ERASMUS DARWIN and HIS RELATION to the DOCTRINE of EVOLUTION* by E
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Two Boys with a Bladder by Joseph Wright of Derby
RCEWA – Two Boys with a Bladder by Joseph Wright of Derby Statement of the Expert Adviser to the Secretary of State that the painting meets Waverley criteria two and three. Further Information The ‘Applicant’s statement’ and the ‘Note of Case History’ are available on the Arts Council Website: www.artscouncil.org.uk/reviewing-committee-case-hearings Please note that images and appendices referenced are not reproduced. EXECUTIVE SUMMARY 1. Brief Description of item(s) • What is it? A painting by Joseph Wright of Derby representing two boys in fancy dress and illuminated by candlelight, one of the boys is blowing a bladder as the other watches. • What is it made of? Oil paint on canvas • What are its measurements? 927 x 730 mm • Who is the artist/maker and what are their dates? Joseph Wright of Derby (1734-1797) • What date is the item? Probably 1768-70 • What condition is it in? Based upon a viewing of the work by the advisors and conservators, the face and costumes of the two boys are in good condition. However, dark paint throughout the background exhibits widespread retouched drying cracking and there are additional areas of clumsy reconstruction indicating underlying paint losses. 2. Context • Provenance In private ownership by the 1890s; thence by descent The early ownership of the picture, prior to the 1890s, is speculative and requires further investigation. The applicant has suggested one possible line of provenance, as detailed below. It has been mooted that this may be the painting referred to under a list of sold candlelight pictures in Wright’s account book as ‘Boys with a Bladder and its Companion to Ld. -
Joseph Wright
Made in Derby 2018 Profile Joseph Wright Derby’s most celebrated artist is known the world over. Derby Museums is home to the world’s largest collection of works by the 18th century artist. Joseph Wright of Derby is acknowledged officially as an “English landscape and portrait painter”. But his fame lies in being acclaimed as "the first professional painter to express the spirit of the Industrial Revolution", by experts. Candlelight, the contrast of light and dark, known as the chiaroscuro effect, and the birth of science out of the previously held beliefs of alchemy all feature in his works. The inspiration for Wright’s work owes much to meetings of the Lunar Society, a group of scientists and industrialists living in the Midlands, which sought to reconcile science and religion during the Age of Enlightenment. Wright was born in Iron Gate – where a commemorative obelisk now stands –in 1734, the son of Derby’s town clerk John Wright. He headed to London in 1751 to study to become a painter under Thomas Hudson but returned in 1753 to Derby. Wright went back to London again for a further period of training before returning to set up his own business in 1757. He married, had six children – one of whom died in infancy, son John, died aged 17 but the others survived to live full lives. In 1773, he took a trip to Italy for almost two years and this became the inspiration for some of his work featuring Mount Vesuvius. Stopping off to work for a while in Bath as a portrait painter, he finally returned to Derby in 1777, where he remained until his death at 28 Queen Street in 1797. -
Matthew Boutlon and Francis Eginton's Mechanical
CORE Metadata, citation and similar papers at core.ac.uk Provided by University of Birmingham Research Archive, E-theses Repository MATTHEW BOULTON AND FRANCIS EGINTON’S MECHANICAL PAINTINGS: PRODUCTION AND CONSUMPTION 1777 TO 1781 by BARBARA FOGARTY A thesis submitted to The University of Birmingham For the degree of MASTER OF PHILOSOPHY Department of History of Art College of Arts and Law The University of Birmingham June 2010 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. ABSTRACT The mechanical paintings of Matthew Boulton and Francis Eginton have been the subject of few scholarly publications since their invention in the 1770s. Such interest as there has been has focussed on the unknown process, and the lack of scientific material analysis has resulted in several confusing theories of production. This thesis’s use of the Archives of Soho, containing Boulton’s business papers, has cast light on the production and consumption of mechanical paintings, while collaboration with the British Museum, and their new scientific evidence, have both supported and challenged the archival evidence. This thesis seeks to prove various propositions about authenticity, the role of class and taste in the selection of artists and subjects for mechanical painting reproduction, and the role played by the reproductive process’s ingenuity in marketing the finished product. -
Newsletter and Proceedings of the LINNEAN SOCIETY of LONDON Burlington House, Piccadilly, London W1J 0BF
