DOCSLIB.ORG

A British Sentiment: Landscape Drawings and Watercolors 1750-1950 from the Collection of John Harbold Philip Earenfight Dickinson College

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
A British Sentiment: Landscape Drawings and Watercolors 1750-1950 from the Collection of John Harbold Philip Earenfight Dickinson College Dickinson College Dickinson Scholar Student Scholarship & Creative Works By Year Student Scholarship & Creative Works 3-2-2017 A British Sentiment: Landscape Drawings and Watercolors 1750-1950 from the Collection of John Harbold Philip Earenfight Dickinson College Olivia Falcey Dickinson College Caroline Fallon Dickinson College Christopher Guy Dickinson College Xiaoqi Huang Dickinson College See next page for additional authors Follow this and additional works at: https://scholar.dickinson.edu/student_work Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Earenfight, Philip; Falcey, Olivia; Fallon, Caroline; Guy, Christopher; Huang, Xiaoqi; Hunkins, Taylor; Paulsen, Claire; Paull, Joelle; Tobash, Alexia; Weinstein, Sophie; Zyontz, Jackson; and Gallery, Trout, "A British Sentiment: Landscape Drawings and Watercolors 1750-1950 from the Collection of John Harbold" (2017). Student Scholarship & Creative Works By Year. 54. https://scholar.dickinson.edu/student_work/54 This Exhibition Catalog is brought to you for free and open access by the Student Scholarship & Creative Works at Dickinson Scholar. It has been accepted for inclusion in Student Scholarship & Creative Works By Year by an authorized administrator of Dickinson Scholar. For more information, please contact [email protected]. Authors Philip Earenfight, Olivia Falcey, Caroline Fallon, Christopher Guy, Xiaoqi Huang, Taylor Hunkins, Claire Paulsen, Joelle Paull, Alexia Tobash, Sophie Weinstein, Jackson Zyontz, and Trout Gallery This exhibition catalog is available at Dickinson Scholar: https://scholar.dickinson.edu/student_work/54 A British Sentiment Landscape Drawings and Watercolors 1750–1950 FROM THE COLLECTION OF JOHN HARBOLD A British Sentiment Landscape Drawings and Watercolors 1750–1950 FROM THE COLLECTION OF JOHN HARBOLD March 3 – April 15, 2017 Curated by: Olivia Falcey Caroline Fallon Christopher Guy Xiaoqi Huang Taylor Hunkins Claire Paulsen Joelle Paull Alexia Tobash Sophie Weinstein Jackson Zyontz THE TROUT GALLERY • Dickinson College • Carlisle, Pennsylvania G17-26985_British Watercolor Catalogue_Text.indd 1 2/22/17 3:19 PM This publication was produced in part through the generous support of the Helen Trout Memorial Fund and the Ruth Trout Endowment at Dickinson College. Published by The Trout Gallery Dickinson College Carlisle, Pennsylvania 17013 Copyright © 2017 The Trout Gallery. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without written permission from The Trout Gallery. Design: Amanda DeLorenzo and Neil Mills Dickinson College Design Services Printing: Brilliant Printing, Exton, Pennsylvania ISBN 978-0-9861263-2-1 Cover: William Leighton Leitch, A Castle by a River, n.d., watercolor on paper, private collection (cat. 39). Title page: (Top) John Wilson Carmichael, Holy Island, n.d., graphite and sepia wash on paper (cat. 18). (Bottom) Robert Taylor Pritchett, FSA, Veblungsnes, Norway, n.d., graphite and watercolor on tan paper (cat. 50). Frontispiece: Rev. James Bourne, Rocky Path in a Wooded Valley, n.d., graphite and watercolor on paper (cat. 10). G17-26985_British Watercolor Catalogue_Text.indd 2 2/22/17 3:19 PM 3 G17-26985_British Watercolor Catalogue_Text.indd 3 2/22/17 3:19 PM Acknowledgements A British Sentiment: Landscape Drawings and Watercolors Dickinson College, under the direction of Amanda 1750–1950 from the Collection of John Harbold is a curatorial DeLorenzo and Neil Mills. Curatorial materials and addi- project by senior Art History