The Last Twelve Months Or So Have Seen a Major Resurgence of Interest in the Iconography of Charles James Fox (1749–1806)
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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 -
Deification in the Early Century
chapter 1 Deification in the early century ‘Interesting, dignified, and impressive’1 Public monuments were scarce in Ireland at the begin- in 7 at the expense of Dublin Corporation, was ning of the nineteenth century and were largely con- carefully positioned on a high pedestal facing the seat fined to Dublin, which boasted several monumental of power in Dublin Castle, and in close proximity, but statues of English rulers, modelled in a weighty and with its back to the seat of learning in Trinity College. pompous late Baroque style. Cork had an equestrian A second equestrian statue, a portrait of George I by statue of George II, by John van Nost, the younger (fig. John van Nost, the elder (d.), was originally placed ), positioned originally on Tuckey’s Bridge and subse- on Essex Bridge (now Capel Street Bridge) in . It quently moved to the South Mall in .2 Somewhat was removed in , and was re-erected at the end of more unusually, Birr, in County Offaly, featured a sig- the century, in ,8 in the gardens of the Mansion nificant commemoration of Prince William Augustus, House, facing out over railings towards Dawson Street. Duke of Cumberland (–) (fig. ). Otherwise The pedestal carried the inscription: ‘Be it remembered known as the Butcher of Culloden,3 he was com- that, at the time when rebellion and disloyalty were the memorated by a portrait statue surmounting a Doric characteristics of the day, the loyal Corporation of the column, erected in Emmet Square (formerly Cumber- City of Dublin re-elevated this statue of the illustrious land Square) in .4 The statue was the work of House of Hanover’.9 A third equestrian statue, com- English sculptors Henry Cheere (–) and his memorating George II, executed by the younger John brother John (d.). -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
Oxford Book Fair List 2014
BERNARD QUARITCH LTD OXFORD BOOK FAIR LIST including NEW ACQUISITIONS ● APRIL 2014 Main Hall, Oxford Brookes University (Headington Hill Campus) Gipsy Lane, Oxford OX3 0BP Stand 87 Saturday 26th April 12 noon – 6pm - & - Sunday 27th April 10am – 4pm A MEMOIR OF JOHN ADAM, PRESENTED TO THE FORMER PRIME MINISTER LORD GRENVILLE BY WILLIAM ADAM 1. [ADAM, William (editor).] Description and Representation of the Mural Monument, Erected in the Cathedral of Calcutta, by General Subscription, to the Memory of John Adam, Designed and Executed by Richard Westmacott, R.A. [?Edinburgh, ?William Adam, circa 1830]. 4to (262 x 203mm), pp. [4 (blank ll.)], [1]-2 (‘Address of the British Inhabitants of Calcutta, to John Adam, on his Embarking for England in March 1825’), [2 (contents, verso blank)], [2 (blank l.)], [2 (title, verso blank)], [1]-2 (‘Description of the Monument’), [2 (‘Inscription on the Base of the Tomb’, verso blank)], [2 (‘Translation of Claudian’)], [1 (‘Extract of a Letter from … Reginald Heber … to … Charles Williams Wynn’)], [2 (‘Extract from a Sermon of Bishop Heber, Preached at Calcutta on Christmas Day, 1825’)], [1 (blank)]; mounted engraved plate on india by J. Horsburgh after Westmacott, retaining tissue guard; some light spotting, a little heavier on plate; contemporary straight-grained [?Scottish] black morocco [?for Adam for presentation], endpapers watermarked 1829, boards with broad borders of palmette and flower-and-thistle rolls, upper board lettered in blind ‘Monument to John Adam Erected at Calcutta 1827’, turn-ins roll-tooled in blind, mustard-yellow endpapers, all edges gilt; slightly rubbed and scuffed, otherwise very good; provenance: William Wyndham Grenville, Baron Grenville, 3 March 1830 (1759-1834, autograph presentation inscription from William Adam on preliminary blank and tipped-in autograph letter signed from Adam to Grenville, Edinburgh, 6 March 1830, 3pp on a bifolium, addressed on final page). -
