Meeting Our Waterloo
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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.). -
Copyright Statement
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2017 Dogs and Domesticity Reading the Dog in Victorian British Visual Culture Robson, Amy http://hdl.handle.net/10026.1/10097 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. Copyright Statement This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author’s prior consent. i ii Dogs and Domesticity Reading the Dog in Victorian British Visual Culture by Amy Robson A thesis submitted to Plymouth University in partial fulfilment for the degree of PhD Art History, 2017 Humanities and Performing Arts 2017 iii Acknowledgements I would like to express my deepest gratitude to my supervisors, Dr James Gregory and Dr Jenny Graham, for their ongoing support throughout this project. I would also like to extend immeasurable thanks to Dr Gemma Blackshaw, who was involved in the early and later stages of my research project. Each of these individuals brought with them insights, character, and wit which helped make the PhD process all the more enjoyable. -
The Memory of Slavery in Liverpool in Public Discourse from the Nineteenth Century to the Present Day
The Memory of Slavery in Liverpool in Public Discourse from the Nineteenth Century to the Present Day Jessica Moody PhD University of York Department of History April 2014 Abstract This thesis maps the public, collective memory of slavery in Liverpool from the beginning of the nineteenth century to the present day. Using a discourse-analytic approach, the study draws on a wide range of ‘source genres’ to interrogate processes of collective memory across written histories, guidebooks, commemorative occasions and anniversaries, newspapers, internet forums, black history organisations and events, tours, museums, galleries and the built environment. By drawing on a range of material across a longue durée, the study contributes to a more nuanced understanding of how this former ‘slaving capital of the world’ has remembered its exceptional involvement in transatlantic slavery across a two hundred year period. This thesis demonstrates how Liverpool’s memory of slavery has evolved through a chronological mapping (Chapter Two) which places memory in local, national and global context(s). The mapping of memory across source areas is reflected within the structure of the thesis, beginning with ‘Mapping the Discursive Terrain’ (Part One), which demonstrates the influence and intertextuality of identity narratives, anecdotes, metaphors and debates over time and genre; ‘Moments of Memory’ (Part Two), where public commemorative occasions, anniversaries and moments of ‘remembrance’ accentuate issues of ‘performing’ identity and the negotiation of a dissonant past; and ‘Sites of Memory’ (Part Three), where debate and discourse around particular places in Liverpool’s contested urban terrain have forged multiple lieux de memoire (sites of memory) through ‘myths’ of slave bodies and contestations over race and representation. -
Annual Report 2017−2018
ROYAL COLLECTION TRUST ANNUAL REPORT REPORT COLLECTION TRUST ANNUAL ROYAL 2017−2018 www.royalcollection.org.uk ANNUAL REPORT 2017−2018 ROYA L COLLECTION TRUST ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2018 www.royalcollection.org.uk AIMS OF THE ROYAL COLLECTION TRUST In fulfilling The Trust’s objectives, the Trustees’ aims are to ensure that: ~ the Royal Collection (being the works of art ~ the Royal Collection is presented and held by The Queen in right of the Crown interpreted so as to enhance public and held in trust for her successors and for the appreciation and understanding; nation) is subject to proper custodial control and that the works of art remain available ~ access to the Royal Collection is broadened to future generations; and increased (subject to capacity constraints) to ensure that as many people as possible are ~ the Royal Collection is maintained and able to view the Collection; conserved to the highest possible standards and that visitors can view the Collection ~ appropriate acquisitions are made when in the best possible condition; resources become available, to enhance the Collection and displays of exhibits ~ as much of the Royal Collection as possible for the public. can be seen by members of the public; When reviewing future plans, the Trustees ensure that these aims continue to be met and are in line with the Charity Commission’s general guidance on public benefit. This Report looks at the achievements of the previous 12 months and considers the success of each key activity and how it has helped enhance the benefit to the nation. -
