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Aeschylus Sophocles Euripides Socrates Aristophenes Thales Xenophanes Heraclitus Thales Anaxagoras Anaximander Parmenides Protagoras Socrates Leucippus Zeno of Elea Pythagoras Aeschylus Antisthenes Democritus Pericles Plato Herophilos Hippocrates Isaiah Sophocles Epicurus Zeno of Citium Erasistratus Duns Scotus Euripides Aristotle Genealogy of Influence Jeremiah Thucydides Lucretius Cleanthes Zoroaster Buddha http://mike-love.net Ockham Galen Roger Bacon Al-Farabi Albertus Magnus Virgil Luther Aristophenes Alexander Boethius Jesus Asclepiades ChrysippusAmmonius Saccas Muhammad Avicenna Horace Erasmus Ovid Menander Nagarjuna Ashoka Mani Paul Sextus Empiricus Seneca Origen Cicero Plotinus Racine Corneille Plautus Plutarch Razi Averroes Thomas More Chaucer Marlowe Terence Augustine Constantine Montaigne Molière Ibn Khaldun Aquinas Shakespeare Edward Bellamy Petrarch Scarron Descartes Titian Grotius Francis Bacon Homer Ptolemy Jonson Dante Al-Karaji Boyle Rembrandt Euclid Copernicus Lorenzo de Medici Al-Khwarizmi Al Sufi Hobbes Donne Pascal Spinoza Tycho Brahe Galileo Constantijn Huygens Pico Donatello Michelangelo Botticelli Longfellow Kepler Diophantus Locke Christiaan Huygens Diderot Mersenne Leibniz Montesquieu Samuel Richardson Pachelbel Vivaldi Fermat d'Alembert Newton Chydenius Hutcheson d'Holbach Berkeley Gassendi Euler Bernoulli Dalton James Madison Voltaire Priestly Swedenborg Walter Scott Handel Bach Arnauld Halley Adam Smith Hume Rousseau Edward Gibbon Cauchy Gauss Ampère Lavoisier Kant Benjamin Franklin Asimov Wordsworth Mozart Laplace Hamann Vonnegut Jefferson Dürer Schiller Spenser Swift Haydn Coleridge da Vinci Herder Beethoven Lagrange Milton Balzac de Quincey Pope Machiavelli Raphael Poisson Fichte Fourier Faraday Hölderlin Goethe Grimm brothers Chateaubriand Samuel Johnson Berlioz Fermi Dirichlet Riemann Hamilton KelvinCarl Gustav Jacob Jacobi Schelling Confucius von HumboldtWollstonecraft Edmund Burke Austen Cervantes Hugo Burke Hesse Dumas Byron Rubens Emerson Lipschitz Joule Balzano Weierstrass Jacobi Bentham Hegel Mencius Blake Godwin Dickens Pisarro Signac Delacroix Joshua Reynolds Heine Maxwell Behrens Helmholtz Schleiermacher Peirce James Mill Margaret Fuller Marx Hawthorne Dickinson Poe Mary Shelley Flaubert Keats Kate Chopin Degas Seurat Monet Schubert Malthus Ricardo Rosalind FranklinBoltzmann Hertz Dilthey Gropius Darwin James Mill Engels Thoreau Melville Turgenev Shelley Maupassant Baudelaire Wilde Cézanne Gauguin Van Gogh Goya Velázquez Kipling Renoir Wilkins Schrödinger Marconi Frege Conrad Malouf Sisley Liszt Breuer Rutherford Brentano Mead Michelson Brecht Klee Kierkegaard Comte Schopenhauer Spencer Robert OwenJosef and Anni Albers Martin Luther KingGiambattista Jr Vico Feuerbach Mendel Krafft-Ebing Sidgwick Tolstoy Bain Rossini Carlyle Stirner Royce Mallarmé Henry James Zola Maugham Matisse Manet Toulouse-Lautrec Husserl Picasso Chopin Saarinen Watson Planck Wittgenstein Peano Bohr Whitehead Lorentz Weber Benjamin McLuhan Curie DurkheimFriedrich Albert Lange Dewey Berlin Croce George EliotWilliam BatesonMargaret Mead Freud Frye Gandhi Ruskin Rodin de Kooning Erik Satie Valéry Dostoevsky Santayana Yeats Wagner Whitman Laozi Debussy Ford