Diploma Lecture Series 2012 Absolutism to Enlightenment
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THE POWER of BEAUTY in RESTORATION ENGLAND Dr
THE POWER OF BEAUTY IN RESTORATION ENGLAND Dr. Laurence Shafe [email protected] THE WINDSOR BEAUTIES www.shafe.uk • It is 1660, the English Civil War is over and the experiment with the Commonwealth has left the country disorientated. When Charles II was invited back to England as King he brought new French styles and sexual conduct with him. In particular, he introduced the French idea of the publically accepted mistress. Beautiful women who could catch the King’s eye and become his mistress found that this brought great wealth, titles and power. Some historians think their power has been exaggerated but everyone agrees they could influence appointments at Court and at least proposition the King for political change. • The new freedoms introduced by the Reformation Court spread through society. Women could appear on stage for the first time, write books and Margaret Cavendish was the first British scientist. However, it was a totally male dominated society and so these heroic women had to fight against established norms and laws. Notes • The Restoration followed a turbulent twenty years that included three English Civil Wars (1642-46, 1648-9 and 1649-51), the execution of Charles I in 1649, the Commonwealth of England (1649-53) and the Protectorate (1653-59) under Oliver Cromwell’s (1599-1658) personal rule. • Following the Restoration of the Stuarts, a small number of court mistresses and beauties are renowned for their influence over Charles II and his courtiers. They were immortalised by Sir Peter Lely as the ‘Windsor Beauties’. Today, I will talk about Charles II and his mistresses, Peter Lely and those portraits as well as another set of portraits known as the ‘Hampton Court Beauties’ which were painted by Godfrey Kneller (1646-1723) during the reign of William III and Mary II. -
Lord Henry Howard, Later 6Th Duke of Norfolk (1628 – 1684)
THE WEISS GALLERY www.weissgallery.com 59 JERMYN STREET [email protected] LONDON, SW1Y 6LX +44(0)207 409 0035 John Michael Wright (1617 – 1694) Lord Henry Howard, later 6th Duke of Norfolk (1628 – 1684) Oil on canvas: 52 ¾ × 41 ½ in. (133.9 × 105.4 cm.) Painted c.1660 Provenance By descent to Reginald J. Richard Arundel (1931 – 2016), 10th Baron Talbot of Malahide, Wardour Castle; by whom sold, Christie’s London, 8 June 1995, lot 2; with The Weiss Gallery, 1995; Private collection, USA, until 2019. Literature E. Waterhouse, Painting in Britain 1530 – 1790, London 1953, p.72, plate 66b. G. Wilson, ‘Greenwich Armour in the Portraits of John Michael Wright’, The Connoisseur, Feb. 1975, pp.111–114 (illus.). D. Howarth, ‘Questing and Flexible. John Michael Wright: The King’s Painter.’ Country Life, 9 September 1982, p.773 (illus.4). The Weiss Gallery, Tudor and Stuart Portraits 1530 – 1660, 1995, no.25. Exhibited Edinburgh, Scottish National Portrait Gallery, John Michael Wright – The King’s Painter, 16 July – 19 September 1982, exh. cat. pp.42 & 70, no.15 (illus.). This portrait by Wright is such a compelling amalgam of forceful assurance and sympathetic sensitivity, that is easy to see why that doyen of British art historians, Sir Ellis Waterhouse, described it in these terms: ‘The pattern is original and the whole conception of the portrait has a quality of nobility to which Lely never attained.’1 Painted around 1660, it is the prime original of which several other studio replicas are recorded,2 and it is one of a number of portraits of sitters in similar ceremonial 1 Ellis Waterhouse, Painting in Britain 1530 to 1790, 4th integrated edition, 1978, p.108. -
WARTS and ALL the Portrait Miniatures of Samuel Cooper (1609-1672)