Garofalo Book
Chapter 1 Introduction Fantasies of National Virility and William Wordsworth’s Poet Leader Violent Warriors and Benevolent Leaders: Masculinity in the Early Nineteenth-Century n 1822 British women committed a public act against propriety. They I commissioned a statue in honor of Lord Wellington, whose prowess was represented by Achilles, shield held aloft, nude in full muscular glory. Known as the “Ladies’ ‘Fancy Man,’” however, the statue shocked men on the statue committee who demanded a fig leaf to protect the public’s out- raged sensibilities.1 Linda Colley points to this comical moment in postwar British history as a sign of “the often blatantly sexual fantasies that gathered around warriors such as Nelson and Wellington.”2 However, the statue in its imitation of a classical aesthetic necessarily recalled not only the thrilling glory of Great Britain’s military might, but also the appeal of the defeated but still fascinating Napoleon. After all, the classical aesthetic was central to the public representation of the Revolutionary and Napoleonic regimes. If a classical statue was supposed to apotheosize Wellington, it also inevitably spoke to a revolutionary and mar- tial manhood associated with the recently defeated enemy. Napoleon him- self had commissioned a nude classical statue from Canova that Marie Busco speculates “would have been known” to Sir Richard Westmacott, who cast the bronze Achilles. In fact Canova’s Napoleon was conveniently located in the stairwell of Apsley House after Louis XVIII presented it to the Duke of Wellington.3 These associations with Napoleon might simply have underscored the British superiority the Wellington statue suggested. -
The Jubilee Walkway. Section 5 of 5
Transport for London. The Jubilee Walkway. Section 5 of 5. The Jubilee Loop (anti-clockwise). Start and finish: The Jubilee Walkway panel (on the south side of Trafalgar Square). Nearest station: Charing Cross . Section distance: 2 miles (3 kilometres). Introduction. This is a circular walk in the heart of London linking the institutions of The Monarchy and the Government. This section of the Jubilee Walkway connects with section one at Trafalgar Square and at Great George Street. Look out for the Jubilee Walkway discs in the pavement as you go round. Directions. This walk starts from Trafalgar Square. Did you know? Trafalgar Square was laid out in 1840 by Sir Charles Barry, architect of the new Houses of Parliament. The square, which is now a 'World Square', is a place for national rejoicing, celebrations and demonstrations. It is dominated by Nelson's Column with the 18-foot statue of Lord Nelson standing on top of the 171-foot column. It was erected in honour of his victory at Trafalgar. With Trafalgar Square behind you and keeping Canada House on the right, cross Cockspur Street and keep right. Go around the corner, passing the Ugandan High Commission to enter The Mall under the large stone Admiralty Arch - go through the right arch. Keep on the right-hand side of the broad avenue that is The Mall. Did you know? Admiralty Arch is the gateway between The Mall, which extends southwest, and Trafalgar Square to the northeast. The Mall was laid out as an avenue between 1660-1662 as part of Charles II's scheme for St James's Park. -
BLACK LONDON Life Before Emancipation
