Something, and Have Reduced an Annual Charge of Near Twelve Hun- Dred a Year,12 the Consequences of Which I Believe Were As Much
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John Boydell's Shakespeare Gallery and the Promotion of a National Aesthetic
JOHN BOYDELL'S SHAKESPEARE GALLERY AND THE PROMOTION OF A NATIONAL AESTHETIC ROSEMARIE DIAS TWO VOLUMES VOLUME I PHD THE UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2003 2 TABLE OF CONTENTS Page Volume I Abstract 3 List of Illustrations 4 Introduction 11 I Creating a Space for English Art 30 II Reynolds, Boydell and Northcote: Negotiating the Ideology 85 of the English Aesthetic. III "The Shakespeare of the Canvas": Fuseli and the 154 Construction of English Artistic Genius IV "Another Hogarth is Known": Robert Smirke's Seven Ages 203 of Man and the Construction of the English School V Pall Mall and Beyond: The Reception and Consumption of 244 Boydell's Shakespeare after 1793 290 Conclusion Bibliography 293 Volume II Illustrations 3 ABSTRACT This thesis offers a new analysis of John Boydell's Shakespeare Gallery, an exhibition venture operating in London between 1789 and 1805. It explores a number of trajectories embarked upon by Boydell and his artists in their collective attempt to promote an English aesthetic. It broadly argues that the Shakespeare Gallery offered an antidote to a variety of perceived problems which had emerged at the Royal Academy over the previous twenty years, defining itself against Academic theory and practice. Identifying and examining the cluster of spatial, ideological and aesthetic concerns which characterised the Shakespeare Gallery, my research suggests that the Gallery promoted a vision for a national art form which corresponded to contemporary senses of English cultural and political identity, and takes issue with current art-historical perceptions about the 'failure' of Boydell's scheme. The introduction maps out some of the existing scholarship in this area and exposes the gaps which art historians have previously left in our understanding of the Shakespeare Gallery. -
Chapter One: Introduction and Literature Review 1
PICTURES FOR THE NATION: Conceptualizing a Collection of 'Old Masters' for London 1775-1800 by Kristin Erin Campbell A thesis submitted to the Department of Art In conformity with the requirements for The degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada January 2009 Copyright © Kristin Campbell, 2009 Abstract This thesis addresses the growing impulse towards establishing a public, national collection of Old Master pictures for Britain, located in London, in the last quarter of the eighteenth-century. It does so by identifying the importance of individual conceptualizations of what such a collection might mean for a nation, and how it might come to be realized for an imprecisely defined public. My thesis examines the shifting dynamics between private and public collections during the period of 1775 to 1800, repositioning notions of what constituted space for viewing and accessing art in a national context, and investigates just who participated in the ensuing dialogues about various uses of art for the nation. To this end, three case studies have been employed. The first examines the collection of pictures assembled by Sir Robert Walpole and their public legacy. The second explores the proposal for a national collection of art put forth by art dealer Noel Desenfans. The third examines the frustrated plans of Sir Joshua Reynolds for his collection of Old Master pictures. Through the respective lenses provided by the case studies, it is demonstrated that the envisioning of a national gallery for Britain pitched competing perspectives against each other, as different kinds of people jockeyed for cultural authority. The process of articulating and shaping these ambitions with an eye towards national benefit was only beginning to be explored, and negotiations of private ambitions and interests surrounding picture collections for the public was further complicated by factors of social class and profession. -
Cat Talogu E 57