Madox Ford Twain Naipaul Rachmaninoff Ray and Charles EamesCantor Searle Scheler Lindemann Crick Ryle Tarski Russell Heisenberg Lévinas Adorno de Beauvoir Lacan Veblen Poincaré Lippmann Merleau-PontyEbenezer Howard Jung Nietzsche Gramsci Woolf Harold BloomGregory BatesonWilliam Morris Mandela Geddes Rilke Viollet-le-Duc Atwood Márquez Proust Kafka Dylan Thomas Rimbaud Zhuangzi Faulkner Trotsky Apollinaire Stein Pound Braque Kandinsky Mendelssohn Einstein Joyce Quine Heidegger Schumann Hilbert Ayer Geertz Collingwood Kripke Pauli Dawkins Ozenfant Jaspers CunninghamBuckminster Fuller Thomas Mann Rothko Chomsky Rawls Maynard Keynes Popper Frank Lloyd WrightLewis Mumford Salinger Gaudí Kundera Guimard Henry Miller Samuel Beckett Duchamp Camus Flann O'Brien Kerouac Burroughs von Mises Borges Breton Max Jacob Rivera Mondrian Frost Mencken Amy Lowell Eliot Williams Cage Minkowski le Corbusier Arendt Carnap Miró Man Ray Brouwer Leo Strauss von Neumann Ricoeur Sartre Gadamer Feyerabend Lakatos Kevin Lynch Bergson Magritte Pushkin Edmund Wilson Stoppard Coetzee Ginsberg Hayek Eco Éluard Derain Kahlo Van DoesburgRichard Wright Brahms Richard Strauss Rauschenberg Sellars Giacometti Fitzgerald Gödel Weyl Allan Bloom Jane Jacobs van der Rohe Habermas Goffman Saussure Foucault Gogol Nabokov Gore Vidal D.H. Lawrence Kesey Max Ernst Dalí Jasper Johns Hemingway Turing Desani Pynchon Derrida Said Deleuze Anaïs Nin Aldous Huxley Orwell Pollock Lorca Lichtenstein Warhol Putnam Rushdie DeLillo Burgess Dos Passos Murakami Dennett Davidson Cummings Rorty Brandom McDowell Powered by yFiles.
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  • The Paintings and Sculpture Given to the Nation by Mr. Kress and Mr
    e. FOR IMMEDIATE RELEASE THE COLLECTIONS OF THE NATIONAL GALLERY OF ART \YASHINGTON The National Gallery will open to the public on March 18, 1941. For the first time, the Mellon Collection, deeded to the Nation in 1937, and the Kress Collection, given in 1939, will be shown. Both collections are devoted exclusively to painting and sculpture. The Mellon Collection covers the principal European schools from about the year 1200 to the early XIX Century, and includes also a number of early American portraits. The Kress Collection exhibits only Italian painting and sculpture and illustrates the complete development of the Italian schools from the early XIII Century in Florence, Siena, and Rome to the last creative moment in Venice at the end of the XVIII Century. V.'hile these two great collections will occupy a large number of galleries, ample space has been left for future development. Mr. Joseph E. Videner has recently announced that the Videner Collection is destined for the National Gallery and it is expected that other gifts will soon be added to the National Collection. Even at the present time, the collections in scope and quality will make the National Gallery one of the richest treasure houses of art in the wor 1 d. The paintings and sculpture given to the Nation by Mr. Kress and Mr. Mellon have been acquired from some of -2- the most famous private collections abroad; the Dreyfus Collection in Paris, the Barberini Collection in Rome, the Benson Collection in London, the Giovanelli Collection in Venice, to mention only a few.