majors at Dickinson College. It tional graphic design and production was provided by the stems from an annual seminar designed to introduce students Print Center, where I wish to acknowledge the work of Ken to the practice of preparing an exhibition and catalogue. Ball, Kurt Smith, and Krista Ulmen. Marketing and Working with objects on loan to The Trout Gallery, the ten Communications was provided by Connie McNamara, with student curators selected the works for the exhibition, Christine Dugan, MaryAlice Bitts, and Michelle Simmons. organized the material into major themes, prepared the Thanks as well to Lydia Hecker, Specialist, Interlibrary following essays, and produced the exhibition didactic and Loan Services; James Gerenscer, Archivist, Special educational materials. Collections; Malinda Triller, Waidner-Spahr Library, A British Sentiment is made possible through the generosity Dickinson College. Technical support was provided by the of John Harbold P’07, whose promised gift of an important staff at Library and Information Services, in particular, collection of British drawings and watercolors to The Trout Katelin Moul. Gallery provided a remarkable selection of works on which to At The Trout Gallery I am grateful for the support of the base this exhibition. His thoughtfulness, matched by museum’s Advisory Committee and the Friends of The generations of support from alumni and friends, furthers The Trout Gallery. Stephanie Keifer, the museum’s senior Trout Gallery as an important center for the study and administrative associate, copy-edited the catalogue text and enjoyment of the visual arts in one of the nation’s leading provided essential organizational services. She is assisted by liberal arts colleges. Lillian Middleton. James Bowman prepared the objects and A British Sentiment was produced in part through the worked with members of the seminar to design and install generous support of the Helen Trout Memorial Fund and the the exhibition. In museum education, Heather Flaherty and Ruth Trout Endowment at Dickinson College. Educational Amie Bantz provided a range of educational programs to the programming is supported in part by The Trout Gallery Dickinson College and Carlisle community. Rosalie Mumper-Stuart Educational Center. Lehman, Susan Russell, and Catherine Sacco provided I thank Interim President Neil Weissman, faculty, staff, essential visitor services. and students for engendering a scholarly environment that values the central role of the visual arts in an undergraduate academic experience. I thank members of the college’s senior administration: Karen Neely Faryniak, Brontè Burleigh- Phillip Earenfight Jones, Joyce Bylander, Stephanie Niles, Michael E. Reed, Robert Renaud, Dana Scaduto, Kirk Swenson, and Robert Director, The Trout Gallery Winston, for their on-going support of The Trout Gallery Associate Professor of Art History and its mission as an all-campus academic resource. The handsome graphic design for this book and related promotional materials was provided by Design Services at 4 G17-26985_British Watercolor Catalogue_Text.indd 4 2/22/17 3:19 PM Table of Contents Introduction: Landscape Painting: Background to Subject 6 Phillip Earenfight Essays The Watercolor Manual: Legitimizing Watercolor Through Text 12 Jackson Zyontz British Watercolorists and the Validation of their Art 19 Alexia Tobash Aesthetic Integrity of the Picturesque 26 Taylor Hunkins Humphry Repton’s Vision in English Garden Design 32 Xiaoqi Huang The Classist Ideology of the Picturesque Mode 38 Christopher Guy Loss and Recovery: British Landscapes as National Identity 43 Claire Paulsen Abroad and At Home: The Impact of the Grand Tour and Domestic Tourism on British Landscape Painting 50 Sophie Weinstein English Gothic in the Countryside: Victorian Taste in Stone and Paint 