Benjamin West: General Wolfe and the Art of Empire Contents
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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
The Siege of Fort Beauséjour by Chris M. Hand Notes
1 The Siege of Fort Beauséjour by Chris M. Hand Notes Early Conflict in Nova Scotia 1604-1749. By the end of the 1600’s the area was decidedly French. 1713 Treaty of Utrecht After nearly 25 years of continuous war, France ceded Acadia to Britain. French and English disagreed over what actually made up Acadia. The British claimed all of Acadia, the current province of New Brunswick and parts of the current state of Maine. The French conceded Nova Scotia proper but refused to concede what is now New Brunswick and northern Maine, as well as modern Prince Edward Island and Cape Breton. They also chose to limit British ownership along the Chignecto Isthmus and also harboured ambitions to win back the peninsula and most of the Acadian settlers who, after 1713, became subjects of the British Crown. The defacto frontier lay along the Chignecto Isthmus which separates the Bay of Fundy from the Northumberland Strait on the north. Without the Isthmus and the river system to the west, France’s greatest colony along the St. Lawrence River would be completely cut off from November to April. Chignecto was the halfway house between Quebec and Louisbourg. 1721 Paul Mascarene, British governor of Nova Scotia, suggested that a small fort could be built on the neck with a garrison of 150 men. a) one atthe ridge of land at the Acadian town of Beaubassin (now Fort Lawrence) or b) one more west on the more prominent Beauséjour ridge. This never happened because British were busy fighting Mi’kmaq who were incited and abetted by the French. -
The Boundaries of Nationality in Mid-18Th Century Nova Scotia*
GEOFFREY PLANK The Two Majors Cope: The Boundaries of Nationality in Mid-18th Century Nova Scotia* THE 1750S BEGAN OMINOUSLY IN Nova Scotia. In the spring of 1750 a company of French soldiers constructed a fort in a disputed border region on the northern side of the isthmus of Chignecto. The British built a semi-permanent camp only a few hundred yards away. The two armies faced each other nervously, close enough to smell each other's food. In 1754 a similar situation near the Ohio River led to an imperial war. But the empires were not yet ready for war in 1750, and the stand-off at Chignecto lasted five years. i In the early months of the crisis an incident occurred which illustrates many of *' the problems I want to discuss in this essay. On an autumn day in 1750, someone (the identity of this person remains in dispute) approached the British fort waving a white flag. The person wore a powdered wig and the uniform of a French officer. He carried a sword in a sheath by his side. Captain Edward Howe, the commander of the British garrison, responded to the white flag as an invitation to negotiations and went out to greet the man. Then someone, either the man with the flag or a person behind him, shot and killed Captain Howe. According to three near-contemporary accounts of these events, the man in the officer's uniform was not a Frenchman but a Micmac warrior in disguise. He put on the powdered wig and uniform in order to lure Howe out of his fort. -
Benjamin West and His Visit to Lancaster
BENJAMIN WEST AND HIS VISIT TO LANCASTER. By Hon. Charles I. Landis. How history is falsified by careless writers is proverbial. An illustration of this well-known fact will be seen in the recent History of Lancaster County, wherein it is stated that the first Court House built in Lancaster in Centre Square was of logs. See History of Lancaster County published in 1924 by Lewis Historical Publishing Co., Vol. 1, page 328. Of course, every one who has given the matter any attention knows that it was of brick, and if that chronicler would have read Witham Marshe's Journal—the Secretary of the Maryland Commissioners at the Indian Treaty with the Iroquois in 1744—, he would have found the Court House there described in every particular. Mr. Marshe says: "It is a pretty large brick building, two stories high." (See Egles Notes & Queries, Vol. 1, Third Series, p. 277.) Some years ago a writer in one of our newspapers said that it was of logs, and although the statement was fully refuted by Mr. F. R. Diffenderffer at the time, the historical lie still lived. I hope, however, that in the future we may have no more misrepresentation on this subject. And so I think it has been concerning Benjamin West and his early work. Many stories have been told about him, some of which are merely tradition and are not sustained by any proof; and some do not seem to have any foundation. I have thought it might be interesting to briefly present a few of them, together with certain facts as I have gathered them. -
