100. a Philosopher Giving a Lecture on the Orrery Joseph Wright Of

Total Page：16

File Type：pdf, Size：1020Kb

100. A Philosopher Giving a Lecture on the Orrery Joseph Wright of Derby. C. 1763-1765 C.E. Oil on canvas Orrery: mechanical model of the solar system Article at Khan Academy The Orrery, caused a greater stir (than Wright’s first painting), as it replaced the Classical subject at the centre of the scene with one of a scientific nature o Wright's depiction of the awe produced by scientific "miracles" marked a break with previous traditions in which the artistic depiction of such wonder was reserved for religious events The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, an amateur astronomer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. o Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery.[9] Ferrers purchased the painting for £210, but the 6th Earl auctioned it off, and it is now held by Derby Museum and Art Gallery,[10] where it is on permanent display, and close to a working replica of a full-sized mechanical Grand Orrery Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the moon – new moon, half moon, gibbous moon and full moon .

Copy Link

Recommended publications

Two Boys with a Bladder by Joseph Wright of Derby
RCEWA – Two Boys with a Bladder by Joseph Wright of Derby Statement of the Expert Adviser to the Secretary of State that the painting meets Waverley criteria two and three. Further Information The ‘Applicant’s statement’ and the ‘Note of Case History’ are available on the Arts Council Website: www.artscouncil.org.uk/reviewing-committee-case-hearings Please note that images and appendices referenced are not reproduced. EXECUTIVE SUMMARY 1. Brief Description of item(s) • What is it? A painting by Joseph Wright of Derby representing two boys in fancy dress and illuminated by candlelight, one of the boys is blowing a bladder as the other watches. • What is it made of? Oil paint on canvas • What are its measurements? 927 x 730 mm • Who is the artist/maker and what are their dates? Joseph Wright of Derby (1734-1797) • What date is the item? Probably 1768-70 • What condition is it in? Based upon a viewing of the work by the advisors and conservators, the face and costumes of the two boys are in good condition. However, dark paint throughout the background exhibits widespread retouched drying cracking and there are additional areas of clumsy reconstruction indicating underlying paint losses. 2. Context • Provenance In private ownership by the 1890s; thence by descent The early ownership of the picture, prior to the 1890s, is speculative and requires further investigation. The applicant has suggested one possible line of provenance, as detailed below. It has been mooted that this may be the painting referred to under a list of sold candlelight pictures in Wright’s account book as ‘Boys with a Bladder and its Companion to Ld.
[Show full text]
Joseph Wright
Made in Derby 2018 Profile Joseph Wright Derby’s most celebrated artist is known the world over. Derby Museums is home to the world’s largest collection of works by the 18th century artist. Joseph Wright of Derby is acknowledged officially as an “English landscape and portrait painter”. But his fame lies in being acclaimed as "the first professional painter to express the spirit of the Industrial Revolution", by experts. Candlelight, the contrast of light and dark, known as the chiaroscuro effect, and the birth of science out of the previously held beliefs of alchemy all feature in his works. The inspiration for Wright’s work owes much to meetings of the Lunar Society, a group of scientists and industrialists living in the Midlands, which sought to reconcile science and religion during the Age of Enlightenment. Wright was born in Iron Gate – where a commemorative obelisk now stands –in 1734, the son of Derby’s town clerk John Wright. He headed to London in 1751 to study to become a painter under Thomas Hudson but returned in 1753 to Derby. Wright went back to London again for a further period of training before returning to set up his own business in 1757. He married, had six children – one of whom died in infancy, son John, died aged 17 but the others survived to live full lives. In 1773, he took a trip to Italy for almost two years and this became the inspiration for some of his work featuring Mount Vesuvius. Stopping off to work for a while in Bath as a portrait painter, he finally returned to Derby in 1777, where he remained until his death at 28 Queen Street in 1797.
[Show full text]
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat
[Show full text]
Soho Depicted: Prints, Drawings and Watercolours of Matthew Boulton, His Manufactory and Estate, 1760-1809
SOHO DEPICTED: PRINTS, DRAWINGS AND WATERCOLOURS OF MATTHEW BOULTON, HIS MANUFACTORY AND ESTATE, 1760-1809 by VALERIE ANN LOGGIE A thesis submitted to The University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham January 2011 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT This thesis explores the ways in which the industrialist Matthew Boulton (1728-1809) used images of his manufactory and of himself to help develop what would now be considered a ‘brand’. The argument draws heavily on archival research into the commissioning process, authorship and reception of these depictions. Such information is rarely available when studying prints and allows consideration of these images in a new light but also contributes to a wider debate on British eighteenth-century print culture. The first chapter argues that Boulton used images to convey messages about the output of his businesses, to draw together a diverse range of products and associate them with one site. Chapter two explores the setting of the manufactory and the surrounding estate, outlining Boulton’s motivation for creating the parkland and considering the ways in which it was depicted.