57 Olivia Falcey Departures from Nature 64 Caroline Fallon John Ruskin and Matthew Arnold: The Nineteenth-Century Critics’ Love of Landscape 69 Joelle Paull Exhibition Catalogue 76 5 G17-26985_British Watercolor Catalogue_Text.indd 5 2/22/17 3:19 PM Landscape Painting: Background to Subject Phillip Earenfight The image of an artist in a landscape, with portable easel, images of the landscape assumed a high level of importance paint box, and parasol, working out of doors and represent- (e.g., Sung Dynasty China) such imagery, as is true of all ing the vista as if it were a slice of the view before them, is genres, is a product of historical and cultural circumstances.1 among the most common conventions to suggest the concept One has only to consider painting in Europe prior to the of a “painter.” This is conveyed nicely in Winslow Homer’s fourteenth century to find a rich and vibrant tradition of Artists Sketching in the White Mountains (fig. 1), where a manuscript, panel, and wall painting that is dominated by group of painters—including the artist—takes their place images of man and the divine and virtually free of landscape along a sunny ridge to render their view. The notion that imagery, save for an occasional miniature palm tree that artists ought to paint landscapes is so widely accepted in stands for all of paradise. Indeed, the western pictorial contemporary western society that one could hardly be tradition, which emerged in antiquity among the dominant Mediterranean cultures, is one in which the human form is faulted for assuming that such imagery always existed—that the purpose for imagery, and only under particular historical it follows as a matter of course. On the contrary, in the West, and cultural circumstances that the space around the figures as in other parts of the world where making and acquiring (i.e., the landscape) assumes greater prominence. Contrary to prevailing assumptions, representations of the landscape, even as nothing more than a space in which figures perform, are unusual among pre-modern cultures. Moreover,
Load more

Recommended publications
  • N , 1668. Concluded from Page
    n , 1668. Concluded from page East Townes belonging to Names of some prsons belonging to each Ryding Meetings, Meetings. Meeting. Barniston^0 Geo : Hartas, Thomas Thom­ Vlram Skipson^1 son, John Watson, Thomas Beeforth Pearson, Thomas Nayler, Bonwick Peeter Settle. Harpham Lane: Mensen,Char: Cannabye, Grainsmire Joseph Helmsley, Willm Kelke Foston Botterill, Silvester Starman, Brigham Willm Ogle, Thomas Drape, Fradingham John Sugden, Christ: Oliver. Kellam Greg : Milner, Rich : Purs- H Skeene gloue, Rich: Towse, James cr Nafforton Cannabye, Robert Milner, Cottam South Burne Geo: Thomson, Tho: Cn Garton Jenkinson, Tho: Nichollson, Emswell Christopher Towse, Bryan Langtofft Robinson, Willm Gerrard. OfQ C/3 Rob: Prudam, Fr: Storye, O Zach : Smales, Tho: Ander- D The Key Benton*2 son, Henry Gerrard, Will Bridling Stringr, Thomas England, ton Carnabye Hunmanbye Ral: Stephenson, Frances *<*r Simson, Rob: Lamplough, Hastrope Anth: Gerrard, Rob: Simson. 3' On page 76 occurs the name of Josias Blenkhorne, of Whitby Meeting. The following is copied from the Yorkshire Registers and illustrates the tragedies in the life of the past, which often underlie the cold formality of the register-books. DATE NAMK. OF DEATH. RESIDENCE. DESCRIPTION. MO. MO. Blenkar ne, Joseph 1672.6.26 Whitby (died at). Son of Josias and Pickering. Elizab. perished in the sea. Blenckarne Josias 1672.7.28 Of Whitby Meeting. Perished in the sea. Pickering. Blenckarne,Christo. 1672.7.28 Of Whitby Meeting. Perished in the sea. Pickering. Blenckarne,Robert (Date of Burial, 1672.8.15). Son of Josias and Pickering. Elizab. idi 102 MEETINGS IN YORKSHIRE, 1668. Names of some prsons belonging to each I3*1.