Annual Report 2018−2019
ROYAL COLLECTION TRUST ANNUAL REPORT REPORT COLLECTION TRUST ANNUAL ROYAL 2018−2019 www.rct.uk ANNUAL REPORT 2018−2019 ROYA L COLLECTION TRUST ANNUAL REPORT FOR THE YEAR ENDED 31 MARCH 2019 www.rct.uk AIMS OF THE ROYAL COLLECTION TRUST CONTENTS In fulfilling The Trust’s objectives, the Trustees’ aims are to ensure that: ~ the Royal Collection (being the works of art ~ the Royal Collection is presented and CHAIRMAN’S FOREWORD 5 held by The Queen in right of the Crown interpreted so as to enhance public DIRECTOR’S INTRODUCTION 7 and held in trust for her successors and for the appreciation and understanding; nation) is subject to proper custodial control PRESENTATION AND PARTICIPATION 9 and that the works of art remain available ~ access to the Royal Collection is broadened Visiting the Palaces 9 to future generations; and increased (subject to capacity constraints) ~ Buckingham Palace 9 to ensure that as many people as possible are ~ The Royal Mews 11 ~ the Royal Collection is maintained and able to view the Collection; ~ Windsor Castle 12 conserved to the highest possible standards ~ Clarence House 12 and that visitors can view the Collection ~ appropriate acquisitions are made when ~ Palace of Holyroodhouse 16 in the best possible condition; resources become available, to enhance Exhibitions 21 the Collection and displays of exhibits Historic Royal Palaces & Loans 33 ~ as much of the Royal Collection as possible for the public. INTERPRETATION 37 can be seen by members of the public; Learning 37 Publishing 39 When reviewing future plans, the Trustees ensure that these aims continue to be met and are CARE OF THE COLLECTION 43 in line with the Charity Commission’s general guidance on public benefit. -
A Year in the Life of TASHH
Newsletter No 57 December 2019 www.tashh.org.uk A Year in the Life of TASHH 2019 has been an exceptional and very busy year for TASHH with well-attended monthly lectures, a wonderful tour to Lisbon by 25 of us, more visits than ever, and two attractive Special Interest Days. Your Chairman, Linda Green and Committee members work hard to provide a varied programme of events which they hope will appeal to the membership and, judging by the take-up and feedback afterwards, they have certainly succeeded this year. It was a privilege to be in the audience for the January lecture on Germany’s Counter Memorials which was judged by some to be the best lecture they had ever attended. The atmosphere in the room was electric, and you could hear a pin drop as Angela Findlay, with her Anglo-German roots, talked honestly and directly about the extraordinary, brave and inspiring works of public art created since the 1980s to keep alive in the individual psyches of the German people, the memories and lessons of one of history’s darkest periods. Until Angela arrived at Kenwood she had no idea that her audience would be composed of so many people with a personal history of the Holocaust, and she was clearly moved by the questions and comments she received at the end of her lecture. It is interesting for the Committee to read the feedback of members in the surveys completed after each lecture. There is a wide discrepancy of views, as what appeals to some of you does not to others. -
The Wellington Arch and the Western Entrance to London’, the Georgian Group Journal, Vol
Steven Brindle, ‘The Wellington Arch and the western entrance to London’, The Georgian Group Journal, Vol. XI, 2001, pp. 47–92 TEXT © THE AUTHORS 2001 THE WELLINGTON ARCH AND THE WESTERN ENTRANCE TO LONDON STEVEN BRINDLE ondon possesses two free-standing triumphal defensive in purpose, but by the eighteenth century Larches, the Wellington Arch and the Marble its primary significance was fiscal. Towns and cities Arch. Their histories are closely connected: they are were under different jurisdictions and tax regimes, of similar date ( c. –) and were both planned in goods taken into them were subject to customs, and relation to Buckingham Palace. Neither was town gates represented a crucial element in the tax- completed to its original design, both have been gathering systems. Ledoux’s spectacular barrières moved and altered, and both stand in isolation, giving