[Show full text]
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p.
[Show full text]
The Art and Artefact Trail at Derby Hospitals
ALINA KISINA THE ART AND INNER SPACE AND SANDRIA MADDOCKS BOX OF LENSES Nuclear Corporate Pathology BOTANICAL ARTEFACT TRAIL Medicine Level 5 towards Services WATERCOLOURS Level Trust HQ Pathology AND OPTICAL AT DERBY HOSPITALS Facilities Pathology MICROSCOPE Corporate Trust Management Level 4 outside Nursing Legal Services Renal Wards 5 Staff Lounge TEZ MARSDEN Hidden Histories is passionate about DERBYSHIRE Ward 404 Ward 405 Ward 406 Renal Unit Ward Derby Hospital’s rich social and LANDSCAPES Level 407 medical history. Our purpose is to capture the AND Renal NHS GLASSES imagination of the Hospital Community and engage Level 4 outside staff, patients, visitors and volunteers the with the Medical Wards JODIE MASTERS HOME wonderful collections the archive has to offer. Ward 403 Ward 402 Ward 410 Ward 409 Ward 408 AND The Hidden Histories Archive is managed as a collaborative project 4 CERAMIC TEA SET between Derby Hospital Charity and Living Derby. Level 3 outside Medical Wards Living Derby is a not-for-profit community interest company, dedicated Education Centre 309-310 to fostering a lively community in our city, through projects which combine creativity and social content, and which leave a legacy. DERBY MUSEUM Rehabilitation Ward 314 (Maternity) AND ART GALLERY Learning & Therapies www.livingderby.com MOONS Children’s AND Hospital OSCILLOMETER IT Services Occupational Health Level 3 outside Medical Wards If you would like to tell us more about any 307-312 Ward 304 Ward 305 Ward 306 Ward 313 Ward 308 of the artefacts on display, or
[Show full text]
Matthew Boutlon and Francis Eginton's Mechanical
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository MATTHEW BOULTON AND FRANCIS EGINTON’S MECHANICAL PAINTINGS: PRODUCTION AND CONSUMPTION 1777 TO 1781 by BARBARA FOGARTY A thesis submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham June 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The mechanical paintings of Matthew Boulton and Francis Eginton have been the subject of few scholarly publications since their invention in the 1770s. Such interest as there has been has focussed on the unknown process, and the lack of scientific material analysis has resulted in several confusing theories of production. This thesis’s use of the Archives of Soho, containing Boulton’s business papers, has cast light on the production and consumption of mechanical paintings, while collaboration with the British Museum, and their new scientific evidence, have both supported and challenged the archival evidence. This thesis seeks to prove various propositions about authenticity, the role of class and taste in the selection of artists and subjects for mechanical painting reproduction, and the role played by the reproductive process’s ingenuity in marketing the finished product.
[Show full text]
EDITORIAL the Next Issue of This Newsletter Will Be Number 100 By
EDITORIAL The next issue of this Newsletter will be number 100 by the reckoning I made when I took over with No. 41 in June 1983, 31 years ago. I took over from Brian Ballin after a lacuna of nearly a year, and was given a copy of No. 37, which came out the previous year, to guide me. I received no other briefing and was told by Jeffery Tillett that I was expected to produce four per annum, which for a few years, I obediently did. No one told me that Peter Billson had been doing covers for Brian, so in ignorance I put a steel engraving on the front cover, and hurt his feelings. I also made the Newsletter longer, which put up the cost and eventually the committee told me to reduce the number of issues to two a year. As by this time I was married and promoted at work, this came as a relief, as everything in those days had to be typed laboriously out (and later typed up uniformly by Robin’s sister) and pasted up with illustrations (themselves an innovation) before going off to Tatlers (of blessed memory) for printing. As No. 100 will be my 60 th issue, I sought the committee’s sanction to produce it in colour (good-bye steel engraving on the front cover) and I am sure that those members who have seen the last two issues on the website will know that it looks a million dollars in colour and only a few bob in black-and-white.
[Show full text]
'Wright Paper' FINAL Copy with Pictures.Pdf
Blinded by spectacle: Disregard for human labour in a landscape of Joseph Wright of Derby, and a painter's response following modernism Item Type Working Paper Authors Ainley, David Citation Ainley, D. (2012) 'Blinded by Spectacle, Disregard for Human Labour in a Landscape of Joseph Wright of Derby, and a Painter's Response following modernism', Digital and Material Arts Research Centre, University of Derby, January 12, pp. 2-3 Download date 29/09/2021 05:38:59 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10545/621637 BLINDED BY SPECTACLE: DISREGARD FOR HUMAN LABOUR IN A LANDSCAPE OF JOSEPH WRIGHT OF DERBY, AND A PAINTER'S RESPONSE FOLLOWING MODERNISM David Ainley Joseph Wright (Wright of Derby) ‘Matlock Dale, looking towards Black Rock Escarpment’ (between 1780 and 1785) in the Paul Mellon Collection, Yale Center for British Art, New Haven, CT David Ainley 'Portobello (Veins)', 2010-11 These two landscapes are separated by a distance of just over a mile and by over two hundred years of art. The two paintings differ greatly in appearance and relate to very different interests in landscape painting, the recent work being concerned with the act of painting itself and the painting as an object, in ways that would have been unconsidered by artists in the late eighteenth century. They also reflect different objectives in the depiction of human endeavour, labour. What the paintings have in common is their response to an area of landscape in mid- Derbyshire. ‘Landscape’, introduced into English around 1600, deriving from the Dutch landschap signifying a picture of a view, came, in a period of around thirty years, to acquire the meaning of the view itself.