    [Show full text]
  • British Pa Inters Their Story and Their
    H rTP S BRIT ISH PA INT ERS T H EIR ST O RY A ND T H EIR A RT J E . DGC UMBE ST A LEY A UT H OR OF WA TT EA U A ND H I S SCH OOL ET C . WIT H TWENTY -FO UR EXAMPLES IN C OLOUR O F T H EIR WO RK P RE FA C E “ BRI TI SH P A I NT E RS : Their Story and their Art l o f o f is a presentation, in popu ar form , the Story — - British Painting a well worn but never wearying t o Story , which for ever offers fresh charms young o ld and , and stirs in British hearts feelings of patriotism and delight . In a work o f the size of this volume it is im possible to d o more than lightly sketch the more sa lient features o f the glorious panorama o f seven hundred years . My purpose , in this compilation , —t o is threefold . First bring into stronger light the painting glories o f the earlier artists o f Britain many people are unfamiliar with the lives and s o f work of the precur ors Hogarth . Secondly to t reat especially o f the persons and art of painte rs Whose works are exhibited in o u r Public Galleries pictures in private holding are often inaccessible t o o f and the generality people, besides, they — co nstantly changing locality this is true of T — the Royal Collections . hirdl y t o vindicate the a of t o cl im Britain be regarded as an ancient , vii BRIT I S H P A I NT E RS consistent , and renowned Home of the Fine Arts and to correct the strange insular habit o f self depreciation, by showing that the British are supreme as a tasteful and artistic people .
    [Show full text]
  • Eighteenth-Century English and French Landscape Painting
    University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2018 Common ground, diverging paths: eighteenth-century English and French landscape painting. Jessica Robins Schumacher University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Part of the Other History of Art, Architecture, and Archaeology Commons Recommended Citation Schumacher, Jessica Robins, "Common ground, diverging paths: eighteenth-century English and French landscape painting." (2018). Electronic Theses and Dissertations. Paper 3111. https://doi.org/10.18297/etd/3111 This Master's Thesis is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. COMMON GROUND, DIVERGING PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A. cum laude, Vanderbilt University, 1977 J.D magna cum laude, Brandeis School of Law, University of Louisville, 1986 A Thesis Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art (C) and Art History Hite Art Department University of Louisville Louisville, Kentucky December 2018 Copyright 2018 by Jessica Robins Schumacher All rights reserved COMMON GROUND, DIVERGENT PATHS: EIGHTEENTH-CENTURY ENGLISH AND FRENCH LANDSCAPE PAINTING By Jessica Robins Schumacher B.A.
    [Show full text]
  • Visual Art 7 Articles
    ARTICLE-A-DAY™ Visual Art 7 Articles Check articles you have read: Forms of Art - Watercolor 187 words Forms of Art - African Sculpture 201 words Forms of Art - Abstract Art 233 words Forms of Art - Landscape Paintings 315 words Forms of Art - Photography 258 words Forms of Art - Symbolism 165 words The Renaissance - Renaissance Art 266 words Page 1 of 9 ReadWorks.org · © 2016 ReadWorks®, Inc. All rights reserved. Forms of Art - Watercolor Forms of Art - Watercolor By ReadWo rks Watercolor painting is very popular among artists of all skill levels. Watercolor paint is hard in form. When water is added to it, the painter can apply the paint easily to paper. Thick types of paper are often used when watercolor painting. The thickness allows the water from the paint to be absorbed and not run or soak through the paper. Artists can control the intensity of watercolors by adding more or less water to the paint. The more water you put on your brush, the lighter the color will be. For darker colors, you should use only a little bit of water. Watercolor equipment is light and easy to use outdoors. The paintings also dry quickly. For these reasons, many artists use watercolor paint to make quick sketches or studies of nature. Believe it or not, water-based paint has been used since ancient times. Throughout the ages, artists have used water-based paint. Watercolor painting started to become popular in the mid- 1700s. Since then, artists have tried different papers and different water levels. Maybe you should take up watercolor painting and experiment with it.