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    This article was downloaded by: [McGill University Library] On: 06 May 2015, At: 11:53 Publisher: Routledge Informa Ltd Registered in England and Wales Registered Number: 1072954 Registered office: Mortimer House, 37-41 Mortimer Street, London W1T 3JH, UK The Art Bulletin Publication details, including instructions for authors and subscription information: http://www.tandfonline.com/loi/rcab20 Joshua Reynolds's “Nice Chymistry”: Action and Accident in the 1770s Matthew C. Hunter Published online: 03 Mar 2015. Click for updates To cite this article: Matthew C. Hunter (2015) Joshua Reynolds's “Nice Chymistry”: Action and Accident in the 1770s, The Art Bulletin, 97:1, 58-76, DOI: 10.1080/00043079.2014.943125 To link to this article: http://dx.doi.org/10.1080/00043079.2014.943125 PLEASE SCROLL DOWN FOR ARTICLE Taylor & Francis makes every effort to ensure the accuracy of all the information (the “Content”) contained in the publications on our platform. However, Taylor & Francis, our agents, and our licensors make no representations or warranties whatsoever as to the accuracy, completeness, or suitability for any purpose of the Content. Any opinions and views expressed in this publication are the opinions and views of the authors, and are not the views of or endorsed by Taylor & Francis. The accuracy of the Content should not be relied upon and should be independently verified with primary sources of information. Taylor and Francis shall not be liable for any losses, actions, claims, proceedings, demands, costs, expenses, damages, and other liabilities whatsoever or howsoever caused arising directly or indirectly in connection with, in relation to or arising out of the use of the Content.
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  • The Cult of the Celebrity: Omai, the Exotic and Joshua Reynolds This
    The Cult of the Celebrity: Omai, the Exotic and Joshua Reynolds This lecture I will look at the events that led up to Joshua Reynolds’s portrait of Omai becoming an emblematic and iconic image representing Britain at the very height of its imperial powers. To explore this famous moment from history when two worlds collided I will explore the key players in Omai’s story, his origins in Tahiti, his background and motivation to come to England, followed by his time in England and English society and his interaction therein. I will then go on to look at Joshua Reynolds’s ideas regarding his self image, his influences and how this related to his image of Omai. This will be followed by a look at what this portrait of Omai by Joshua Reynolds can tell us about 18th century English society, its perception or preconception of the Other or non-white European and how prevalent pseudo-scientific ideas in this period affected the way Omai was perceived and finally envisioned in Reynolds’s painting. I will then look at what happened when Omai returned to the South Seas and impact of going back; can one ever go back what is the impact of returning? Finally I will speak about the legacy of the image we call Omai, which has become an enigma in its own right. Short Reading list: House, John, Impressionism for England: Samuel Courtauld as Patron and Collector, (Yale University Press, 1994) Kaeppler, Adrianne L., Head Curator, James Cook and the Exploration of the Pacific, (Thames and Hudson, 2010) Rendle-Short, Francesca, (Ed), Cook & Omai: The Cult of the South Seas, (National Library of Australia, 2001) Postle, Martin, (Ed), Joshua Reynolds: The Creation of Celebrity, (Tate Publishing, 2005) 31/03/2009 - ©Leslie Primo Art First - www.primoartdiscoverytours.co.uk .
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  • Sir Joshua Reynolds the Acquisition of Genius
    North Gallery Labels PLYMOUTH CITY MUSEUM AND ART GALLERY SIR JOSHUA REYNOLDS THE ACQUISITION OF GENIUS Introduction Self-Portrait Shading the Eyes c.1747-9 Sir Joshua Reynolds Oil on canvas This is the only known self-portrait which shows Reynolds as a practising artist, holding his palette, brushes and mahl stick. His presentation with eyes shaded owes a debt to Rembrandt, an artist Reynolds greatly admired. He is fashionably dressed in a blue silk waistcoat and an informal frock-coat with a velvet collar whose plain sleeves are a practical concession to the demands of painting. In the early nineteenth century the picture was cut down, resulting in this oblong canvas. National Portrait Gallery, London . Section 1 / Early Years: Plympton to Plymouth Dock A View of Plymouth Sound c.1748 Sir Joshua Reynolds Oil on canvas This landscape, looking over the Sound from Cattedown, has long been attributed to the young Reynolds before he left Devon for Italy in 1749. It was exhibited at the British Institution in 1823 and recorded as a Reynolds in several nineteenth-century accounts of his works. The Trustees of the Port Eliot Estate Plympton Grammar School Samuel Prout (1783-1852) Oil on canvas Plympton Grammar School was completed in 1671 and still stands today. Funded by the charitable estate of a local nobleman Elize Hele, it served the needs of local parish boys, but as the teaching was so good, the local gentry sent their sons, too. The Reverend Samuel Reynolds took over as master in March 1715, and remained at the school for 30 years, during which time Joshua was also educated at the school.