[Show full text]
Recent Studies of Book Illustration and Engraving, Including Cartography, 1985–2016 This Bibliography Surveys Scholarship Publ
Recent Studies of Book Illustration and Engraving, including Cartography, 1985–2016 This bibliography surveys scholarship published between 1985–2016 on engraving, including illustrations, prints, and emblems, as well as cartography, during the long eighteenth century (roughly 1650–1820). The focus is on Europe and the Americas, but some of Asian developments, particularly Japanese, have been included. The bibliography is most inclusive for the years 1990-2014, in consequence of my compiling studies from those years for Section 1— "Printing and Bibliographical Studies"—of the ECCB: The Eighteenth-Century Current Bibliography. A shorter version of this list without cartographic materials appeared in The East- Central Intelligencer, n.s. 15, no. 1 (January 2001), 58-77. Then an intermediate version appeared at Kevin Berland's C18-L website. During 2015–17, I expanded the list four times, with it now reaching 236 pages in typescript. The bibliography includes cartography (particularly the printed products of map-making), but excellent annual surveys of cartographic publications have been compiled by Francis Herbert, Wouter Bracke, and Nick Millea for Imago Mundi (entered under their names below). It lists dissertations and reviews for books. Focused on printed sources, it fails to note some valuable electronic sources, such as Juliette Sodt's website on illustration in botanical books, <www. library.wwu.edu/ref/subjguides/BOTILL.htm>, and many exhibition catalogues posted on the web by museums (only some recent exhibitions are included). Also, some studies in my bibliography of children’s literature at BibSite, as those on chapbooks, could also have been placed into this bibliography on engraving but were not.
[Show full text]
Download Derby Walks
The City Circuit 24 Iron Gate 8 Michael Thomas Bass 16 The Old Bell Hotel 21 The former Boots Building 25 Bonnie Prince Charlie Statue 30 An early 18th century house which was statue This is the last coaching Inn to survive in Derby. Built for the Nottingham based A magnificent life-size statue set up Assembly Rooms/Derby Sales & 1 once the home of horologer, scientist and A statue of Michael Thomas Bass MP for Built in 1680, it was extended with an ornate chemists at the beginning of the high upon a stone plinth. Glossop born Information Centre philosopher, John Whitehurst FRS (1713 – Derby 1847 – 1883 is situated next to the ballroom in 1776 and acquired its timber façade 20th century. The top of the building sculptor, Anthony Stones created the work 1788). In 1855, the roof was removed and the Derby Museum and Library. He funded the in 1929. A meeting was held here in 1884 by displays statues of important which was unveiled in December 1995. The Assembly Rooms complex the Derby Midland Cricket Club. It was during Derby people who have influenced This landmark signifies Bonnie Prince present glass structure substituted to make construction of this fine gothic building. is an award winning architectural a studio for Richard Keene (1825 – 1894) this meeting that the members elected to progress within the city – Florence Charlie’s fateful return to Scotland in design by Casson and Conder Derby’s pioneer Victorian photographer. form their own football team – the evolution of Nightingale, John Lombe (co-founder 1745. He arrived in Derby on 4 December built in 1977.
[Show full text]
Self-Evident Truths: Neo-Classicism
ART HISTORY Journey Through a Thousand Years “Self-Evident Truths” Week Nine: Neo-Classicism Jacques-Louis David, “ Oath of the Horatii” - Joseph Wright of Derby, “A Philosopher Giving a Lecture at the Orrery” – Soufflot, The Panthéon (Church of Ste-Geneviève), Paris - The Death of Marat - Angelica Kauffmann, “Cornelia Pointing to her Children as Her Treasures”- The Formation of a French School: the Royal Academy of Painting and Sculpture” - Key Paintings of the First Empire – The Death of General Wolfe Giovanni Paolo Panini : Ancient Rome Dr. Claire Black McCoy: “Jacques-Louis David, Oath of the Horatii” From smARThistory (2016) The accurate history of Rome’s early days is obscured by the mists of time, but the legendary history of the days of the first seven kings of Rome was passed down lovingly. It contains stories of many adventures, including that of the three Horatii (sons of Horatius,) three young men who stood as the only hope of Rome against its enemies. When the great painter David captured this moment, he not only seared the definitive image of it onto the minds of all who saw it, but in a sense defined a new style of art: Neo-Classicism. Follow the link to find out more about this amazing work. Link to the article and video: https://smarthistory.org/jacques-louis-david-oath-of-the-horatii/ [New classics of the highest rank! This was the rallying cry of populations immersed in the 18th century Age of Enlightenment who wanted their artwork and architecture to mirror, and carry the same set of standards, as the idealized works of the Greeks and Romans.
[Show full text]