    [Show full text]
  • Valmontone Conference on Mattia Preti
    Baroque Routes - 2014 / 15 5 Valmontone Conference on Mattia Preti A scholarly conference focused on the Cavaliere Calabrese, the artist Mattia Preti, was held on Monday 3 November 2014 at Palazzo Pamphilj in Valmontone, around 30 kilometres from Rome. Participants examined the status of research into this artist following the celebrations of the 400th centenary of his birth (1613-2013). The event was titled ‘Sotto la volta dell’aria. Mattia Preti: Approfondimenti e ricerche.’ This conference was organised by the International Institute for Baroque Studies at the University of Malta in association with the Soprintendenza PSAE del Lazio and the Comune di Valmontone. For this purpose an on-site scientific committee composed of Sante Guido, Dora Catalano of the Superintendence extensive decoration of eighteenth-century of the region, Monica Di Gregorio, director palaces throughout Europe. Allegorical figures of the museum of Palazzo Doria Pamphilj, representing the natural elements, such as Day, and Giuseppe Mantella, a leading restorer of Night, Dawn, as well as Love, Fortune and many Mattia’s Preti’s works, was set up. The ‘Volta others, adorn this vault. It is important to note dell’aria’ indicated in the title of the conference that it was during his stay at Valmontone, that refers to a fresco on the ceiling of the grand Preti planned his entire project for the decoration hall of the palace where the event took place, of the Co-cathedral in Valletta. When he arrived and which was painted in the spring of 1661 in Malta in the summer of 1661 and proposed to for Prince Camillo Pamphilj in the piano paint the story of St John the Baptist, his designs nobile of his palace.
    [Show full text]
  • Detailed Assessment of NO2 at South Killingholme
    Local Authority Dr Matthew Barnes Officer Department Environmental Health (Commercial) Church Square House Scunthorpe Address North Lincolnshire DN15 6XQ Telephone 01724 297336 e-mail [email protected] Date January 2016 Report Status Final Report 1 Executive summary North Lincolnshire Council’s Air Quality Progress Report 2011 identified a possible exceedance of nitrogen dioxide alongside the A160 in South Killingholme. For this reason, in October 2013 North Lincolnshire Council installed an air quality monitoring site to more accurately measure nitrogen dioxide, nitric oxide and nitrogen oxides at this location. Nitric oxide (NO) is mainly derived from road transport emissions and other combustion processes. Nitric oxide is not considered to be harmful to health, however, once emitted to the atmosphere it is rapidly oxidised to nitrogen dioxide (NO2) which can be harmful to health. NO2 can irritate the lungs and lower resistance to respiratory infections. Continued exposure to concentrations above the recommended air quality objectives may cause increased incidence of acute respiratory illness in children. The main source of NO2 is from road traffic emissions. At South Killinghome the principle source is from vehicles using the A160 dual-carriage way, which provides access to the Port of Immingham, local refineries and power stations. It is also the main route to the proposed Able Marine Energy Park, a deep water quay and manufacturing facility for the offshore wind energy industry. To provide better access to the Port of Immingham and surrounding area, the Highways Agency are upgrading both the A160 and A180. It is anticipated that 1 construction will take approximately 16 months and should be completed by Autumn 2016.
