Revolution and Enlightenment
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Rembrandt Peale, Charles Willson Peale, and the American Portrait Tradition
In the Shadow of His Father: Rembrandt Peale, Charles Willson Peale, and the American Portrait Tradition URING His LIFETIME, Rembrandt Peale lived in the shadow of his father, Charles Willson Peale (Fig. 8). In the years that Dfollowed Rembrandt's death, his career and reputation contin- ued to be eclipsed by his father's more colorful and more productive life as successful artist, museum keeper, inventor, and naturalist. Just as Rembrandt's life pales in comparison to his father's, so does his art. When we contemplate the large number and variety of works in the elder Peak's oeuvre—the heroic portraits in the grand manner, sensitive half-lengths and dignified busts, charming conversation pieces, miniatures, history paintings, still lifes, landscapes, and even genre—we are awed by the man's inventiveness, originality, energy, and daring. Rembrandt's work does not affect us in the same way. We feel great respect for his technique, pleasure in some truly beau- tiful paintings, such as Rubens Peale with a Geranium (1801: National Gallery of Art), and intellectual interest in some penetrating char- acterizations, such as his William Findley (Fig. 16). We are impressed by Rembrandt's sensitive use of color and atmosphere and by his talent for clear and direct portraiture. However, except for that brief moment following his return from Paris in 1810 when he aspired to history painting, Rembrandt's work has a limited range: simple half- length or bust-size portraits devoid, for the most part, of accessories or complicated allusions. It is the narrow and somewhat repetitive nature of his canvases in comparison with the extent and variety of his father's work that has given Rembrandt the reputation of being an uninteresting artist, whose work comes to life only in the portraits of intimate friends or members of his family. -
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C
DID JOSHUA REYNOLDS PAINT HIS PICTURES? Matthew C. Hunter Did Joshua Reynolds Paint His Pictures? The Transatlantic Work of Picturing in an Age of Chymical Reproduction In the spring of 1787, King George III visited the Royal Academy of Arts at Somerset House on the Strand in London’s West End. The king had come to see the first series of the Seven Sacraments painted by Nicolas Poussin (1594–1665) for Roman patron Cassiano dal Pozzo in the later 1630s. It was Poussin’s Extreme Unction (ca. 1638–1640) (fig. 1) that won the king’s particular praise.1 Below a coffered ceiling, Poussin depicts two trains of mourners converging in a darkened interior as a priest administers last rites to the dying man recumbent on a low bed. Light enters from the left in the elongated taper borne by a barefoot acolyte in a flowing, scarlet robe. It filters in peristaltic motion along the back wall where a projecting, circular molding describes somber totality. Ritual fluids proceed from the right, passing in relay from the cerulean pitcher on the illuminated tripod table to a green-garbed youth then to the gold flagon for which the central bearded elder reaches, to be rubbed as oily film on the invalid’s eyelids. Secured for twenty-first century eyes through a spectacular fund-raising campaign in 2013 by Cambridge’s Fitzwilliam Museum, Poussin’s picture had been put before the king in the 1780s by no less spirited means. Working for Charles Manners, fourth Duke of Rutland, a Scottish antiquarian named James Byres had Poussin’s Joshua Reynolds, Sacraments exported from Rome and shipped to London where they Diana (Sackville), Viscountess Crosbie were cleaned and exhibited under the auspices of Royal Academy (detail, see fig. -
Subject Matter and Visual Analysis Not Long After His Arrival in England, Copley Began to Work on a Historical Commission