THE LINNEAN Newsletter and Proceedings of THE LINNEAN SOCIETY OF LONDON Burlington House, Piccadilly, London W1J 0BF VOLUME 20 • NUMBER 1 • JANUARY 2004 THE LINNEAN SOCIETY OF LONDON Burlington House, Piccadilly, London W1J 0BF Tel. (+44) (0)20 7434 4479; Fax: (+44) (0)20 7287 9364 e-mail: [email protected]; internet: www.linnean.org President Secretaries Council Professor G McG Reid BOTANICAL The Officers and Dr J R Edmondson Prof S Blackmore Vice-Presidents Dr J S Churchfield Professor D F Cutler ZOOLOGICAL Dr J C David Dr V R Southgate Dr V R Southgate Dr A Farjon Dr J M Edmonds Dr M F Fay Dr J R Edmondson EDITORIAL Mr M D Griffiths Professor D F Cutler Dr P Kenrick Dr S D Knapp Librarian & Archivist Dr A M Lister Miss Gina Douglas Dr E C Nelson Treasurer Dr A D Rogers Professor G Ll Lucas OBE Assistant Librarian Dr B R Rosen Ms Cathy Broad Dr D A Simpson Executive Secretary Dr R A Sweeting Dr John Marsden Catalogue Coordinator Ms Lynn Crothall Assistant Secretary Ms Janet Ashdown Membership & House Manager Mr David Pescod Finance Mr Priya Nithianandan Information Technology Mr David Fox THE LINNEAN Newsletter and Proceedings of the Linnean Society of London Edited by B. G. Gardiner Editorial .............................................................................................................. 1 Society News ............................................................................................................ 3 Library ............................................................................................................. -
Fiction Based on Well-Authenticated Facts Documenting the Birth of the American Novelpdf Icon
Fiction Based on "Well-Authenticated Facts" Documenting the Birth of the American Novel by Warren F. Broderick Imagination is the queen of darkness: the night the season of her despotism. Daylight, by presenting a thousand objects to the eye, the hearing, and the touch, restores the empire of the senses, and, from being the sport of fancy, we become the slave of realities. - James Kirk Paulding, Westward Hoi, 1832 he novel arrived late on the American literary scene. Poetry, drama, diaries, sermons and other forms of liter ature long antedated fiction. During America's formative T years, fiction was distrusted by Puritans and pragmatists alike; both found fault with its necessary detachment from reality. Before the novel could truly be accepted as a serious literary form in America, its writers needed to prove that their works were "moral tales," and "founded on fact." In spite of these preconditions, which may have delayed the advent of American fiction, the literary form The Hudson Valley Regional Review, September 1987, Volume 4, Number 2 I flourished in the nineteenth and twentieth centuries. Gothic fiction, powerfully written and very appealing to readers, has remained ascendant since Charles Brockden Brown developed it into a serious litet:ary genre in the 1790s. Brown's Wieland (1798) and Edgar Huntly, (1799) were America's first m<tior novels and are classics of the "American Gothic." They introduced readers to subjects like spontaneous combustion, ventril oquism, insanity, and sleepwalking, as we ll as the powerful forces at -
'Wright Paper' FINAL Copy with Pictures.Pdf
Blinded by spectacle: Disregard for human labour in a landscape of Joseph Wright of Derby, and a painter's response following modernism Item Type Working Paper Authors Ainley, David Citation Ainley, D. (2012) 'Blinded by Spectacle, Disregard for Human Labour in a Landscape of Joseph Wright of Derby, and a Painter's Response following modernism', Digital and Material Arts Research Centre, University of Derby, January 12, pp. 2-3 Download date 29/09/2021 05:38:59 Item License http://creativecommons.org/licenses/by-nc-nd/4.0/ Link to Item http://hdl.handle.net/10545/621637 BLINDED BY SPECTACLE: DISREGARD FOR HUMAN LABOUR IN A LANDSCAPE OF JOSEPH WRIGHT OF DERBY, AND A PAINTER'S RESPONSE FOLLOWING MODERNISM David Ainley Joseph Wright (Wright of Derby) ‘Matlock Dale, looking towards Black Rock Escarpment’ (between 1780 and 1785) in the Paul Mellon Collection, Yale Center for British Art, New Haven, CT David Ainley 'Portobello (Veins)', 2010-11 These two landscapes are separated by a distance of just over a mile and by over two hundred years of art. The two paintings differ greatly in appearance and relate to very different interests in landscape painting, the recent work being concerned with the act of painting itself and the painting as an object, in ways that would have been unconsidered by artists in the late eighteenth century. They also reflect different objectives in the depiction of human endeavour, labour. What the paintings have in common is their response to an area of landscape in mid- Derbyshire. ‘Landscape’, introduced into English around 1600, deriving from the Dutch landschap signifying a picture of a view, came, in a period of around thirty years, to acquire the meaning of the view itself. -
Adopt-A-Book January 26, 2020 Join Us for a Special Opportunity to See Athenaeum Collections That Are Important and in Need of Conservation
