Artists` Picture Rooms in Eighteenth-Century Bath
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Essay Exhibit and Book Review
Essay Exhibit and Book Review: The PealeFamily: Creation of a Legacy 1770-1870, Lillian B. Miller, Editor (New York: Abbeyville Press, 1996, $65.00). Traveling Exhibit: Philadelphia Museum of Art (November 1996-Janu- ary 1997); M. H. DeYoung Museum, San Francisco (January-April 1997); Corcoran Gallery, Washington, D. C. (April-July, 1997). Phoebe Lloyd DepartmentofArt History, Texas Tech University In her forward to The Peale Family: Creationofa Legacy, 1770-1870, Ann Van Devanter Townsend raises the question "how would the academic com- munity refer to this important body of scholarship for years to come?" Townsend is President of The Trust for Museum Exhibitions, a nonprofit organization that sponsored the book and Peale family exhibition at three host museums. As Trust President and initiator of the exhibitions, Townsend may well pon- der. Her leading players, Lillian B. Miller, Sidney Hart, and David C. Ward, are not trained art historians. Their crossover from cultural and social history to art history reveals how different the disciplines are and how inapplicable the expertise of the social historian can be. Part of what is lacking in this enterprise of exhibition-cum-text is accountability: to the primacy of the im- age; to the established methodologies of art history; to the kind of scholarly apparatus that substantiates an attribution. Even where the two disciplines should coalesce, there is a lack of accountability: to the bare bones of historical fact, to the Peale family's primary source material stored in the vault at the American Philosophical Society; to the intellectual property of others and in- cluding the work done by those who garnered the footnote information for the now four-volume The Selected Papers of Charles Wil/on Peale, of which Miller is editor. -
Finding Art in History
Grades 4 – 8 Finding History in Art TEACHER INFORMATION: This tour features works of art that record history. Students will use a variety of skills to uncover the historic component of each work. They will sketch, compare works, identify key elements of style, and suggest an ending to the story, or narrative, presented in the art. These skills are recommended in the California curriculum standards. Before your visit, please select chaperones and prepare them for this visit; the Huntington requires one adult chaperone for each group of 10 students. Print enough copies of the worksheet and provide pencils for the chaperone and students (no pens are permitted in the galleries). The chaperone will lead a group to the four highlighted works and read the instructions. When you arrive at the Huntington, get a map for each teacher and chaperone. The Huntington guards can also direct you to the galleries. Assign different starting points for each chaperone to avoid crowding before works of art. Please be informed that some works may not be on display the day you visit. Additional activities before and after your visit can be based on materials provided at the Huntington’s website, as well as images of the highlighted works. We hope you enjoy your visit to the Huntington! Optional Follow-up Activities for the Classroom: Bingham, In a Quandary, or Mississippi Raftsmen at Cards Classroom activity: Research types of transportation used in 19th-century America, including river boats and overland stages. Refer to the contributions of the Huntingtons in the development of the transcontinental railroad. -
Rembrandt Peale, Charles Willson Peale, and the American Portrait Tradition
In the Shadow of His Father: Rembrandt Peale, Charles Willson Peale, and the American Portrait Tradition URING His LIFETIME, Rembrandt Peale lived in the shadow of his father, Charles Willson Peale (Fig. 8). In the years that Dfollowed Rembrandt's death, his career and reputation contin- ued to be eclipsed by his father's more colorful and more productive life as successful artist, museum keeper, inventor, and naturalist. Just as Rembrandt's life pales in comparison to his father's, so does his art. When we contemplate the large number and variety of works in the elder Peak's oeuvre—the heroic portraits in the grand manner, sensitive half-lengths and dignified busts, charming conversation pieces, miniatures, history paintings, still lifes, landscapes, and even genre—we are awed by the man's inventiveness, originality, energy, and daring. Rembrandt's work does not affect us in the same way. We feel great respect for his technique, pleasure in some truly beau- tiful paintings, such as Rubens Peale with a Geranium (1801: National Gallery of Art), and intellectual interest in some penetrating char- acterizations, such as his William Findley (Fig. 16). We are impressed by Rembrandt's sensitive use of color and atmosphere and by his talent for clear and direct portraiture. However, except for that brief moment following his return from Paris in 1810 when he aspired to history painting, Rembrandt's work has a limited range: simple half- length or bust-size portraits devoid, for the most part, of accessories or complicated allusions. It is the narrow and somewhat repetitive nature of his canvases in comparison with the extent and variety of his father's work that has given Rembrandt the reputation of being an uninteresting artist, whose work comes to life only in the portraits of intimate friends or members of his family. -