Grosvenor Prints 19 Shelton Street Covent Garden London WC2H 9JN Tel: 020 7836 1979 Fax: 020 7379 6695 E-mail: [email protected] www.grosvenorprints.com Dealers in Antique Prints & Books Catalogue 57 th The 18 Century! Item 574: James Seymour Going to Cover. [&] Making a Cast at a Fault. [&] The Chace of a Fox. [&] The Death of the Fox. For other images from this list please see our web site www.grosvenorprints.com Registered in England No. 1305630 Registered Office: 2, Castle Business Villlage, Station Roaad, Hampton, Middlesex. TW12 2BX. Rainbrook Ltd. Directors: N.C. Talbot. T.D.M. Rayment. C.E. Elliis. E&OE VAT No. 217 6907 49 1. Analysis of Beauty, Pl. 1 Smartly dressed people play with scientific instruments Designed, Engraved, and Publish'd by W.m Hogarth, in a garden decorated with Italianate ruins. March 5th 1753, according to Act of Parliament. Stock: 38799 Engraving, platemark 390x 505mm (15¼ x 19¾"). Large margins. Repaired tear. Bit dusty. £260 6. Painting. The statuary yard of John Cheere, adjoining Hyde Park London Printed for H. Overton without Newgate & R. Corner and Piccadilly in London, filled with ancient Sayer in Fleet Street. Price 1s 6d. sculptures juxtaposed with objects and people from the Coloured mezzotint. 250 x 350mm (9¾ x 13¾"). time of William Hogarth (1697-1767). Bordering the Framed. Paper toned in margins. Unexamined out of c. image are numerous small diagrams, including 1900's frame. £450 references to P.L. Ghezzi, François Duquesnoy and A woman paints a portrait of another woman, watched Albrecht Durer. -
The Old Engravers of England in Their Relation to Contemporary Life and Art
7 VI l ^ >. I } A_/ OLD ENGRAVERS OF ENGLAND MALCOLM C. ALAMAN THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES 60 g _ t- .aC !3 C a tf * Pi 3*1 ,.* Zp C $ o g* - S o, o g^TS-i '^ o a II3 - ^ C) Cfl ** S .S 3 2 33 w ^ 111 s -a o> It >^ S ^^ Bjsnsn *d ^a* s g o> .a .11 *J o M o -c b ^H iliaiei!CT-S 6042 fl T*- PH 3 -5 .S -3 a^ i-a H *- O .^ o W 5< *-* t5 ^ w S S c ' c i i S 2 .2 e-S 1.^ 5 IH <-! a 'S .5 c o T3 .2 M rf-S -ll P Q\C 5i 3 ^^ c - S ^.o g,^ c g 5^ ) .2 S -3 ^s15 | 'S 5 fe -S o s . fc " a W O3 V< rt flj a 0) O I" e o iJ'-^ft- P O O ^, C 0) r* O3 S,' > s! >> >>.*3 fi 3 111 II J $e on gts'8o be - O O O D, * 45 .fa "5 ^ ^ 1 J 2 *2 T3 MS o ri a S g-S CO CO _2? 2 73 1 | t<I i !58 1"H ~ g, P o S ll|ia--j3 d -S t: | 1 0) >> c -^ .ti tilii* M 5 3 3 o cr 2o. ' 5 2 ^^ C JJ ^ ^ 5 spll^lllSilllO O cd ill^iiiii ^8^ i . w w ,2 c 4J Jj*o S "SIS-* -S JJ o ". S^ to 1 < >^ co i 8 2 3 *i: -J .en *s" mi's 3c <u =33 * .s- '! ,S i e c 'in> cd Irt & ^3 3 rt O% <* *- OD o SiP* a c aS o -o s"2 -6-P! M ^ 3 S ^ ^ i .5 o i^s Sg 2 Sw -5 |*fS cr rf c P 3 , Z2 ' 3S H C = S S <u J3 >> ^^2 rt 1*0 | 3 :K5 ol> Sal "53 :: J3 o ^11 ^ S fe 3 .5 g t. -
The Bard's Plays in Pictures: Shakespeare in the Baillieu Library
The Bard’s plays in pictures Shakespeare in the Baillieu Library Print Collection Callum Reid On 19 October 1741, David Garrick donned the costume of Richard III for his first Shakespearean performance in London. Roughly four years later, when William Hogarth painted him in this eponymous role, Garrick (1717–1779) had become one of the most popular stage actors in Britain, each performance enhancing his fame, and stimulating a taste for all things Shakespeare. Hogarth’s painting, Mr. Garrick in the character of Richard the III D, gained a significant reputation through the second half of the 18th century; as Garrick’s popularity rose, the scene was widely disseminated through engravings based on the painting—some produced under Hogarth’s supervision, others created independently (illustrated right).1 that can be explored through the the first to garnish the complete The scene is set mid-performance, Baillieu Library Print Collection works with illustrations, following as King Richard wakes from a dream at the University of Melbourne: Nicholas Rowe’s 1709 Works of in which he is visited by the ghosts illustrated scenes from Shakespeare, Mr. William Shakespear: In six volumes. of his murdered rivals. Shakespeare portraits of Shakespearean actors, Adorn’d with cuts.4 Illustrations for scholar Stuart Sillars observes that and the engraved volumes from the Theobald’s volumes were lavishly ‘this is the one point in the play where Boydell Shakespeare Gallery. designed by French engraver Hubert- time is suspended, since just for an A turning point in the history François Bourguignon, known as instant Richard thinks he is in one of illustrations based on the Bard’s ‘Gravelot’, and realised by Gerard place but in reality is in another’.2 works occurred a year before Garrick Vandergucht, a Flemish engraver The work was particularly unusual first played the role of Richard III. -