Adopt-a-Book January 26, 2020 Join us for a special opportunity to see Athenaeum collections that are important and in need of conservation. Selections broadly reflect the age of reason, with scientific works on geology and optics as well as attempts to rationalize language and de-bunk spiritualists, magicians, witches, and ghosts. Voyages and tales of travel record landscapes, technolo- gies, cultures, and wildlife previously unknown. Closer to home, an early American novel, the laws of Massachusetts Bay Colony, and books on fruit cultivation (by Hawthorne’s uncle) and the print culture of the American colonies show the broad nature of books to be found in the Athenaeum collections. This year we are also asking for your help to restore the plaster busts on display every day in the reading room. Each is listed below with a detailed description and the cost of conserving each volume. Please contact Jean Marie Procious for additional inquiries about these items and conser- vation in general at info.salemathenaeum.net or 978.744.2540. Ames, Joseph. Typographical Antiquities: Or an historical account of the origin and Progress of printing in Great Britain: Containing memoirs of our ancient Printers and a register of books printed by them. London : W. Faden, 1749 An essential reference work on printing that includes a list of the first printers in Great Britain, their publications through 1600 and biographies of the printers, where available, that include plates with printing devices and specimen of type. Ames compiled existing research and went through libraries himself checking title pages. $420 or two shares of $240 1 Plaster Bust of Sir Walter Scott After Sir Francis Leggatt Chantrey, possibly by John Evan Thomas. -
Townshend Manuscript Collection
Museum Square Tel 01945 583817 Wisbech & Fenland Wisbech Cambs PE13 1ES Fax 01945 589050 Museum [email protected] Townshend Manuscript Collection Appendices 1 Townshend Manuscript Collection Appendices Contents Introduction to the Collection……………………………4 Who was Chauncy Hare Townshend? The origins and progress of his Autograph Collection An analysis of the original folders holding the documents Interesting items within the collection other than signatures References to Mesmerism The breadth & content of the collection Alphabetical listings…….…..……………………………10 Detailed listings, with descriptions, content and biographical notes A: Abernethy (1) onwards…………………………………….10 B: Baillie (9)……..……………………………………………...18 C: Calame (52)…………………………………………………63 D: Danby (98)………………………………………………….110 E: Eastlake (115)………………………………………………127 F: Faraday (124)……………………………………………….137 G: Gall (137)…………………………………………………....150 H:Hamann (153)……………………………………………….166 J: James II (170)………………………………………………..183 K: Karr (174)…………………………………………………….187 2 L: La Place (182)………………………………………………..195 M: Macaulay (211)…………………………………....................227 N: Napoleon (246)……………………………………………….262 O: Oehlenschläger (251)………………………………………..268 P: Paley (257)…………………………………………………….275 Q: Quillinan (281)………………………………………………...299 R: Réaumur (283)………………………………………………..301 S: St. Piérre (301)………………………………………………...320 T: Talma (331)…………………………………………………….350 V: Valpy (344)……………………………………………………..364 W: Walter (351)……………………………………………………371 Portfolio Seven Brief listing of contents Supplementary material -
Erasmus Darwin's Deistic Dissent and Didactic Epic Poetry
Erasmus Darwin’s Deistic Dissent and Didactic Epic Poetry: Promoting Science Education to a Mixed Audience Under the Banner of Tolerance by Kirsten Anne Martin A thesis submitted to the Graduate Program in English Language and Literature in conformity with the requirements for the degree of Doctor of Philosophy Queen’s University Kingston, Ontario, Canada July 2012 Copyright © Kirsten Anne Martin, 2012 Abstract Erasmus Darwin’s task as a Deistic Dissenter poet who wished to promote science education to a mixed audience was complex. There was mainstream concern over what Deists and Dissenters actually believed about God, their involvement in science, and, especially, how their published works, whatever the subject, might affect public morality and politics. I argue that Darwin’s poetry is primarily in the genre of Lucretian didactic epic but that it also involves elements of other written traditions (literary and non-literary). I focus on English didactic poetry, the theological written traditions of Dissent and Deism, and a particular tradition of erotic satire. The genre of Lucretian didactic epic and the tradition of English didactic poetry are non-identical. In Darwin’s Lucretian didactic epic, resemblances to such poems as Pope’s Essay on Man challenge ideas about what kind of narrative a didactic poem in the English language can deliver. Techniques from the theological written traditions of Dissent and Deism reflect Darwin’s affiliations, signal that science education fits within a larger debate about intellectual freedom, and promote tolerance for differences of opinion about nature. Mimicry of a particular tradition of erotic satire helps to downplay the address to a mixed audience while satirising some common misconceptions about poetry, botany, and women in the period. -