Charles Coleman Sellers Collection Circa 1940-1978 Mss.Ms.Coll.3
Charles Coleman Sellers Collection Circa 1940-1978 Mss.Ms.Coll.3 American Philosophical Society 3/2002 105 South Fifth Street Philadelphia, PA, 19106 215-440-3400 [email protected] Charles Coleman Sellers Collection ca.1940-1978 Mss.Ms.Coll.3 Table of Contents Summary Information ................................................................................................................................. 3 Background note ......................................................................................................................................... 5 Scope & content ..........................................................................................................................................6 Administrative Information .........................................................................................................................7 Related Materials ........................................................................................................................................ 7 Indexing Terms ........................................................................................................................................... 7 Bibliography ................................................................................................................................................9 Collection Inventory ..................................................................................................................................10 Series I. Charles Willson Peale Portraits & Miniatures........................................................................10 -
Graves of Artists and Architects Buried There
Graves of architects and artists in the Chiswick Churchyard and Old Burial Ground A noteworthy feature of the burial ground associated with St Nicholas, Chiswick, is the remarkable number of graves of artists and architects buried there. This article records the graves of an important eighteenth-century architect and garden designer, a respected bricklayer and site manager, two well-regarded Victorian sculptors, and no fewer than six painters and printmakers. In comparison, I know of only one literary figure who was buried there: the maverick Italian poet and patriot, Ugo Foscolo (1778–1827). But perhaps he does not count, since his bones were exhumed in 1871 and returned to Italy for re-burial in Sta Croce, Florence. The churchyard harbours the tomb of only one theatrical figure, Charles Holland (1733–1769), but – as far as I am aware – of not one single composer. Two possible reasons for this bias in favour of the visual arts may be connected with two leading figures in the British eighteenth-century art world who were associated with St Nicholas, Chiswick. Lord Burlington (1694–1753) and William Hogarth (1697–1764) were close contemporaries, although they seldom if ever saw eye to eye. Lord Burlington was the architect of his ground- breaking Chiswick Villa, and he was also a celebrated aesthete and connoisseur. During highly profitable visits to Italy in the second decade, he amassed an important collection of Italian Renaissance and Baroque paintings. Chiswick Villa was designed in part specifically to display this collection, which enhanced Burlington’s status in the British art scene. His semi-permanent residence at Chiswick in the last 20 or so years of his life, and the inheritance of his estate by the Dukes of Devonshire from 1764, perhaps attracted other artists to the area, seeking aristocratic and royal patronage. -
Catalogue Raisonne of Gainsborough's Portraits, Fancy Pictures and Copies of Old Master Works
Catalogue Raisonne of Gainsborough's Portraits, Fancy Pictures and Copies of Old Master Works. Published for the Paul Mellon Centre for Studies in British Art by Yale University Press. Compiled by Hugh Belsey, Art Historian and accepted authority in Gainsborough's art. During his period of office as Curator at Gainsborough's House from 1981 he oversaw the purchase of the bulk of its present collection of original works by the artist. The Catalogue is in two large volumes and covers over 1,100 paintings which includes nearly 200 works newly attributed to the painter. It now means that with the late John Hayes's two volume publication, The Landscape Paintings of Thomas Gainsborough, all Gainsborough's known oil paintings are now catalogued. Hugh Belsey, who now lives in Bury St. Edmunds, completed this excellent work in July 2018 and it was published in February 2019. It was shown to the members of Sudbury History Society at their April meeting and it was suggested that they be allowed to donate towards the cost of £150 to purchase a copy and present it to Sudbury Library. There was a particular reason for this because for the first time ever one will be able to sit and study the faces of a substantial number of people from 18th century Sudbury and district. Many of them are in private collections and often in the possession of family descendants. There are also some surprises, perhaps the most interesting and exciting for Sudbury is the case of the painter's nephew - Gainsborough Dupont. The pictures are in alphabetic order of the subject's name. -