PRESS RELEASE October 2013 WARTS AND ALL The Portrait Miniatures of Samuel Cooper (1609-1672) A major loan exhibition dedicated to the first internationally celebrated British artist, Samuel Cooper, will go display at the Philip Mould gallery from 13 November – 7 December 2013 (Preview Tuesday, 12 November). Known to his contemporaries as ‘the prince of limners’ or ‘Vandyck in little’. Lenders to the exhibition include Royal Collection Trust, The Duke of Buccleuch, Castle Howard, Burghley House, The Ashmolean Museum, the Victoria and Albert Museum and the National Portrait Gallery. The exhibition takes its name from the Duke of Buccleuch’s iconic unfinished portrait of Oliver Cromwell, which, for the first time, will be hung alongside Sir Peter Lely’s identical portrait of Cromwell [on loan from Birmingham Museum and Art Gallery]. The death mask of Oliver Cromwell will also be loaned from Warwick Castle to allow visitors to compare his features to Cooper’s ad vivum sketch and subsequent portraits. As the exhibition will conclusively show, it is to Cooper that Oliver Cromwell is believed to have made clear his desire to be painted ‘warts and all’. This ambitious exhibition has been curated by Emma Rutherford, portrait miniature specialist to Philip Mould & Co, who has succeeded in securing loans from across the country to make this an outstanding show and give visitors a rare opportunity to glimpse these significant portraits together. Most have not been seen together since leaving Cooper’s studio in the 17th Century. The curator, Emma Rutherford, says “visitors to the exhibition will be able to visually follow Cooper’s career in the same way that we are able to read Pepys diary. -
Charles II: Art & Power
CONTACT SHEET Charles II: Art & Power The Queen’s Gallery, Palace of Holyroodhouse 23 November 2018 – 2 June 2019 Simon Verelst, Charles II, c.1670–75 Antonio Verrio, The Sea Triumph of Charles II, c.1674 Michiel Jansz van Miereveld, A bearded old Man with a Shell, c.1606 Orazio Gentileschi, A Sibyl, c.1635–8 Paolo Veronese, The Mystic Marriage of Georges de la Tour, St Catherine Saint Jerome, of c.1621–3 Alexandria, c.1562–9 Press Office, Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T. +44 (0)20 7839 1377, [email protected], www.royalcollection.org.uk Cristofano Allori, Judith with the Parmigianino, Head of Pallas Athena, Holofernes, c.1531–8 1613 Sir Peter Lely, Sir Peter Lely, Barbara Villiers, Catherine of Duchess of Braganza, Cleveland, c.1663–65 c.1665 Pierre Fourdrinier, The Royal Palace of Holyrood House, Side table, c.1670 c.1753 Leonardo da Vinci, The muscles of the Hans Holbein the back and arm, Younger, Frances, c. 1508 Countess of Surrey, c.1532–3 Press Office, Royal Collection Trust, York House, St James’s Palace, London SW1A 1BQ T. +44 (0)20 7839 1377, [email protected], www.royalcollection.org.uk A selection of images is available at www.picselect.com. For further information contact Royal Collection Trust Press Office +44 (0)20 7839 1377 or [email protected]. Notes to Editors Royal Collection Trust, a department of the Royal Household, is responsible for the care of the Royal Collection and manages the public opening of the official residences of The Queen. -
Anecdotes of Painting in England : with Some Account of the Principal
C ' 1 2. J? Digitized by the Internet Archive in 2013 http://archive.org/details/paintingineng02walp ^-©HINTESS <0>F AEHJKTID 'oat/ /y ' L o :j : ANECDOTES OF PAINTING IN ENGLAND; WITH SOME ACCOUNT OF THE PRINCIPAL ARTISTS; AND INCIDENTAL NOTES ON OTHER ARTS; COLLECTED BY THE LATE MR. GEORGE VERTUE; DIGESTED AND PUBLISHED FROM HIS ORIGINAL MSS. BY THE HONOURABLE HORACE WALPOLE; WITH CONSIDERABLE ADDITIONS BY THE REV. JAMES DALLAWAY. LONDON PRINTED AT THE SHAKSPEARE PRESS, BY W. NICOL, FOR JOHN MAJOR, FLEET-STREET. MDCCCXXVI. LIST OF PLATES TO VOL. II. The Countess of Arundel, from the Original Painting at Worksop Manor, facing the title page. Paul Vansomer, . to face page 5 Cornelius Jansen, . .9 Daniel Mytens, . .15 Peter Oliver, . 25 The Earl of Arundel, . .144 Sir Peter Paul Rubens, . 161 Abraham Diepenbeck, . 1S7 Sir Anthony Vandyck, . 188 Cornelius Polenburg, . 238 John Torrentius, . .241 George Jameson, his Wife and Son, . 243 William Dobson, . 251 Gerard Honthorst, . 258 Nicholas Laniere, . 270 John Petitot, . 301 Inigo Jones, .... 330 ENGRAVINGS ON WOOD. Arms of Rubens, Vandyck & Jones to follow the title. Henry Gyles and John Rowell, . 39 Nicholas Stone, Senior and Junior, . 55 Henry Stone, .... 65 View of Wollaton, Nottinghamshire, . 91 Abraham Vanderdort, . 101 Sir B. Gerbier, . .114 George Geldorp, . 233 Henry Steenwyck, . 240 John Van Belcamp, . 265 Horatio Gentileschi, . 267 Francis Wouters, . 273 ENGRAVINGS ON WOOD continued. Adrian Hanneman, . 279 Sir Toby Matthews, . , .286 Francis Cleyn, . 291 Edward Pierce, Father and Son, . 314 Hubert Le Soeur, . 316 View of Whitehall, . .361 General Lambert, R. Walker and E. Mascall, 368 CONTENTS OF THE SECOND VOLUME. -