John Singleton Copley: Correspondence, 1766-1767
1 JOHN SINGLETON COPLEY: CORRESPONDENCE, 1766-1767 The letters below reflect a critical phase in the career of John Singleton Copley 1738-1815), the most gifted of our native-born Colonial portraitists. In them one finds the beginning of his resolve to leave Boston for study abroad and some of the doubts that beset him before he finally sailed, never to return, in 1774. The pictures he sent to London via Captain R. G. Bruce were the famous Boy with a Squirrel, shown in 1766 at an exhibition of the Society of Artists, and a Little Girl, subsequently lost, which followed in 1767. The paintings were generally well received in London, but the criticism that they were too "liney," opaque, and lacking in "Due Subordination of the Parts," only strengthened Copley's discontent with the provincial city of his birth. Captain R. G. Bruce to Copley DEAR COPLEY, LONDON, 4TH AUGUST, 1766 Don't imagine I have forgot or neglected your Interest by my long Silence. I have delayed writing to You ever since the Exhibition, in order to forward the inclosed Letter from Mr. West, which he has from time to time promised me, but which his extreme Application to his Art has hitherto prevented his finishing. What he says will be much more conclusive to You than anything from me. I have only to add the general Opinions which were pronounced on your Picture when it was exhibited. It was universally allowed to be the best Picture of its kind that appeared on that occasion, but the sentiments of Mr. -
The Military Reputation of Major-General James Wolfe
THE MILITARY REPUTATION OF MAJOR-GENERAL JAMES WOLFE Presidential Address Delivered by E. R. Adair 1936 This is an age when heroes are viewed with a somewhat sceptical eye, when it is felt that mere blind veneration for the reputations of the past should not turn aside the chilly wind of historical criticism, that the legends devised to charm worshippers must be tested by the acid of facts. So far General Wolfe has survived any serious attacks upon his reputation, very largely because he was fortunate enough to die in the moment of victory, a victory moreover that came like a blessed thunderbolt to an England that thought that all hope of it had departed, for, as Horace Walpole aptly says, Wolfe's final despatch couched "in the most artful terms that could be framed" had "left the nation uncertain whether he meant to prepare an excuse for desisting, or to claim the melancholy merit of having sacrificed himself without a prospect of success."(1) But if his reputation has so far survived practically untarnished, it is not because he has been wholly exempt from all the dangers to which dead heroes are exposed. On the one hand he has been rendered at times a little ridiculous, by the praises of his more eulogistic biographers, of whom Beckles Willson is one of the worst,(2) and who have found it necessary to discover even in his earlier years those splendid qualities which they thought it proper for a Hero to possess; that there was no particular authority to justify their views seemed quite immaterial. -
'The Little-Ingenious Garrick and the Ingenious Little Hogarth'
Video transcript 'The little-ingenious Garrick and the ingenious little Hogarth' Robin Smith Honorary Professor of English, University College London and William Chubb Actor The Queen’s Gallery, Buckingham Palace Wednesday, 23 April 2014 ROBIN SIMON: In July 1746 the great actor David Garrick wrote a reply to an invitation from the reverend John Hoadly – [CAPTION: The Revd John Hoadly (right) detail from double portrait with Dr Maurice Greene, 1747, National Portrait Gallery] WILLIAM CHUBB: Your invitation to the Old Alresford I most cordially accept of and the little ingenious Garrick with the ingenious little Hogarth will get up on a horseblock. Mount a couple of quadrupeds, or one if it carries double and high away to the reverend Rigdom Funnydose there to be merry, facetious, mad and nonsensical. ' ROBIN SIMON: Well they were certainly facetious. The house party acted, at least to their great enjoyment, what was described as a little bawdy play by Garrick, entitled Rag-and-jaw – rag and jaw. At this stage I think I ought to make one thing clear about Georgian life and humour, it’s, well how shall we put it, very down to earth. And so if you wish you may put your hands over your ears now. Rag-and-jaw is a skit upon the relationship between Brutus and Cassius in Julius Caesar, only now of course inevitably the characters are Brute-arse and Cassy-arse. I didn't say that Georgian, Georgian hjour was subtle. <Footer addr ess> Accompanied by Lucius, oh sorry Loose-arse. Garrick played Cassy-arse and the reverend John Hoadly was Brute-arse. -
Historical Notes on the Environs of Quebec Are, by Permission
Less RUSSELL'S QUEBEC, Patronized by their Excellencies the Governor* General of Canada and Countess of Duffernu This Hotel, which is unrivalled for size, style and locality in Quebec, is open through the year for pleasure and business travel, having accommodation for 500 guests. It is eligibly situated in the immediate vicinity of the most delightful and fashionable promenades, the Governor's Garden, the Citadel, the Esplanade, the Place d'Armes, and Durham and Dufferin Terraces (1400 feet long and 200 feet above the Eiver St. Lawrence), which furnish the splendid views and magnificent scenery for which Quebec is s:> justly celebrated, and which is unsurpassed in any part of the world. WILLIS RUSSELL, President. : ISTORICAL NOTES dnbinns of ($wk(. DRIVE TO INDIAN LORETTE. INDIAN LORETTE. TAHOURENCHE, THE HURON CHIEF. THE ST. LOUIS AND THE ST. FOY ROADS. THE CHAUDIERE FALLS. These Historical jottings are intended to supply the omissions in the Guide Books. By J. M. LeMOINE, Author of " Quebec Past and Present /" Album du Touriste "Maple Leaves ;" and "Chronicles of the St. Lawrence ." MONTREAL PRINTED BY THE BURLAND-DESBARATS LlTH. CO. 1879. HER ROYAL HIGHNESS THE PRINCESS LOUISE These historical notes on the Environs of Quebec are, by permission, MOST RESPECTFULLY INSCRIBED J. M. LeMOINE. Spencer Grange, near Quebec, 4th June, 1879. *&*m ^-^HKtt WljMk SSEr""^ ^g#%*j ^^S^S^M ill I! — A VISIT TO THE INDIAN LORETTE, Of the many attractive sites in the environs of the city, few contain in a greater degree than the Huron village of Lorette during the leafy months of June, July and September, pic- turesque scenery, combined with a wealth of historical asso- ciations. -
Placenaming on Cape Breton Island 381 a Different View from The
Placenaming on Cape Breton Island A different view from the sea: placenaming on Cape Breton Island William Davey Cape Breton University Sydney NS Canada [email protected] ABSTRACT : George Story’s paper A view from the sea: Newfoundland place-naming suggests that there are other, complementary methods of collection and analysis than those used by his colleague E. R. Seary. Story examines the wealth of material found in travel accounts and the knowledge of fishers. This paper takes a different view from the sea as it considers the development of Cape Breton placenames using cartographic evidence from several influential historic maps from 1632 to 1878. The paper’s focus is on the shift names that were first given to water and coastal features and later shifted to designate settlements. As the seasonal fishing stations became permanent settlements, these new communities retained the names originally given to water and coastal features, so, for example, Glace Bay names a town and bay. By the 1870s, shift names account for a little more than 80% of the community names recorded on the Cape Breton county maps in the Atlas of the Maritime Provinces . Other patterns of naming also reflect a view from the sea. Landmarks and boundary markers appear on early maps and are consistently repeated, and perimeter naming occurs along the seacoasts, lakes, and rivers. This view from the sea is a distinctive quality of the island’s names. Keywords: Canada, Cape Breton, historical cartography, island toponymy, placenames © 2016 – Institute of Island Studies, University of Prince Edward Island, Canada Introduction George Story’s paper The view from the sea: Newfoundland place-naming “suggests other complementary methods of collection and analysis” (1990, p. -
John Clarence Webster Fonds
The Osler Library of the History of Medicine McGill University, Montreal Canada Osler Library Archive Collections P11 JOHN CLARENCE WEBSTER FONDS PARTIAL INVENTORY LIST This is a guide to one of the collections held by the Osler Library of the History of Medicine, McGill University. Visit the Osler Library Archive Collections homepage for more information P11: JOHN CLARENCE WEBSTER FONDS TITLE: John Clarence Webster fonds DATES: 1892-1952. EXTENT: 13,8 cm of textual records. BIOGRAPHICAL SKETCH: John Clarence Webster was born 21 October 1863 in Shediac, New Brunswick, which was also where he did his primary studies. He graduated from Mount Allison College in Sackville, New Brunswick in 1882 with a Bachelor of Arts degree. In 1883, he began his medical studies at the University of Edinburgh where he graduated with a Bachelor of Medicine and a Masters in Surgery in 1888. During the course of his medical training he went to Leipzig and Berlin. He worked as an assistant in the Department of Midwifery and Diseases of Women at the University of Edinburgh until his return to Canada in 1896. He settled in Montreal and was appointed Lecturer in Gynecology at McGill University and Assistant Gynecologist to the Royal Victoria Hospital. In 1899, he accepted an offer to fill the Chair of Obstetrics and Gynecology at Rush Medical College, affiliated with the University of Chicago. He also worked in Hospital at the Presbyterian Hospital, the Central Free Dispensary, and at the St Anthony’s and St Joseph’s Hospitals in Chicago. He retired in 1920. During his career he won prizes, and received many scholarships and honours. -
British Garrison at Quebec
THE BRITISH GARRISON AT QUEBEC Christian Rioux Canadian Heritage Patrimoine canadien Parks Canada Pares Canada The British Garrison at Québec 1759-1871 Christian Rioux Translated from the original French Studies in Archaeology, Architecture and History National Historic Sites Parks Canada Department of Canadian Heritage ©Minister of Supply and Services Canada, 1996 Available in Canada through local bookstores or by mail from the Canada Communication Group — Publishing, Supply and Services Canada, Ottawa, Ontario, K1A 0S9. Published under the authorization of the Minister of the Department of Canadian Heritage, Ottawa, 1996. Editing: Sheila Ascroft Design: Suzanne Adam-Filion and Suzanne H. Rochette Production: Suzanne H. Rochette Cover Design: Suzanne H. Rochette Translation: Quebec Region, Parks Canada Parks Canada publishes the results of its research in archaeology, ar chitecture and history. A list of reports is available from Publications, National Historic Sites Directorate, Parks Canada, 1600 Liverpool Court, Ottawa, Ontario, K1A 0M5. Canadian Cataloguing in Publication Data Rioux, Christian The British garrison at Québec, 1759-1 871 (Studies in archaeology, architecture and history, ISSN 0821-1027) Translation of: La garnison britannique à Québec 1759 à 1871 Includes bibliographical references. ISBN 0-660-16482-5 Cat. no. R61-2/9-63E 1. Garrisons, British — Quebec (Province) — Quebec — History — 18th century. 2. Garrisons, British — Quebec (Province) — Quebec — History — 19th century. 3. Soldiers — Quebec (Province) — Quebec — Social life and customs. 4. Quebec (Quebec) — History. I. Parks Canada. National Historic Sites. II. Title. III.Series. U375.C3R56 1996 355.3'0941'0971 C96-980212-9 2 Table of Contents Introduction 5 Organization and Strength 7 Military Properties 17 Military Activities 21 Living Conditions 29 Relations with the Civilian Population 45 Conclusion 51 Bibliography 53 3 1 James Wolfe, leader of the British army to which the city of Québec fell, was killed in the battle of the Plains of Abraham.