BLACK LONDON Life before Emancipation ^^^^k iff'/J9^l BHv^MMiai>'^ii,k'' 5-- d^fli BP* ^B Br mL ^^ " ^B H N^ ^1 J '' j^' • 1 • GRETCHEN HOLBROOK GERZINA BLACK LONDON Other books by the author Carrington: A Life BLACK LONDON Life before Emancipation Gretchen Gerzina dartmouth college library Hanover Dartmouth College Library https://www.dartmouth.edu/~library/digital/publishing/ © 1995 Gretchen Holbrook Gerzina All rights reserved First published in the United States in 1995 by Rutgers University Press, New Brunswick, New Jersey First published in Great Britain in 1995 by John Murray (Publishers) Ltd. The Library of Congress cataloged the paperback edition as: Gerzina, Gretchen. Black London: life before emancipation / Gretchen Holbrook Gerzina p. cm. Includes bibliographical references and index ISBN 0-8135-2259-5 (alk. paper) 1. Blacks—England—London—History—18th century. 2. Africans— England—London—History—18th century. 3. London (England)— History—18th century. I. title. DA676.9.B55G47 1995 305.896´0421´09033—dc20 95-33060 CIP To Pat Kaufman and John Stathatos Contents Illustrations ix Acknowledgements xi 1. Paupers and Princes: Repainting the Picture of Eighteenth-Century England 1 2. High Life below Stairs 29 3. What about Women? 68 4. Sharp and Mansfield: Slavery in the Courts 90 5. The Black Poor 133 6. The End of English Slavery 165 Notes 205 Bibliography 227 Index Illustrations (between pages 116 and 111) 1. 'Heyday! is this my daughter Anne'. S.H. Grimm, del. Pub lished 14 June 1771 in Drolleries, p. 6. Courtesy of the Print Collection, Lewis Walpole Library, Yale University. 2. -
Images Re-Vues, 13 | 2016, « Supports » [En Ligne], Mis En Ligne Le 20 Août 2016, Consulté Le 28 Février 2021
Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports Doina Craciun et Bénédicte Duvernay (dir.) Édition électronique URL : http://journals.openedition.org/imagesrevues/3901 DOI : 10.4000/imagesrevues.3901 ISSN : 1778-3801 Éditeur : Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Référence électronique Doina Craciun et Bénédicte Duvernay (dir.), Images Re-vues, 13 | 2016, « Supports » [En ligne], mis en ligne le 20 août 2016, consulté le 28 février 2021. URL : http://journals.openedition.org/imagesrevues/ 3901 ; DOI : https://doi.org/10.4000/imagesrevues.3901 Ce document a été généré automatiquement le 28 février 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. 1 SOMMAIRE Editorial Bénédicte Duvernay The Deceptive Surface: Perception and Sculpture’s “Skin” Christina Ferando Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando L’épiderme des statues grecques : quand le marbre se fait chair Adeline Grand-Clément Une archéologie des icônes éthiopiennes Matériaux, techniques et auctorialité au XVe siècle Claire Bosc-Tiessé et Sigrid Mirabaud Des images en quête de supports L’iconographie implicite des crises hallucinatoires grisi siknis Maddalena Canna Poser la couleur : le Centre Pompidou Mobile, la coloration des murs et l’anthropologie Arnaud Dubois -
Childish Ways: Anne Damer and Other Precursors to Childe Harold's
1 CHILDISH WAYS : ANNE DAMER AND OTHER PRECURSORS TO CHILDE HAROLD ’S PILGRIMAGE JONATHAN GROSS DE PAUL UNIVERSITY How did Anne Damer and William Beckford anticipate, and in a sense make possible, Byron’s Childe Harold’s Pilgrimage ? A brief overview of these Byron precursors might be helpful. In 1787, William Beckford (author of Vathek) visited Lisbon as a social outcast after his reputed affair with William Courtenay in the Powderham scandal; he struggled unsuccessfully to be admitted to the King and Queen of Portugal and kept a journal recounting the events. Four years later, in 1791, Anne Damer arrived in the same city to recover her health. Her husband had committed suicide in 1776 and she lived a precarious life as an amateur actress, sculptress, and novelist. In fact, she wrote the rough draft of Belmour (1801) during her stay. In 1808, Byron had to consider whether he would be a politician (potentially a soldier), or a writer when he came to Lisbon. Though he had written several poems, they had received mixed reviews, and it was not clear whether Byron would ever mature successfully from the poetic persona he had established in Fugitive Pieces , Hours of Idleness , and English Bards and Scotch Reviewers . When he began the poem that made him famous in Cintra at the St. Lawrence hotel, Byron’s future was not firmly established. All three figures, Beckford, Damer, and Byron, viewed Portugal and Cintra, as places to recover their lost youth, and to celebrate the creative values associated with childishness which they explored in their art, whether in Vathek , Belmour , or Childe Harold . -