Edward Hawke Locker and the Foundation of The
EDWARD HAWKE LOCKER AND THE FOUNDATION OF THE NATIONAL GALLERY OF NAVAL ART (c. 1795-1845) CICELY ROBINSON TWO VOLUMES VOLUME II - ILLUSTRATIONS PhD UNIVERSITY OF YORK HISTORY OF ART DECEMBER 2013 2 1. Canaletto, Greenwich Hospital from the North Bank of the Thames, c.1752-3, NMM BHC1827, Greenwich. Oil on canvas, 68.6 x 108.6 cm. 3 2. The Painted Hall, Greenwich Hospital. 4 3. John Scarlett Davis, The Painted Hall, Greenwich, 1830, NMM, Greenwich. Pencil and grey-blue wash, 14¾ x 16¾ in. (37.5 x 42.5 cm). 5 4. James Thornhill, The Main Hall Ceiling of the Painted Hall: King William and Queen Mary attended by Kingly Virtues. 6 5. James Thornhill, Detail of the main hall ceiling: King William and Queen Mary. 7 6. James Thornhill, Detail of the upper hall ceiling: Queen Anne and George, Prince of Denmark. 8 7. James Thornhill, Detail of the south wall of the upper hall: The Arrival of William III at Torbay. 9 8. James Thornhill, Detail of the north wall of the upper hall: The Arrival of George I at Greenwich. 10 9. James Thornhill, West Wall of the Upper Hall: George I receiving the sceptre, with Prince Frederick leaning on his knee, and the three young princesses. 11 10. James Thornhill, Detail of the west wall of the Upper Hall: Personification of Naval Victory 12 11. James Thornhill, Detail of the main hall ceiling: British man-of-war, flying the ensign, at the bottom and a captured Spanish galleon at top. 13 12. ‘The Painted Hall’ published in William Shoberl’s A Summer’s Day at Greenwich, (London, 1840) 14 13. -
Contact Sheet Working
Royal Collection Season on the BBC All images can be downloaded from www.bbcpictures.co.uk BBC One, The Coronation Her Majesty The Queen with St Edward’s Crown Her Majesty The Queen and Alastair Bruce The Coronation Spoon The Sovereign’s Sceptre St Edward’s Crown The Imperial State Crown Her Majesty The Queen Riding in the Gold State Coach Her Majesty The Queen with her Maids of Honour and the Archbishop of Canterbury during the after her Coronation. Credit: ITV Archive Coronation. Credit: ITV Archive BBC Four Art, Passion & Power: The Story of the Royal Collection Episode One The Bearers of Trophies Charles I with and Bullion, detail from M. de St Antoine by The Triumphs of Caesar by Sir Anthony van Dyck, Andrea Mantegna, 1633 c.1484-92 Andrew Graham-Dixon comes face to face with Charles I by Sir Anthony van Dyck, 1635-before June 1636 Hubert Le Sueur’s portrait bust of Charles I Cicely Heron by Hans Holbein the Younger, 1526-7 Andrew Graham-Dixon in the Picture Gallery at Buckingham Palace Andrew Graham-Dixon in the Picture Gallery Andrew Graham-Dixon in the Picture Gallery at Buckingham Palace at Buckingham Palace BBC Four Art, Passion & Power: The Story of the Royal Collection Episode Two Andrea Odoni by Lorenzo Lotto, 1527 The Bacino di San Marco on Ascension Day by Canaletto, c.1733-4 Frances Stuart, Charles II by Duchess of Richmond by John Michael Wright, Sir Peter Lely, 1662 c.1771-6 The foetus in the womb by Leonardo da Vinci, c.1511 Andrew Graham-Dixon in Venice on the trail of Canaletto Andrew Graham-Dixon in Venice on the -
A Suit of Silver: the Underdress of a Knight of the Garter in the Late Seventeenth Century