Primary Teachers' Notes 2014-15
PRIMARY TEACHERS’ NOTES 2014–15 ‘MR AND MRS ANDREWS’, c.1750 OIL ON CANVAS 69.8 x 119.4 CM THOMAS GAINSBOROUGH © The National Gallery, London © The National Gallery, ABOUT THE ARTIST Andrews, was a local landowner and his son seems to have devoted his energies to farming and improving the Thomas Gainsborough (1727 – 1788) was born in Sudbury land he inherited. in Suffolk, and educated at the grammar school there until the age of 14. He then went to London to study drawing His wife, also from a local landowning family, was born with the French artist Gravelot who is probably responsible Frances Carter in around 1732. She was only around for introducing him to the circle of artists at the St Martin’s 18 at the time of the painting. The match was probably Lane Academy, run by William Hogarth. engineered by the two fathers in order to consolidate and secure their lands. He married Margaret Burr in 1746 and they returned to Sudbury where their daughters were born. The National The Setting Gallery has a 1748 self-portrait of the artist with his wife Soon after his marriage Robert Andrews inherited the with their first daughter, who died very young, and two house and estate of Auberies, the setting for the painting. charming portraits of the surviving girls whom he painted It has been suggested that this is not just a double portrait throughout their lives. but a triple portrait of Andrews, his wife and his estate. The painting looks out across the landscape, south over the In 1752 Gainsborough set up practice in Ipswich. -
The Dispersal and Formation of Sir Thomas Lawrence's Collection
Cambridge University Press 978-0-521-55133-5 - The Drawings of Michelangelo and his Followers in the Ashmolean Museum Paul Joannides Excerpt More information the dispersal and formation of sir thomas lawrence’s collection of drawings by michelangelo i. the dispersal from Michelangelo apart – in its essentials has not changed since 1846, although one sheet of drawings hitherto In 1846 the University of Oxford acquired, through the placed in the Raphael school is here included as a copy generosity of a number of benefactors but supremely that after Michelangelo – an identification, indeed, made in of Lord Eldon, a large number of drawings by, attributed 1830 but subsequently overlooked.5 to, or associated with Michelangelo and Raphael. Put The two series that came to Oxford were the remains on display in the University Galleries were fifty-three of two much larger series of drawings, both owned by mountings of drawings associated with Michelangelo, and the man who has clear claim to be the greatest of all 137 by Raphael.1 Some of these mountings comprised English collectors of Old Master Drawings: Sir Thomas two or more drawings and the overall total of individual Lawrence. It is Lawrence’s collection that provided all drawings was somewhat larger.2 This exhibition and – the drawings by, and most of those after, Michelangelo consequently – its catalogue included most, but not the now in the Ashmolean Museum. Lawrence, himself a totality, of the drawings by these artists offered for sale fine draughtsman, whose precision and skill in this area -
The Morgan Library & Museum Presents Exceptional Group of Drawings by Thomas Gainsborough in New Exhibition
Press Contact Shaili Shah 212.590.0311, [email protected] THE MORGAN LIBRARY & MUSEUM PRESENTS EXCEPTIONAL GROUP OF DRAWINGS BY THOMAS GAINSBOROUGH IN NEW EXHIBITION Thomas Gainsborough: Experiments in Drawing May 11 to August 19, 2018 New York, NY, April 9, 2018 — Renowned for his portraiture and depictions of rural landscapes, the eighteenth-century British artist Thomas Gainsborough (1727–1788) is best known as a painter. However, he was also a draftsman of rare ability who extended the traditional boundaries of drawing technique, inspiring an entire generation of British artists such as John Constable (1776–1837) and J. M. W. Turner (1775–1851). Beginning May 11, the Morgan Library & Museum presents an exhibition solely focused on Gainsborough’s works on paper, bringing together twenty-two outstanding examples in graphite, chalk, oil paint, and other media. Included in the show, which runs through August 19, are preparatory studies, finished works, and exercises made for the Lady Walking in a Garden , ca. 1785, The Morgan Library & Museum, III, 63b. Photography by Steven artist’s own enjoyment. H. Crossot, 2014. “As with many artists, Thomas Gainsborough used the medium of drawing to experiment and explore,” said Colin B. Bailey, director of the Morgan Library & Museum. “Famous in his day for his paintings of members of the British aristocracy and gentry, he eagerly turned to drawing as a respite from his portrait work. It allowed him the freedom to pursue his passion for rendering nature and scenes of country life utilizing new stylistic effects in color, line, and material. The Morgan is pleased to present its first exhibition on this important aspect of Gainsborough’s art.” THE EXHIBITION The Career of a Portrait Painter Thomas Gainsborough trained in London, where he displayed an innate talent for drawing and painting. -
