training, but attended Henry Par's preparatory drawing school from 1767 until his apprenticeship in 1772 to James Basire, engraver to the Society of Antiquaries. At Westminster Abbey,Blake made drawings for Gough's Sepulchral Monuments in Great Britain (1786), thereby immersing himself in the mediaeval tradition, with which he found a spiritual affinity. In 1782 Blake married and moved to Leicester Fields in London, where he completed and published in 1783 his first work, Poetical Sketches. In these early years he developed lasting friendships with the painters Barry, Fuseli and Flaxman, and for a while shared Flaxman's preoccupation with classical art. For his next major publication, Songs of Innocence, completed in 1789, Blake invented a new engraving technique whereby lyrics and linear design could be reproduced simultaneously in several stages in the copper plate. The resulting prints were then hand-coloured. This complete fusion of tint and illustration recalls mediaeval illuminated manuscripts, from which Blake derived obvious inspiration. From 1790 until 1800 Blake lived in Lambeth and produced books, thematically characterised by energetic protest against eighteenth century morality (The Marriage of Heaven and Hell, 1790-3) and against political authority (Ammca 1793, and The French Revolution, 1791). These works corroborate Blake's radicalism, which was demonstrated by his sympathy with Swedenborg in religion, with Mary Wollstonecaft in education, and with the Jacobins during the French Revolution. -
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. -
Matthew Flinders and the Quest for a Strait
Australian Historical Studies ISSN: 1031-461X (Print) 1940-5049 (Online) Journal homepage: https://www.tandfonline.com/loi/rahs20 A Historical Myth? Matthew Flinders and the Quest for a Strait Kenneth Morgan To cite this article: Kenneth Morgan (2017) A Historical Myth? Matthew Flinders and the Quest for a Strait, Australian Historical Studies, 48:1, 52-67, DOI: 10.1080/1031461X.2016.1250791 To link to this article: https://doi.org/10.1080/1031461X.2016.1250791 © 2017 The Author(s). Published by Informa UK Limited, trading as Taylor & Francis Group Published online: 01 Mar 2017. Submit your article to this journal Article views: 449 View Crossmark data Full Terms & Conditions of access and use can be found at https://www.tandfonline.com/action/journalInformation?journalCode=rahs20 A Historical Myth? Matthew Flinders and the Quest for a Strait KENNETH MORGAN This article takes issue with a recent argument, made by the late Rupert Gerritsen, that Matthew Flinders deliberately concocted a myth about a north–south strait dividing Australia in order to gain the attention and patronage of Sir Joseph Banks to support the first circumnavigation of Terra Australis in HMS Investigator in 1801–3. This article argues that Flinders did not create a myth but based his arguments on contemporary views that such a dividing strait might exist, backed up with cartographic evidence. Flinders’ achievements in connection with the circumnavigation reflected the analytical mind that led him to search for a strait. On 6 September 1800, the young naval lieutenant Matthew Flinders wrote the most important letter of his career when he contacted Sir Joseph Banks, the Pre- sident of the Royal Society, the most prestigious scientific body in Britain, about the possibility of a large-scale expedition to survey Australia’s coastline. -
Picturing the Pacific : Joseph Banks and the Shipboard Artists of Cook and Flinders Pdf, Epub, Ebook
PICTURING THE PACIFIC : JOSEPH BANKS AND THE SHIPBOARD ARTISTS OF COOK AND FLINDERS PDF, EPUB, EBOOK James Taylor | 256 pages | 20 Nov 2018 | Bloomsbury Publishing PLC | 9781472955432 | English | London, United Kingdom Picturing the Pacific : Joseph Banks and the shipboard artists of Cook and Flinders PDF Book This is the time taken for us send this item from our Sydney warehouse. Most of the papers of Joseph Banks held in the Library were received in as part of the Petherick Collection. No No, I don't need my Bookworld details anymore. Are you over 18 years old? Stimson, Dorothy, Scientists and amateurs: a history of the Royal Society , The basement was Legos and blood. They captured striking and memorable images of everything they encountered: exotic landscapes, beautiful flora and fauna, as well as remarkable portraits of indigenous peoples. Alison Sutherland. Lincoln By Isaac Land Trading in War examines the social and cultural history of the maritime districts of London, on both the north and south banks of the Thames, from the Seven Years War era through the Napoleonic Wars. Forgot your password? In that year Banks was the naturalist on an expedition to Labrador and Newfoundland. Am I Small? By Lance Bertelsen. Australian Hardcover 3 Picture Book Set. It is aimed at a general readership, rather than a specialized academic audience, integrating and abridging what we know from […] Read More. In the scholarly accounts of 18th century British voyages of discovery and exploration, those of Captain James Cook , , and figure prominently. Carter, Harold B. JK Rowling on Twitter: why the Harry Potter author has been accused of transphobia on social media platforms.