Costume, vol. 48, no. 1, 2014 A Suit of Silver: The Underdress of a Knight of the Garter in the Late Seventeenth Century By D W This paper describes the cut and construction of the doublet and hose worn as underdress to the robes and insignia of the Knights of the Most Noble Order of the Garter at the English Court under Charles II. This example belonged to Charles Stuart, sixth Duke of Lennox and third Duke of Richmond (1639–1672), who was created a knight of the Garter in 1661. It is interesting on several counts: the dominant textile is a very pure cloth of silver; the elaborate hose are constructed with reference to earlier seventeenth-century models; the garments exemplify Charles II’s understanding of the importance of ceremony to successful kingship. The suit was conserved for an exhibition at the National Museum of Scotland in Edinburgh and the essay gives some account of discoveries made through this process. In addition, the garments are placed in the context of late seventeenth- century dress. : Charles II, Charles Stuart, sixth Duke of Lennox and third Duke of Richmond, Order of the Garter, ceremonial dress, seventeenth-century men’s clothing, seventeenth-century tailoring T N M S, Edinburgh, UK has in its possession a set of clothes comprising a late seventeenth-century ceremonial doublet and trunk hose, part of the underdress of the robes of the Order of the Garter (Figures 1 and 2).1 The garments are made of cloth of silver and were once worn by Charles Stuart, sixth Duke of Lennox and third Duke of Richmond (1639–1672), who was created a knight of the Garter in 1661. -
Stuart Debauchery in Restoration Satire
Stuart Debauchery in Restoration Satire Neal Hackler A thesis submitted to the Faculty of Graduate and Postdoctoral Studies in partial fulfilment of the requirements for the PhD degree in English Supervised by Dr. Nicholas von Maltzahn Department of English Faculty of Arts University of Ottawa © Neal Hackler, Ottawa, Canada, 2015. ii Contents Acknowledgements ............................................................................................................ iii Abstract .............................................................................................................................. iv List of Figures and Illustrations.............................................................................................v List of Abbreviations .......................................................................................................... vi Note on Poems on Affairs of State titles ............................................................................. vii Stuart Debauchery in Restoration Satire Introduction – Making a Merry Monarch...................................................................1 Chapter I – Abundance, Excess, and Eikon Basilike ..................................................8 Chapter II – Debauchery and English Constitutions ................................................. 66 Chapter III – Rochester, “Rochester,” and more Rochester .................................... 116 Chapter IV – Satirists and Secret Historians .......................................................... 185 Conclusion -
History of Britain from the Restoration to 1783
History of Britain from the Restoration to 1783 HIS 334J (39245) & EUS 346 (36243) Fall Semester 2016 Charles II of England in Coronation Robes Pulling Down the Statue of George III at Bowling John Michael Wright, c. 1661-1662 Green in Lower Manhattan William Walcutt, 1857 JGB 2.218 Tuesday & Thursday, 12:30 – 2:00 PM Instructor James M. Vaughn [email protected] Office: Garrison 3.218 (ph. 512-232-8268) Office Hours: Thursday, 2:30 – 4:30 PM, and by appointment Teaching Assistant Andrew Wilkins [email protected] Office: The Cactus Cafe in the Texas Union building Office Hours: Tuesday, 2:00 – 4:00 PM, and by appointment Course Description This lecture course surveys the history of England and, after the union with Scotland in 1707, Great Britain from the English Revolution and the restoration of the Stuart monarchy (c. 1640-1660) to the War of American Independence (c. 1775-1783). The kingdom underwent a remarkable transformation during this period, with a powerful monarchy, a persecuting state church, a traditional society, and an agrarian economy giving way to parliamentary rule, religious toleration and pluralism, a dynamic civil society, and a commercial and manufacturing-based economy on the eve of industrialization. How and why did this transformation take place? 1 Over the course of the same period, Great Britain emerged as a leading European and world power with a vast commercial and territorial empire stretching across four continents. How and why did this island kingdom off the northwestern coast of Europe, geopolitically insignificant for much of the sixteenth and seventeenth centuries, become a Great Power and acquire a global empire in the eighteenth century? How did it do so while remaining a free and open society? This course explores these questions as well as others. -