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  • John Opie's Portraits of Dr. Johnson
    John Opie's portraits of Dr. Johnson The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Clingham, Greg. 2019. John Opie's portraits of Dr. Johnson. Harvard Library Bulletin 28 (2), Summer 2017: 57-80. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42660039 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA John Opie’s Portraits of Dr. Johnson Greg Clingham Introduction amuel Johnson is one of the most painted individuals in English literary history. Given the advanced state of the scholarship, one assumes that Sall lifetime paintings of Johnson have been identifed, cataloged, and discussed.1 We do not expect to stumble upon a new contemporary portrait of Johnson, let alone two diferent portraits, one by a then-unknown Lady Anne Lindsay (1750–1825), the eldest child of the ffh Earl of Balcarres, the other by the well-known portrait painter John Opie (1761–1807). Te frst is unknown; the second has been of the radar of both art historians and Johnson scholars. Lady Anne Lindsay’s efort—a drawing in pencil and watercolor—was executed in November 1773, at the home of Sir Alexander Dick, the president of the Royal College of Physicians in Scotland and Lady Anne’s great-uncle, at the end of Boswell and Johnson’s Highland tour.2 Te Opie “discovery” occurred in Fife during a visit to Balcarres House, Fife, the sixteenth-century home of I am grateful to the twenty-ninth Earl of Crawford and Balcarres for his kind hospitality in inviting me to Balcarres, for providing the image reproduced here, and for his general support of this research.
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  • Report Case Study 25
    Application to export a painting by Sir Joshua Reynolds, Portrait of Omai, for a period of 15 months Expert Adviser’s Statement EXECUTIVE SUMMARY 1. Brief Description of item(s) What is it? Painting What is it made of? Oil on Canvas What are its measurements? 236x145.5cm Who is the artist/maker and what are their dates? Sir Joshua Reynolds, 1723-92 What date is the item? c.1775-1776 What condition is it in? Good 2. Context Provenance Castle Howard since 1796 Key literary and exhibition references Royal Academy, Reynolds Exhibition 1986; David Mannings, Sir Joshua Reynolds, A Complete Catalogue, 2 Volumes 3. Waverley criteria Which of the Waverley criteria does the item meet? (If it is of ‘outstanding significance for the study of some particular branch of art learning or history’ which area of art learning or history). 1, 2 and 3 Very briefly why? Superb example of the artist’s work which also illustrate some of the key ideals of the Eighteenth century DETAILED CASE Completed by 1776 when exhibited at the Royal Academy. Painted by Reynolds for this exhibition and perhaps also as a fitting subject for engraving (Jacobe’s mezzotint is dated August 1777), kept by him and acquired after his death by Michael Bryan in 1796 probably acting for Reynolds young friend and keen admirer the 5th Earl of Carlisle (or in any case with this great collector in mind). The subject excited great curiosity both at a popular level and among the intellectuals of the time. The painting has always been acknowledged by connoisseurs as one of Reynolds’s finest works.
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  • Sir Joshua Reynolds Contents
    TEACHERS PACK PLYMOUTH CITY MUSEUM AND ART GALLERY SIR JOSHUA REYNOLDS CONTENTS Who was Sir Joshua Reynolds? 3 The 18th Century 4 The Royal Academy 6 Reynolds and Celebrity 7 Portraits by Sir Joshua Reynolds 8-17 3 WHO WAS SIR JOSHUA REYNOLDS? Sir Joshua Reynolds was born in Plympton In May 1749, aged 26, Reynolds travelled on 15 July 1723. His father Samuel Reynolds to Italy with Captain Augustus Keppel, and was a clergyman, and Master of Plympton for the first time saw works by the great Grammar School, which later became Hele’s Italian painters, which were to become the School. Reynolds’ passion for art was clear inspiration for many of his later paintings. from his childhood. At the age of nineteen, He stayed in Rome for two years, making he began to study painting with the London- detailed copies of work by the masters that based artist Thomas Hudson, who was inspired him. He travelled to Florence for six himself a successful portrait painter. After months, Venice for six weeks, and Bologna learning how to paint portraits that flattered and Palma for a few days. his subjects, he returned to Plymouth Dock In 1753, Reynolds returned home to Devon. and began to paint portraits of well-off local After three months he moved to London and people and their families. set up a studio at St Martin’s Lane. His rise In terms of his career opportunities, in popularity amongst London’s wealthy elite Plymouth Dock was an important area secured 125 sitters in 1755 alone. This led for Reynolds to have relocated.
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