Lorenzo Bartolini Vernio, 1777 - Florence, 1850
Lorenzo Bartolini Vernio, 1777 - Florence, 1850 Elisa Bonaparte Baciocchi Levoy, Princesse Française, Princess of Piombino and Lucca, Grand Duchess of Tuscany, Countess of Compignano, Sister of Napoleon (1777 –1820) and Felix Pasquale Baciocchi Levoy, Prince of Piombino and Lucca (1762 –1841) Circa 1809 White marble, Elisa presented on a later turned marble socle; Felix inscribed along the chest ‘FELIX’, an old repair to the tip of Felix’s nose Elisa: 57 cm. high, 75 cm. high, overall Felix: 51.5 cm. high Provenance: By family tradition, Elisa Bonaparte, at her country house, the Villa Ciardi a Villa Vicentina, where also photographed between 1913 and 1919.1 On her death, Joseph Bonaparte (1768–1844), brother of Elisa, who, as the first-born son of their parents, had inherited much of the personal property in Villa Ciardi belonging to his sister Elisa, the fifth- born child, when she died in 1820. On his death, his daughter Zenaide Letizia Bonaparte (1801–54), who married her cousin Charles Lucien Bonaparte (1803–57), the son of Lucien Bonaparte (1775–1840), Napoleon's third-born brother. On her death, Julia Charlotte Bonaparte (1830–1900), daughter of Charles Lucien Bonaparte and Zenaide Letizia Bonaparte, who married Alessandro del Gallo, Marchese di Roccagiovine, Cantalupo e Bardella (1826–92) in 1847. On her death Marchese Alberto del Gallo di Roccagiovine (1854–1947) where documented in the State Archives as being in Villa Ciardi in 1913-1919 and erroneously attributed to Antonio Canova. On his death Marchesa Matilde del Gallo di Roccagiovine (1888-1977), who married Francesco Bucci Casari, Conte degli Atti di Sassoferrato. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Katharine Esdaile Papers: Finding Aid
http://oac.cdlib.org/findaid/ark:/13030/c8x63sn4 No online items Katharine Esdaile Papers: Finding Aid Finding aid prepared by John Houlton, Marilyn Olsen, Catherine Wehrey, and Diann Benti. The Huntington Library, Art Collections, and Botanical Gardens Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2191 Email: [email protected] URL: http://www.huntington.org © November 2016 The Huntington Library. All rights reserved. Katharine Esdaile Papers: Finding mssEsdaile 1 Aid Overview of the Collection Title: Katharine Esdaile Papers Dates (inclusive): 1845-1961 Bulk dates: 1900-1950 Collection Number: mssEsdaile Collector: Esdaile, Katharine Ada, 1881-1950 Extent: 101 boxes Repository: The Huntington Library, Art Collections, and Botanical Gardens. Manuscripts Department 1151 Oxford Road San Marino, California 91108 Phone: (626) 405-2203 Email: [email protected] URL: http://www.huntington.org Abstract: This collection contains the papers of English art historian Katharine Ada Esdaile (1881-1950). Much of the collection relates to her research of British monumental sculpture. Notably the collection includes more than 600 chiefly pre-World War II visitor booklets and pamphlets produced locally by British churches and approximately 3500 photographs taken or collected by Esdaile of sculpture, often funerary monuments in English churches. Language: English. Access Open to qualified researchers by prior application through the Reader Services Department. For more information, contact Reader Services. Publication Rights The Huntington Library does not require that researchers request permission to quote from or publish images of this material, nor does it charge fees for such activities. The responsibility for identifying the copyright holder, if there is one, and obtaining necessary permissions rests with the researcher.