1 the Early Royal Society and Visual Culture Sachiko Kusukawa1 Trinity
The Early Royal Society and Visual Culture Sachiko Kusukawa1 Trinity College, Cambridge [Abstract] Recent studies have fruitfully examined the intersection between early modern science and visual culture by elucidating the functions of images in shaping and disseminating scientific knowledge. Given its rich archival sources, it is possible to extend this line of research in the case of the Royal Society to an examination of attitudes towards images as artefacts –manufactured objects worth commissioning, collecting and studying. Drawing on existing scholarship and material from the Royal Society Archives, I discuss Fellows’ interests in prints, drawings, varnishes, colorants, images made out of unusual materials, and methods of identifying the painter from a painting. Knowledge of production processes of images was important to members of the Royal Society, not only as connoisseurs and collectors, but also as those interested in a Baconian mastery of material processes, including a “history of trades”. Their antiquarian interests led to discussion of painters’ styles, and they gradually developed a visual memorial to an institution through portraits and other visual records. Introduction In the Royal Society Library there is a manuscript (MS/136) entitled “Miniatura or the Art of Lymning” 2 by Edward Norgate (1581-1650), who was keeper of the King’s musical instruments, Windsor Herald, and an art agent for “the collector Earl”, Thomas Howard, Earl of Arundel (1586-1646) (Norgate 1997, pp. 1-9). Two versions exist of Norgate’s “Miniatura”, the first of which was 1 written for his friend, Sir Theodore Turquet de Mayerne (1573-1655), and a second, expanded treatise was dedicated to his patron’s son, Henry Frederick Howard, the third Earl of Arundel (1608-1652), also an art connoisseur. -
War and Society the Dutch Republic, 1581–1806
War and Society The Dutch Republic, 1581–1806 Branislav L. Slantchev Department of Political Science, University of California, San Diego Last updated: May 13, 2014 Contents: 1 Medieval Origins 3 2 From Resistance to Rebellion, 1566–1581 6 3 The Republic Forms, 1581–1609 10 4 Political and Fiscal Institutions 17 5 Thirty Years’ War, 1618–48 23 6 The Golden Age, 1650–72 27 7 The Stadtholderate of William III, 1672–1702 31 8 Decline and Fall, 1702–1806 36 8.1 The Second Stadtholderless Period, 1702–46 . ...... 36 8.2 The Orangist Revolution, 1747–80 . 39 8.3 The Patriots and the Batavian Republic, 1787–1806 . ........ 41 9 Paying for the Republic 43 A Maps 54 Required Readings: Anderson, M.S. 1988. War and Society in Europe of the Old Regime, 1618–1789. Montreal & Kingston: McGill-Queen’s University Press. Optional Readings: Blockmans, Wim. 1997. “The Impact of Cities on State Formation: Three Contrasting Territories in the Low Countries, 1300–1500.” In Peter Blickle, Ed. Resistance, Rep- resentation, and Community. Oxford: Clarendon Press. Blockmans, Wim. 1999. “The Low Countries in the Middle Ages.” In Richard Bonney, ed. The Rise of the Fiscal State in Europe, c.1200–1815. Oxford: Oxford University Press. Boogman, J.C. 1979. “The Union of Utrecht: Its Genesis and Consequences.” BMGN – Low Countries Historical Review, 94(3): 377–407. ’t Hart, Marjolein. 1999. “The United Provinces, 1579–1806.” In Richard Bonney, ed. The Rise of the Fiscal State in Europe, c.1200–1815. Oxford: Oxford University Press. De Vries, Jan. 2001. “The Netherlands in the New World: The Legacy of European Fis- cal, Monetary, and Trading Institutions for New World Development from the Seven- teenth to the Nineteenth Centuries.” In Michael D.