around Paris, erected by the corporation of Farmers little hint of their original settings. As a result, today General c. –, were the most spectacular instance both arches seem more like park ornaments than the of this. grand urban entrances they were intended to be. The City gates were also of obvious ceremonial and Marble Arch was the subject of a recent article in this symbolic importance, an architectural tradition going journal by Andrew Saint; the present article aims to back to ancient times which remained vigorous consider the history of the Wellington Arch, and also throughout the th century. In addition to Ledoux’s the complex prehistory of schemes for a grand work in Paris one could cite the Puerta de Alcalá in western entrance to London. -
Lost Wax and Sand Mould Casting
UvA-DARE (Digital Academic Repository) Casting Rodin’s Thinker Sand mould casting, the case of the Laren Thinker and conservation treatment innovation Beentjes, T.P.C. Publication date 2019 Document Version Final published version License Other Link to publication Citation for published version (APA): Beentjes, T. P. C. (2019). Casting Rodin’s Thinker: Sand mould casting, the case of the Laren Thinker and conservation treatment innovation. General rights It is not permitted to download or to forward/distribute the text or part of it without the consent of the author(s) and/or copyright holder(s), other than for strictly personal, individual use, unless the work is under an open content license (like Creative Commons). Disclaimer/Complaints regulations If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library: https://uba.uva.nl/en/contact, or a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible. UvA-DARE is a service provided by the library of the University of Amsterdam (https://dare.uva.nl) Download date:09 Oct 2021 Casting Rodin’s Thinker Sand mould casting, the case of the Laren Thinker and conservation treatment innovation ACADEMISCH PROEFSCHRIFT ter verkrijging van de graad van doctor aan de Universiteit van Amsterdam op gezag van de Rector Magnificus prof. -
Studies in the History of Collecting & Art Markets
Art Crossing Borders Studies in the History of Collecting & Art Markets Editor in Chief Christian Huemer (Belvedere Research Center, Vienna) Editorial Board Malcolm Baker (University of California, Riverside) Ursula Frohne (Westfälische Wilhelms-Universität Münster) Daniela Gallo (Université de Lorraine, Nancy) Hans van Miegroet (Duke University, Durham) Inge Reist (The Frick Collection, New York) Adriana Turpin (Institut d’Études Supérieures des Arts, London) Filip Vermeylen (Erasmus University, Rotterdam) VOLUME 6 The titles published in this series are listed at brill.com/hcam Art Crossing Borders The Internationalisation of the Art Market in the Age of Nation States, 1750–1914 Edited by Jan Dirk Baetens Dries Lyna LEIDEN | BOSTON This is an open access title distributed under the terms of the prevailing CC-BY-NC License at the time of publication, which permits any non-commercial use, distribution, and reproduction in any medium, provided no alterations are made and the original author(s) and source are credited. Cover illustration: Giuseppe de Nittis, The National Gallery, 1877. Oil on canvas, 70 × 105 cm. Paris, Petit Palais, Musée des Beaux-Arts de la Ville de Paris. © Julien Vidal – Petit Palais – Roger-Viollet The Library of Congress Cataloging-in-Publication Data is available online at http://catalog.loc.gov LC record available at http://lccn.loc.gov/2019001443 Typeface for the Latin, Greek, and Cyrillic scripts: “Brill”. See and download: brill.com/brill-typeface. ISSN 2352-0485 ISBN 978-90-04-29198-0 (hardback) ISBN 978-90-04-29199-7 (e-book) Copyright 2019 by the Editors and Authors. Published by Koninklijke Brill NV, Leiden, The Netherlands. -
A LONDONER's LONDON RED WHITTEN WILFRED WHITTEN — Re\