    [Show full text]
  • The English Lake District
    La Salle University La Salle University Digital Commons Art Museum Exhibition Catalogues La Salle University Art Museum 10-1980 The nE glish Lake District La Salle University Art Museum James A. Butler Paul F. Betz Follow this and additional works at: http://digitalcommons.lasalle.edu/exhibition_catalogues Part of the Fine Arts Commons, and the History of Art, Architecture, and Archaeology Commons Recommended Citation La Salle University Art Museum; Butler, James A.; and Betz, Paul F., "The nE glish Lake District" (1980). Art Museum Exhibition Catalogues. 90. http://digitalcommons.lasalle.edu/exhibition_catalogues/90 This Book is brought to you for free and open access by the La Salle University Art Museum at La Salle University Digital Commons. It has been accepted for inclusion in Art Museum Exhibition Catalogues by an authorized administrator of La Salle University Digital Commons. For more information, please contact [email protected]. T/ie CEnglisti ^ake district ROMANTIC ART AND LITERATURE OF THE ENGLISH LAKE DISTRICT La Salle College Art Gallery 21 October - 26 November 1380 Preface This exhibition presents the art and literature of the English Lake District, a place--once the counties of Westmorland and Cumber­ land, now merged into one county, Cumbria— on the west coast about two hundred fifty miles north of London. Special emphasis has been placed on providing a visual record of Derwentwater (where Coleridge lived) and of Grasmere (the home of Wordsworth). In addition, four display cases house exhibits on Wordsworth, on Lake District writers and painters, on early Lake District tourism, and on The Cornell Wordsworth Series. The exhibition has been planned and assembled by James A.
    [Show full text]
  • HNF Minutes June 2014 (336KB)
    Humber Nature Forum 3rd June 2014 4pm site visit to Paull Holme Strays followed by 6pm meeting at Paull Village Hall Minutes 1. Introductions and apologies Adrian Koster YCF/RGS Andrew Gibson HNF Chair/Yorkshire Wildlife Trust Andrew Ward-Campbell Environment Agency Clare Langrick HEDC Darren Clarke Humber Nature Partnership Daryl Burdon HNF Vice-Chair. Institute of Estuarine and Coastal Studies, University of Hull Gordon Kell Humber Nature Forum Jacqueline Foy MMO James Duke Environment Agency James Thurlow Intertidal Ltd Karen Gathercole Humber Conservation Volunteers Lucas Mander Institute of Estuarine and Coastal Studies, University of Hull Megan de Koning Intern at Intertidal Ltd Mike Gathercole Humber Conservation Volunteers Peter Rogers Landowner New Holland Sally Osgerby Michael Osgerby (Agricultural) Ltd Tania Davey Humber Nature Partnership Toby Annison Drainage Board and local farmer Tony Edwards HNP board member/Humber Environmental Managers Network Apologies Chris Manning LMDB Cliff Morrison HNP board member/Lincolnshire Wildlife Trust David Turner Helen Devlin NE IFCA Jon Capel YNU/Marinet Jonathan Hart-Woods Canal and River Trust Lucinda Douglas NFU Phillippa Barron Canal and River Trust Rachel Wood MMO Richard Barnard RSPB Rob Lidstone-Scott LWT Susan Manson Environment Agency Tom Jeynes ABP Vaughan Grantham East Riding of Yorkshire Council Victoria Burgess ELDC 1 Humber Nature Partnership board member CM and HNF Chair AG welcomed everyone to the meeting. 2. Minutes and matters arising The minutes from the previous meeting were approved. DC highlighted that there is an ongoing request for project ideas. The Humber Nature Forum is open and provides an opportunity for members to bring ideas forward.
    [Show full text]
  • Watercolor Resists by Caponi Art Park
    Watercolor Resists By Caponi Art Park Project overview: Recommended for ages 5+ Much like a hidden message on a pirate’s treasure map, in this workshop, watercolors will reveal the picture that lays beneath the paint. Using their imaginations, participants will compose a picture using white crayon on white paper. The image they have created will only be revealed once watercolor paints have been applied to the entire image. You will have to wait and see what hidden treasure awaits! Supply list: ● Large sheet of white paper (We recommend using watercolor paper if you have it, but any thicker white paper will work. You can try standard printer paper, but with the wetness of the paints, it is not recommended. White construction paper would be great if you have it.) ● Paint brushes ( Any paintbrush will work. Even the foam brushes for painting walls will work. Use what you have on hand! We do recommend using a standard arts and crafts paintbrush.) ● Watercolor paints (Don’t have watercolor paints? Us tempera paint, and water it down. You can do this by putting a dime sized blob of tempera paint on a plate and mixing it with water until it runs really thin and more translucent.) ● White crayons (enough for the group to share) (If you don’t have white crayons, try a lightly colored crayon. It won’t “reveal the image” the same way, but it will still work. You can also try using white or cream colored candle wax.) ● Water cups for rinsing Instructions: ​ ● Make sure each participant has a piece of watercolor paper, a brush, and a white crayon.