Copley did, however, seek the approval of the British art establishment. In 1765, Copley painted a portrait of his younger half-brother Henry Pelham, and sent the painting to the annual exhibition of the Society of Artists of Great Britain.123 Titled Boy with a Flying Squirrel, the painting attracted the attention of Benjamin West, an American-born artist who had moved to London. The painting’s realism highlighted Copley’s ability to convincingly paint a range of textures and surfaces. West wrote to Copley and implored him to come to London and learn the European painting tradition.124 Copley would eventually take West up on his offer, but not for nine years. Until then, he continued to earn a good living by painting portraits of members of Boston and New York society. In 1769, Copley married Susanna Farmham Clarke, the daughter of a wealthy merchant. The couple would eventually have six children together, and due to Copley’s success as a portraitist and his wife’s family money, they were able to purchase property on Beacon Hill next door to John Hancock, one of the wealthiest men in Boston.125 The 1770s were a John Singleton Copley Self-portrait. turbulent time in the city, as tensions with the British were increasing. Copley maintained friendships with both revolutionary and loyalist factions. One of his best-known portrait subjects was Paul Revere, a member of the Sons of Liberty. However, Copley’s father-in-law was a loyalist whose cargo was tossed into Boston Harbor during the Boston Tea Party. As tensions in the city reached a fever pitch, Copley left the country for London in 1774. -
The Domestication of History in American Art: 1848-1876
W&M ScholarWorks Dissertations, Theses, and Masters Projects Theses, Dissertations, & Master Projects 1998 The domestication of history in American art: 1848-1876 Jochen Wierich College of William & Mary - Arts & Sciences Follow this and additional works at: https://scholarworks.wm.edu/etd Part of the American Studies Commons, History of Art, Architecture, and Archaeology Commons, and the United States History Commons Recommended Citation Wierich, Jochen, "The domestication of history in American art: 1848-1876" (1998). Dissertations, Theses, and Masters Projects. Paper 1539623945. https://dx.doi.org/doi:10.21220/s2-qc92-2y94 This Dissertation is brought to you for free and open access by the Theses, Dissertations, & Master Projects at W&M ScholarWorks. It has been accepted for inclusion in Dissertations, Theses, and Masters Projects by an authorized administrator of W&M ScholarWorks. For more information, please contact [email protected]. INFORMATION TO USERS This manuscript has been reproduced from the microfilm master. UMI films the text directly from the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be from any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. -
BEAUTIFUL CHILDREN IMMORTALISED by the MASTERS R^^=^
^s m ^ BEAUTIFUL CHILDREN Digitized by the Internet Archive in 2008 with funding from IVIicrosoft Corporation http://www.archive.org/details/beautifulchildreOOmacfrich MASTER LAMBTON BY SIR THOMAS LAWRENCE {From Lord Dtirhani's Collection) Of the many fine pictures of children painted by Lawrence, one of the most famous is that of the poetic seven-year-old son of the first Lord Durham by his second marriage with the daughter of the second Earl Grey. The boy appears older than his age ; indeed, the handsome patrician little fellow was a pensive child beyond his years. He was not destined to succeed to the title, dying the year after his painter. BEAUTIFUL CHILDREN IMMORTALISED BY THE MASTERS r^^=^ C. HALDAN E M9FALL WITH JO REPRODUCTIONS IN COlOffR OF FAMOUS PAINTINGS LONDON. T.C.^ E.C.JACK NEW YORK. DODD.MEAD &. CO M S. L c'fff^ — — THE PERSONAL NOTE It would ill become pen of mine to let this volume go forth without paying tribute to the generous help that has gone to the making of its chief claim to merit. To Lord Spencer, Lord Crewe, Lord Durham, and Lord Lucas the debt is heavy for the handsome way in which they have placed their treasure at the service of these pages. To the courtesy of the Keepers of the State collections of the National Gallery, the National Portrait Gallery, the Diploma Gallery, the Wallace Collection, and the Tate of the Louvre and at Versailles in Vienna, in Berlin, at Munich, at Turin, in Amsterdam, and at the Prado, also my thanks. -