Maxwell Craven, ‘‘‘Fit to Honour the First Orders of Nobility”: St Helen’S House, Derby’, the Georgian Group Journal, Vol
Maxwell Craven, ‘‘‘Fit To Honour The First Orders Of Nobility”: St Helen’s House, Derby’, The Georgian Group Journal, Vol. XVII, 2009, pp. 77–94 TEXT © THE AUTHORS 2009 ‘FIT TO HONOUR THE FIRST ORDERS OF NOBILITY’: ST HELEN’S HOUSE, DERBY MAXWELL CRAVEN t Helen’s House (Fig. ) is the largest and most Simportant surviving domestic building in Derby: a magnificent Palladian mansion with a monumental ashlar façade of faultless proportions. Unfortunately, it is not on the itinerary of the average tourist, nor has it ever been promoted by its successive local authority owners, for over a century the Corporation of Derby and, for disastrous years, the Derbyshire County Council. Indeed, this superb and rare survival, one of only seven Grade I listed buildings in the city, has been grievously neglected for many years and has been on English Heritage’s Buildings at risk register for a decade. It is a particularly precious survival because it is one of the few surviving purpose-built Georgian gentleman’s town houses of this size and quality outside London. Bigger and more impressive than Fairfax House at York, there are few to compare with it today. A town house may be defined as a residence purpose-built by a country landowner for occasional use when visiting the capital or his local town or city. The reasons why an eighteenth-century gentleman or nobleman needed to stay in town are numerous, chief amongst them business, for those who were brought up to believe that the British upper classes never soiled their hands with trade are largely mistaken. -
Self-Evident Truths: Neo-Classicism
ART HISTORY Journey Through a Thousand Years “Self-Evident Truths” Week Nine: Neo-Classicism Jacques-Louis David, “ Oath of the Horatii” - Joseph Wright of Derby, “A Philosopher Giving a Lecture at the Orrery” – Soufflot, The Panthéon (Church of Ste-Geneviève), Paris - The Death of Marat - Angelica Kauffmann, “Cornelia Pointing to her Children as Her Treasures”- The Formation of a French School: the Royal Academy of Painting and Sculpture” - Key Paintings of the First Empire – The Death of General Wolfe Giovanni Paolo Panini : Ancient Rome Dr. Claire Black McCoy: “Jacques-Louis David, Oath of the Horatii” From smARThistory (2016) The accurate history of Rome’s early days is obscured by the mists of time, but the legendary history of the days of the first seven kings of Rome was passed down lovingly. It contains stories of many adventures, including that of the three Horatii (sons of Horatius,) three young men who stood as the only hope of Rome against its enemies. When the great painter David captured this moment, he not only seared the definitive image of it onto the minds of all who saw it, but in a sense defined a new style of art: Neo-Classicism. Follow the link to find out more about this amazing work. Link to the article and video: https://smarthistory.org/jacques-louis-david-oath-of-the-horatii/ [New classics of the highest rank! This was the rallying cry of populations immersed in the 18th century Age of Enlightenment who wanted their artwork and architecture to mirror, and carry the same set of standards, as the idealized works of the Greeks and Romans. -
Letters from Cockney Lands. London: John Ebers … 1826
JAUNTS AROUND LONDON 01. [AINSWORTH, William Harrison]. Letters from Cockney Lands. London: John Ebers … 1826. 8vo (174 × 111 mm), pp. [8], 93, [3]; some spotting to endleaves and edges, portion of upper margin of final two leaves torn away (no loss); uncut in the original publisher’s boards, printed spine label, spine a little chipped. £850 Scarce first edition of this lively poetical jaunt around London, an early work by the novelist William Harrison Ainsworth (1805–1882). ‘That the present Work should be offered anonymously to the public, must be ascribed to the Author’s unwillingness to forfeit his present relations with society, in which he might be considered a dangerous character, if known to be connected with the press as now conducted’ (Advertisement). These two lengthy verse epistles offer a fascinating ride through nineteenth-century London. Arrayed around topics including London squares, The City, club houses, McAdamizing and the Opera House, are satirical observations on the full gamut of life in the capital. Ainsworth makes passing references to poets including Byron and Swift, and attempts to determine whether English or foreign beauty is superior. 1826 was a busy year for Ainsworth: he moved from Manchester to London, was admitted to the King’s Bench, published his first novel, Sir John Chiverton, and entered into business with John Ebers (1778– 1858), the publisher here. An established publisher and manager of the Italian Opera House, Ebers introduced Ainsworth to literary and dramatic circles, as well as to his daughter Fanny, who would become Ainsworth’s wife. The newlyweds lived with Ebers for a time, but domestic and professional proximity proved too much and both the marriage and business partnership ended in separation.