The Origins and Nature of Romanticism This Evening I Want To
The Origins and Nature of Romanticism This evening I want to say something about the origin and nature of romanticism. Generally speaking, it would be fair to conclude, it seems to me, that the neo-classical movement was official, conservative and in its later phases actively reactionary in the rigidity of its rules, though must qualify this by observing that early neo-classical architectural theory and practice gave birth to the modern theory of functionalism, so important for the twentieth century, and neo-classical paining in France under David gave birth to realism, so important for nineteenth century French painting. There can be no doubt that after 1815 the Romantic movement expressed the tensions and mood of the new age more profoundly than Neo-classicism. ‘To say the word Romanticism is to say modern art—that is, intimacy, spirituality, colour, aspiration towards the infinite, expressed by every means available to the arts’ wrote Baudelaire in his critical review of the Salon of 1846. ‘For me, Romanticism is the most recent, the latest expression of the beautiful’. The sources of romanticism lie outside of art itself and I shall not discuss them in detail, for they are often discussed. The rise of popular democracy, of industrialism, and of capitalism, changed utterly the artist’s relation to society. He importance of his old patrons the church, the court, the nobility declined swiftly. In the new situation the artist became an individualist forced to rely upon himself. Romanticism was the consequence of the new situation. It was not a style like Gothic or Baroque (this is important to grasp at once) not a style but as Baudelaire says ‘a mode of feeling’. -
Portraits in the Life of Oliver Wolcott^Jn
'Memorials of great & good men who were my friends'': Portraits in the Life of Oliver Wolcott^Jn ELLEN G. MILES LIVER woLCOTT, JR. (1760-1833), like many of his contemporaries, used portraits as familial icons, as ges- Otures in political alliances, and as public tributes and memorials. Wolcott and his father Oliver Wolcott, Sr. (i 726-97), were prominent in Connecticut politics during the last quarter of the eighteenth century and the first quarter of the nineteenth. Both men served as governors of the state. Wolcott, Jr., also served in the federal administrations of George Washington and John Adams. Withdrawing from national politics in 1800, he moved to New York City and was a successful merchant and banker until 1815. He spent the last twelve years of his public life in Con- I am grateful for a grant from the Smithsonian Institution's Research Opportunities Fund, which made it possible to consult manuscripts and see portraits in collecdüns in New York, Philadelphia, Boston, New Haven, î lartford. and Litchfield (Connecticut). Far assistance on these trips I would like to thank Robin Frank of the Yale Universit)' Art Gallery, .'\nne K. Bentley of the Massachusetts Historical Society, and Judith Ellen Johnson and Richard Malley of the Connecticut Historical Society, as well as the society's fonner curator Elizabeth Fox, and Elizabeth M. Komhauscr, chief curator at the Wadsworth Athenaeum, Hartford. David Spencer, a former Smithsonian Institution Libraries staff member, gen- erously assisted me with the VVolcott-Cibbs Family Papers in the Special Collectiims of the University of Oregon Library, Eugene; and tht staffs of the Catalog of American Portraits, National Portrait Ciallery, and the Inventory of American Painting. -
Selected Peale Family Papers
Selected Peale family papers Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 2 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Selected Peale family papers AAA.pealpeal Collection Overview Repository: Archives of American Art Title: Selected Peale family papers Identifier: AAA.pealpeal Date: 1803-1854 Creator: Peale family Extent: 3 Microfilm reels (3 partial microfilm reels) Language: English . Administrative Information Acquisition Information Microfilmed by the Historical Society of Pennsylvania for the Archives of American Art, 1955. Location of Originals REEL P21: Originals in the Historical Society of Pennsylvania, Peale family papers. Location of Originals REEL P23, P29: Originals in the Historical Society of Pennsylvania,