The Great House of Benjamin West: Family, Workshop, and National Identity in Late Georgian England
ABSTRACT Title of Document: THE GREAT HOUSE OF BENJAMIN WEST: FAMILY, WORKSHOP, AND NATIONAL IDENTITY IN LATE GEORGIAN ENGLAND Abram Fox, Doctor of Philosophy, 2014 Directed By: Professor William L. Pressly, Department of Art History and Archaeology Anglo-American painter Benjamin West (1738-1820) holds a unique position in the history of Western art. Active during the foundational periods of not one, but two, national schools of art to which he could rightfully claim membership, West recognized his inimitable position in the development of English and American art and sought to position himself at the forefront of each nation. This dissertation examines his fluid national and artistic identities over the course of his instructional relationships with his American students, and the shifting personal and professional goals harbored by each party. While scholars have acknowledged the relation of West’s pedagogical practice to his identity as an artist, this study presents an organic account of the relationships between teacher and students as an embodiment of West’s ongoing and unprecedented attempts at fame, fortune, and legacy. This legacy was central to Benjamin West’s identity as an artist. His professional career was dedicated to the self-aggrandizement of his identities as an (exotic) American, a prolific painter of high-minded scenes of history and religion, and the head of a workshop teeming with artists who shared his heritage, though not always his aesthetic inclinations. Over his career he cultivated a reputation as a welcoming instructor, always willing to give advice or lessons to any artist who approached him. This was not solely an act of altruism. -
Master Thesis
Falsehood Flies: Debunking the myth of John Boydell’s printmaking George Richards (s1382330) A thesis submitted in partial fulfilment of the requirements for graduation with Master of Arts From the department of Arts and Culture: Early Modern and Medieval Art Thesis Supervisors: Professor Caroline van Eck Drs. Nelke Bartelings 5794VMATH September 30th, 2014 University of Leiden Cover Image: Valentine Green after Josiah Boydell. John Boydell, Engraver, mezzotint, 1772. Trustees of the British Museum. Acknowledgements To begin with, I would like to acknowledge my debt to the late Christopher Lennox-Boyd. His enthusiasm for the graphic arts was infectious, and first stoked my interest in this field. A connoisseur of true anachronism; the scope of his knowledge was rivalled only by that of his collection. Were it not for his influence, this thesis would never have been realised. It was an honour to have known him. The same may be said for Professor Caroline van Eck and Drs. Nelke Bartelings. With Caroline’s command of the long eighteenth-century, and Nelke’s encyclopaedic grasp of printmaking, the pair of them suggested important revisions which shaped the final version of this work. I could not have asked for more valuable supervision. On a more intimate level, I must thank my parents, who provided unwavering counsel, as well as an efficient courier service. Additional mention should also go to the Greek contingent of Constantina, Stefanos, and Panagiota, who ensured that I balanced industry with idleness during my stay in Leiden. And finally, I extend a special gratitude to my dearest Monique. She has had the patience of Elizabeth Boydell from the very outset, and suppressed any hint of rancour as I recently spent our holiday in Burgundy by writing my appendices.