National Gallery of Art OPENING EXHIBITIONS CONTINUING EXHIBITIONS Film Programs Helen Frankenthaler: William M
Calendar of Events April 1993 National Gallery of Art 7:00 Concert: The Howard University Diffusion of Classical Art in Antiquity: 12:30 Film: The New York School APRIL Chorale, Dr. Weldon Norris, Greeks in the Land of the Nile 2:30 Gallery Talk: Between Being Conductor, Easter Concert 6:00 Films: Signs of the Times: "Big and Nothingness: Anselm Kiefer's Ben and the Jesus Picture " and "That "Zim Zum " (EB) See bottom panels for introductory 14 WEDNESDAY Little Bit Different" and foreign language tours; see 12:00 Gallery Talk: History Made 7:00 Concert: The Fiftieth American 25 SUNDAY reverse side for complete film and Recorded: Painting in Eighteenth Music Festival, National Gallery 12:00 Gallery Talk: Landscape information. Century Britain (WB) Orchestra, George Marios, Conductor Image and Idea in Lorenzo Lotto's 12:30 Film: Money Man "Allegory" (WB) 1 THURSDAY 20 TUESDAY 2:00 Gallery Talk: The Decorative 12:00 Gallery Talk: John Singleton 15 THURSDAY 12:00 Gallery Talk: French Portraits: Arts: Medieval Treasures (WB) Cop ley's "Watson and the Shark" 12:00 Gallery Talk: Introducing Art: People and Pets (EB) 4:00 Andrew W. Mellon Lecture: (WB)' Abstraction (EB) 1:00 Gallery Talk: Handle with Care: The Diffusion of Classical Art in 12:30 Film: Important Information 12:30 Film: Money Man IJorking with Objects in the National Antiquity: The Arts ofEtruria Inside: John F. Peto and the Idea of 1:00 Gallery Talk: "The Swing" by Gallery (WB) 6:00 Film: The Godless Girl Still-Life Painting Jean-Honore Fragonard (WB) 7:00 Concert: The Fiftieth American 21 WEDNESDAY Music Festival, Phyllis Bryn-Julson, 2 FRIDAY 16 FRIDAY 10:15 Special Course: The World of soprano, Donald Sutherland, piano, 12:00 Gallery Talk: "Palazzo da 12:00 Gallery Talk: Introducing Art: Rubens: Flemish Baroque Painting Rudy J rbsky, oboe Mala " by Claude Monet (WB) Portraiture (WB) 12:00 Gallery Talk: Drawings from 12:30 Film: Important Information 12:30 Film: Mow>-Man the O'Neal Collection (EB) 27 TUESDAY Inside: John F. -
UNIVERSITY of CALIFORNIA RIVERSIDE Aesthetic Intersections
UNIVERSITY OF CALIFORNIA RIVERSIDE Aesthetic Intersections: Portraiture and British Women’s Life Writing in the Long Eighteenth Century A Dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in English by Flavia Ruzi September 2017 Dissertation Committee: Dr. Adriana Craciun, Chairperson Dr. George Haggerty Dr. Malcolm Baker Copyright by Flavia Ruzi 2017 ii The Dissertation of Flavia Ruzi is approved: Committee Chairperson University of California, Riverside iii Acknowledgments This dissertation would not have been possible without the guidance and support of my committee, who have stood relentlessly beside me through every step of the process. I am immensely grateful to Adriana Craciun for her continued faith in my project and in my capacity to meet her ambitious expectations. She has made me a better writer and a more sophisticated thinker. I would also like to express my gratitude to Malcolm Baker, who has patiently born with my literary propensities through my examination of art historical materials. His dedicated guidance has enabled me to discuss such materials in each chapter with the art historical rigor they deserve. The interdisciplinary impetus of my project would not have been possible without him. And I would like to thank George Haggerty, who has been there for me since the first day of my graduate career and continues to inspire me with his unabating love for eighteenth- century literature. The reading group he organized for me and my friend, Rebecca Addicks-Salerno, was instrumental in the evolution of my project. Our invaluable conversations ensured that my dissertation was not a lonely and isolated process but the product of an eighteenth-century-salon-like culture of enjoyable intellectual exchange. -
John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage
Graduate Theses, Dissertations, and Problem Reports 2011 An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger West Virginia University Follow this and additional works at: https://researchrepository.wvu.edu/etd Recommended Citation Rininger, Elizabeth, "An American "Duchess" in Disguise: John Singleton Copley's Turquerie Portrait of Margaret Kemble Gage" (2011). Graduate Theses, Dissertations, and Problem Reports. 4773. https://researchrepository.wvu.edu/etd/4773 This Thesis is protected by copyright and/or related rights. It has been brought to you by the The Research Repository @ WVU with permission from the rights-holder(s). You are free to use this Thesis in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you must obtain permission from the rights-holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/ or on the work itself. This Thesis has been accepted for inclusion in WVU Graduate Theses, Dissertations, and Problem Reports collection by an authorized administrator of The Research Repository @ WVU. For more information, please contact [email protected]. An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger Thesis submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Master of Arts in Art History Dr. Rhonda Reymond, Chair Dr. Janet Snyder Prof. Kristina Olson Division of Art and Design Morgantown, West Virginia 2011 Keywords: John Singleton Copley, Orientalism, Margaret Kemble Gage, Colonial America Copyright 2011 Elizabeth Rininger ABSTRACT An American “Duchess” in Disguise: John Singleton Copley’s Turquerie Portrait of Margaret Kemble Gage Elizabeth Rininger A number of portraits that John Singleton Copley painted in the years prior to the American Revolution show women clad in turquerie. -
Angelica Kauffmann, R.A., Her Life and Her Works
EX LlBRl THE GETTY PROVENANCE INDEX This edition is limited to lOOO copies for sale in Great Britain and the United States. I ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS BT DR. G. C. WILLIAMSON THE KEATS LETTERS, PAPERS AND OTHER RELICS Reproduced in facsimile from the late Sir Charles Dilke's Bequest to the Corporation of Hampstead. Foreword by Theodore Watts-Dunton and an Intro- duction by H. Buxton Forman. With 8 Portraits of Keats, and 57 Plates in collotype. Limited to 320 copies. Imperial 4to. OZIAS HUMPHRY: HIS LIFE AND WORKS With numerous Illustrations in colour, photogravure and black and white. Demy 410. MURRAY MARKS AND HIS FRIENDS With numerous Illustrations. Demy 8vo. DANIEL GARDNER Painter in Pastel and Gouache. A Brief Account of His Life and Works. With 9 Plates in colour, 6 photogravures, and very numerous reproductions in half-tone. Demy 4to. THE JOHN KEATS MEMORIAL VOLUME By various distinguished writers. Edited by Dr. G. C. Williamson. Illustrated. Crown 410. Dr. G. C. WILLUMSON and LADY VICTORIA MANNERS THE LIFE AND WORK of JOHN ZOFFANY, R.A. With numerous Illustrations in photogravure, colour and black and white. Limited to 500 copies. Demy 4to. THE BODLEY HEAD Digitized by the Internet Archive in 2013 http://archive.org/details/angelicakauffmanOOmann SELF PORTRAIT OF ANGELICA. From the original painting in the possessio?! of the Duke of Rutland and hanging at Belvoir Castle. The Duke also owns the original sketchfor this portrait. ANGELICA KAUFFMANN, R.A. HER LIFE AND HER WORKS By LADY VICTORIA MANNERS AND Dr. G. -
David Bjelajac CURRENT ADDRESSES
David Bjelajac CURRENT ADDRESSES: Office: Home: Department of Fine Arts and Art History 955 26th Street, NW #607 George Washington University Washington, DC 20037-2040 Washington, DC 20052 (202) 625-0846 (202) 994-7093 [email protected] [email protected] EDUCATION: University of Wisconsin-Madison, B.A. 1972, major in History. M.A. 1973, major in History of Modern Europe. University of North Carolina-Chapel Hill, Ph.D. 1984, Art Department: Modern and American Art. ACADEMIC APPOINTMENTS: Professor of Art and American Studies, George Washington University, 1998 to present; Chair, Department of Fine Arts and Art History, The George Washington University, 2000 to 2003. Interim Chair, 2006-2007. Associate Professor of Art, George Washington University, 1992-98; Assistant Professor of Art, George Washington University, 1989-92. Assistant Professor of Art and the History of Art and Architecture, Tufts University, 1987-89. Assistant Professor of Art, