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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. -
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. -
An Exhibition of Miniatures by Celebrated Masters of the 16Th, 17Th
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From the Commonwealth to the Georgian Period, 1650-1730
A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1. -
Diploma Lecture Series 2012 Absolutism to Enlightenment
Diploma Lecture Series 2012 Absolutism to enlightenment: European art and culture 1665-1765 Charles II and the restoration Lorraine Kypiotis 15 / 16 February 2012 Lecture summary: The Restoration had an exhilarating bravado characterised by a lavish and flamboyant court. It saw the return of the theatre, a flourishing of the arts and the founding of the Royal Society in a court that was the glamorous and often scandalous centre of a London that would rise from the flames like a phoenix. The return of Charles II to the throne in 1660 marked a moment of political and cultural change almost as dramatic as that brought about by his father’s execution 11 years earlier. After the repressions of the interregnum and the uncertainties and poverty of the exiled court, there was an appetite for exuberance, indulgence and transgression – an appetite that the king came to symbolize. After the puritanical sobriety of Cromwell’s parliament, England once again flourished in the arts and sciences. Charles, and his court patronised a number of scientists, architects, poets and dramatists whose influences were felt far beyond the reign of the “Merry Monarch”. Most importantly in the field of the fine arts, Charles was responsible for the recovery of many of the great paintings in the British Royal Collection that had been sold by the Commonwealth after his father’s execution; for the acquisition of a number of fine works by the great artists of the Baroque; and in his patronage of portraitists such as Sir Peter Lely. Charles and the artists he patronised were responsible for the enduring images of a monarchy restored. -
Download the Diary of Samuel Pepys
The Diary of Samuel Pepys by Samuel Pepys The Diary of Samuel Pepys by Samuel Pepys This etext was produced by John Hill. THE DIARY OF SAMUEL PEPYS, ESQ., F.R.S. FROM 1659 TO 1669 WITH MEMOIR Edited by LORD BRAYBROOKE Notes about the etext: There are over a thousand footnotes in the printed text that were added by the editor. Most of these are very short biographical and similar notes, and have been inserted into the etext in square brackets close to the point where they were originally referred to by a suffix. A few of the longer notes have been given a page 1 / 1.002 separate paragraph which has also been placed in square brackets. Text that was in italics in the printed book has been written in capitals in the etext. Accents etc. have been omitted. Where sums of money are referred to, the abreviations 'l.', 's.' and 'd.' are used to designate 'Pounds', 'Shillings', and 'Pence'. In the printed text, the year was printed at the top of each page. As this was not possible in the etext, years have been added to the first entry for each month to make it easier for readers to keep track of the year. Because the old-style calendar was in use at the time the diary was written, in which the New Year began on March 25th, the year has been given a dual number in January, February and March, as has been done elsewhere in the diary, (eg. 1662-63 during the first months of 1663). -
Samuel Pepys and John Evelyn As Restoration Virtuosi
SAMUEL PEPYS AND JOHN EVELYN AS RESTORATION VIRTUOSI (with particular reference to the evidence in their diaries) by BERNARD GEORGE WEBBER B.A. University of British Columbia, 1950 A Thesis Submitted in Partial Fulfilment of the Requirements of the Degree of Master of Arts in the Department of English We accept this thesis as conforming to the required standard The University of British Columbia October, 1962 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of English The University of British Columbia, Vancouver 8, Canada. Date October 4, 1962 V STATEMENT OF THESIS After the civil conflicts of the seventeenth century, England during the Restoration period began to emerge as a modern nation* As Charles II understood, and as James II was to learn at the cost,of his throne, absolute monarchy was no longer acceptable to the kingdom. Although Englishmen might henceforth tolerate the ,- ( trappings of absolutism, the substance was irrevocably gone. This 1 was as true of absolutism in religion as it was in government. It was only a question of time before the demands of Englishmen for freedom in belief and for participation in government would find expression in parliamentary democracy and in religious toleration. -
Ham House the Green Closet Miniatures and Cabinet Pictures Ham House the Green Closet Miniatures and Cabinet Pictures a HISTORIC HANG REVIVED
Ham House The Green Closet miniatures and cabinet pictures Ham House The Green Closet miniatures and cabinet pictures A HISTORIC HANG REVIVED The collection of miniatures at Ham House is one of the largest accumulations of miniatures by one family to have remained substantially intact. Its display with small paintings and other images in an early 17th-century picture closet is without surviving parallel in England. By 1990, however, almost all the pictures and miniatures were displayed elsewhere, and the original purpose of the Green Closet was no longer evident. The substantial restoration of the historic groupings on its walls, with the kind agreement of the Victoria & Albert Museum, has revived the spirit, and much of the appearance, of the traditional arrangement. Designed to display both cabinet fring’d’ hanging from ‘guilt Curtaine rods dismantled) that extended even to the pictures and miniatures on an intimate round the roome’,which could be drawn sides of the chimneybreast. This was the scale, in contrast to the arrays of three- to protect the paintings from light and arrangement in 1844, when 97 pictures quarter-length portraits in the adjoining dust. The table and green-upholstered were listed, a considerable increase on Long Gallery, the Green Closet is of the seat furniture were also provided with 1677, when there were 57, but the spirit greatest rarity, not only as – in its core – sarsenet case-covers. Modern copies of all of the 17th-century room was a survival from the reign of Charles I these decorative and practical furnishings undoubtedly preserved. It may be that (whose own closets for the display of and fittings have recently been provided. -
Arabella Churchill C. 1665 by Mary Beale. James's Mistress 1665-1675
02/08/2021 James Stuart 1st Duke of Berwick, Arabella Churchill c. 1665 James and Arabella’s elder son by Mary Beale. James’s mistress 1665-1675, mother of four children by him 1 2 James 1st Earl Waldegrave, son of James and Arabella’s daughter Henrietta Catherine Sedley Countess of Dorchester (1686) c. 1675 by Sir Peter Lely. James’s mistress 1675-1688 3 4 John Sheffield duke of Edward Hyde Lord Chancellor by Sir Buckingham and Normanby by Peter Lely. Chief Minister of Charles I Sir Godfrey Kneller c 1685. He and Charles II, father-in-law of James was the second husband of James and Catherine’s daughter Catherine Darnley 5 6 1 02/08/2021 Laurence Hyde, Earl of Rochester as Anne Hyde, Duchess of York c. 1661 Lord High Treasurer c. 1685 by by Sir Peter Lely, Scottish National Willem Wissing, the Holburne Gallery Museum. James’s brother-in-law 7 8 Anne Hyde, Duchess of York Anne Hyde, Duchess of York c. 1662 by Sir Peter Lely, Hampton 1670 by Sir Peter Lely, National Court Palace Portrait Gallery at Lyme Park 9 10 James as Duke of York 1661 by Samuel Cooper, Victoria & Albert Museum James and Anne as Duke and Duchess of York c. 1665 by Sir Peter Lely, National Portrait Gallery 11 12 2 02/08/2021 James when Duke of York c. 1665 by Sir Peter Lely, Royal Collection The Duke and Duchess of York 1668-70 by Sir Peter Lely with their two daughters Mary and Anne added by Benedetto Gennari II c. -
Press Release
PRESS RELEASE 22 November 2018 Old Master paintings and spectacular silver furniture go on display in the first ever exhibition in Scotland dedicated to Charles II’s art collection Highlights of the magnificent art collection assembled by Charles II following the restoration of the monarchy in 1660 will go on display in a new exhibition opening at The Queen’s Gallery, Palace of Holyroodhouse tomorrow (Friday, 23 November). Exploring the rich world of Charles II’s court and the role of the arts in the re-establishment of the Stuart monarchy, Charles II: Art & Power includes more than 100 works of art from the Royal Collection, the majority of which are on display in Scotland for the first time. On 29 May 1660, his 30th birthday, Charles II made his triumphant return to London, ending more than a decade of Republican rule following the execution of his father Charles I in 1649. Over the 25 years that followed, the court of Charles II became the centre for the patronage of leading artists and the collecting of great works of art, which served to decorate the royal apartments, glorify the restored monarchy and reinforce the position of Charles II as the rightful King. One of the first acts of Charles’s reign was the recovery of his father’s art collection, much of which had been sold off by the Commonwealth government. In May 1660 Parliament commanded that all persons holding goods formerly belonging to Charles I were to return them with immediate effect. Among the works recovered were Orazio Gentileschi’s A Sybil, c.1635–38, and Domenico Fetti’s David with the Head of Goliath, c.1620. -
The Stuarts Charles I & Civil War Lord George Stuart 1618 – 42
The Stuarts Charles I & Civil War Lord George Stuart 1618 – 42 By Sir Anthony Van Dyck (1599 – 1641) Oil on canvas, about 1638 86 x 52 1/2 in. (218.4 x 133.4 cm) Lord George Stuart (1618 – 42) was the son of the Duke of Lennox. He was brought up in France, inheriting the Seigneury of Aubigny in 1632. At the outbreak of civil war he joined King Charles I and was killed at Edgehill in 1642. He was described by Lord Clarendon in his ‘History of the Rebellion’ as ‘a gentleman of great hopes, of a gentle and winning disposition and of a very clear courage’. This full-length portrait depicts Lord George Stuart standing in the guise of a shepherd, facing towards us, in the midst of a landscape. He is clothed in a vivid blue knee-length tunic and a contrasting warm yellow-brown cloak. The cloak is fastened on his right shoulder with a brooch of pearls. Lord George Stuart leans in a languid pose with his right forearm resting on a rock, bearing the inscription ‘ME FIRMIOR AMOR ‘, ‘Love is stronger than I am’. The cloak, falling behind his right upper arm, is caught beneath his forearm and slips over the edge of the rock. His left arm and hand are NPG 5964 The Stuarts: Lord George Stuart, 1 of 5 The Stuarts Charles I & Civil War concealed under the cloak. His left arm is bent, the elbow jutting out to our right, sweeping the material of the cloak across his chest, his hand gathering it up at his waist where it falls in elegant curving folds. -
Van Dyck and the Early Stuart Painters
• There was a major change in society, the court and the role of painting with the end of the Tudor period and the start of the Stuart period. • James was welcomed into London but his thick Scottish accent, his love of certain favourites and his Scottish ways were not well received at court. Throughout his life James had close relationships with male courtiers, which has caused debate among historians about their exact nature. After his accession in England, his peaceful and scholarly attitude contrasted strikingly with the bellicose and flirtatious behaviour of Elizabeth, as indicated by the contemporary epigram Rex fuit Elizabeth, nunc est regina Jacobus (Elizabeth was King, now James is Queen). • During the Tudor period paintings were not regarded as valuable or important. This changed dramatically during the early Stuart period, partly because of the influence of Peter Paul Rubens and then Anthony van Dyck and partly because Charles was an art lover and became one of the biggest collectors in Europe. • As a result the status of painters was low. A painter would paint an inn sign one day and a portrait the next. They were therefore poorly paid and were treated in England as craftsmen rather than artists. • The status depended on the artist, most were paid more than craftsmen but less than courtiers with the exception of Rubens and Van Dyck who were both knighted. The reason can be seen by comparing Daniel Mytens portrait of Charles with that of Van Dyck. • Let us first consider the kings and queens of the early Stuart period.