    [Show full text]
  • 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.
    [Show full text]
  • 1 Landscape Seminar, Winter 2000: English 603/Art History 454: W. J. T
    1 Landscape Seminar, Winter 2000: English 603/Art History 454: W. J. T. Mitchell Office: Wieboldt 203 Hours: Tuesdays, 2-4 (weekly sign up sheet by door) Seminar Website: http://honeybee.uchicago.edu/landscape Texts available at Seminary Coop: Mitchell, Landscape and Power (Chicago, 1994) Henri Lefebvre, The Production of Space (1974; Blackwell’s, 1991) Simon Schama, Landscape and Memory (NY: Vintage, 1994) Hunt and Willis, The Genius of Place (Harper & Row, 1975) Critical Inquiry 26:2 (Winter 2000): “Geopoetics” Jeff Malpas, Place and Experience (Cambridge, 1999). Requirements: 1. Seminar paper, about 20 pages (due March 13) 2. Oral Presentation of Seminar project (in last 3 weeks) 3. Brief oral introduction of a critical text (as scheduled on syllabus) 4. Show and Tell presentation of a specific landscape (prepare immediately) Session 1 (1/10): TOPICS: Space, Place, and Landscape: Antony Gormley, Field; Wallace Stevens, Jar; Steinberg, New World; Hogarth’s Line of Beauty & the Serpent in the Wilderness; Blake’s serpent temple. Session 2 (1/17): THEORIES OF SPACE (I) Show and Tell: Places in the Heart (2 or 3 to open each session) Foucault, “Of Other Spaces,” Diacritics (Spring 1986) De Certeau, “Spatial Stories,” from The Practice of Everyday Life David Harvey, “From Space to Place and Back Again” Borges, “The Aleph” Session 3 (1/24): THEORIES OF SPACE (II) Henri Lefebvre, The Production of Space, 1-168. Gaston Bachelard, “Intimate Immensity” from The Poetics of Space Jeff Malpas, “Introduction: The Influence of Place,” and “The Obscurity
    [Show full text]
  • Gaspard Dughet: Some Problems in the Connoisseurship of Chalk Drawings
    ABSTRACT Title of thesis: GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS Sarah Beth Cantor, Master of Arts, 2005 Thesis directed by: Professor Anthony Colantuono Department of Art History and Archaeology Little scholarship has been devoted to the graphic oeuvre of Gaspard Dughet (1615-1675), a prominent landscape painter of the seventeenth century. A number of drawings in red and black chalk have been attributed to Dughet based on their connection to documented paintings. Stylistic comparisons with other examples of Dughet’s work as a draughtsman and technical evidence including medium and watermarks, however, reveal that a group of drawings given to the artist are, in fact, copies done in the late seventeenth or early eighteenth century. Although Dughet’s contributions are under appreciated today, his work influenced the next generation of landscape artists in Italy and abroad, including the British and many Dutch and Flemish artists who traveled to Italy. This thesis examines not only Dughet’s chalk drawings, but the graphic work of his most well-known Northern followers to determine which artist may have executed these copies. GASPARD DUGHET: SOME PROBLEMS IN THE CONNOISSEURSHIP OF CHALK DRAWINGS by Sarah Beth Cantor Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park in partial fulfillment of the requirements for the degree of Master of Arts 2005 Advisory Committee: Professor Anthony Colantuono, Chair Professor Joanne Pillsbury Professor William Pressly Professor Ann Sutherland Harris ©Copyright by Sarah Beth Cantor 2005 DISCLAIMER The thesis document that follows has had referenced material removed in respect for the owner’s copyright.
    [Show full text]