A LONDONER'S LONDON RED WHITTEN WILFRED WHITTEN — Re\. J. A. L. Hardcastle writes: In reading the sympathetic tribute to Wilfred I to have Whitten in your last week's issue confess made to h been surprised that no reference was " book A Londoner's London." Published some thirty years ago by Messrs. Methucn, it surely must have been encouraged and appreciated by his friend E. V. Lucas. It was nevertheless " " quite different from the Wanderer and its sequels ; and in my humble opinion surpasses any other of its kind. For it not only recalls and causes to live for us the literary ghosts, the eccentrics and the artists of the past, and especially, of course, of the early nineteenth century—no mean but no unusual it also us the an achievement ; gives atmosphere of the London just before the Great War, then —as now— in spite of a far greater and baser devastation, haunted by such citizens and saturated by their personalities. " " John o' London had no merely antiquarian nose: his ready pen was not that of a reconstructive gossip-writer ; his was a mysterious chemistry through which this London atmosphere was both distilled and inhaled. He was especially happy in his and summaries ; what more chapter-titles " perfect one for dealing with the Strand than The its Street of the Sagging Purpose" ; and opening is masterly. Or again, has Bloomsbury description " been ever better epitomized than as Lords and Landladies"? Cheapsidc is humanized as the ".Street of Songs and Sixpences."' But perhaps it is the purlieus and the by-ways, vanished or persistent, the congeries and the oases which he describes most visidly, even caressingly, yet never sentimentally. -
LOWELL LIBSON LTD 2 016 • New York · Annual Exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–30 January 2016
LOWELL LIBSON LTD 2 016 • New York · annual exhibition British Art: Recent Acquisitions at Stellan Holm · 1018 Madison Avenue 23–30 January 2016 Maastricht TEFAF: The European Fine Art Fair 11–20 March 2016 LONDON MASTERPIECE LONDON 30 June–6 July 2016 London LONDON ART WEEK 1–8 July 2016 [ B ] LOWELL LIBSON LTD 2016 • Agostino Aglio 80 Catherine Andras 54 Mary Black 38 Adam Buck 56 3 Clifford Street · London w1s 2lf Edward Burch 64 Telephone: +44 (0)20 7734 8686 John Constable 84, 88 Email: [email protected] Website: www.lowell-libson.com Richard Cosway 68 John Robert Cozens 28 Lowell Libson [email protected] Sir Nathaniel Dance 18 Jonny Yarker [email protected] John Downman 42 Deborah Greenhalgh [email protected] Richard Eurich 106 Thomas Gainsborough 26 Cressida St Aubyn [email protected] Benjamin Robert Haydon 74 John Hoppner 48 Thomas Hudson 14 James Jefferys 58, 62 Louis Laguerre 9 Lady Mary Lowther 34 Samuel Palmer 98 George Richmond 77 Thomas Rowlandson 32 John Russell 50 We are delighted to be supporting the following exhibitions in 2016: Archibald Skirving 45 NEW YORK Michael Henry Spang 64 Pierre-Jean Mariette and The Art of Collecting Drawings George Stubbs 22 The Morgan Library & Museum, New York, Henry Tonks 102 22 January – 1 May William Turner of Oxford 94 LONDON Light, time, legacy: Francis Towne’s Benjamin West 70 watercolours of Rome The British Museum, Rex Whistler 104 21 January – 14 August Matthew Cotes Wyatt 72 This catalogue presents some of the remarkable acquisitions that we have made over the last year. -
WRAP THESIS Martin 2013.Pdf
University of Warwick institutional repository: http://go.warwick.ac.uk/wrap A Thesis Submitted for the Degree of PhD at the University of Warwick http://go.warwick.ac.uk/wrap/63776 This thesis is made available online and is protected by original copyright. Please scroll down to view the document itself. Please refer to the repository record for this item for information to help you to cite it. Our policy information is available from the repository home page. Queen Victoria, Prince Albert and the Patronage of Contemporary Sculpture in Victorian Britain 1837-1901 Two Volumes: Volume 1 Eoin Martin A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy University of Warwick, Department of History of Art December 2013 Table of Contents Abstract 3 Abbreviations 4 Acknowledgements 5 Declaration 6 List of Illustrations 7 Introduction 27 1. Victoria, Albert and Sculpture in the New Houses of Parliament 59 2. Sculpture in the Royal Residences, 1840-1861 121 3. Victoria and the Memorialisation of Albert, 1861-1874 185 4. Victoria’s Patronage of Sculpture, 1870-1901 246 Conclusion: Victorian Sculpture at the Edwardian Garden Party 303 Bibliography 1. Unpublished Primary Sources 310 2. Published Primary Sources 311 3. Published Secondary Sources 323 4. Unpublished Secondary Sources 355 2 Abstract Queen Victoria (1819-1901) and Prince Albert (1819-1861) have long loomed large in Victorian sculpture studies. Numerous scholars have examined the public statues of Victoria and Albert that were erected throughout the United Kingdom and across the British Empire between the 1840s and the 1920s. Yet, to date, the couple’s own patronage of sculpture has been largely overlooked.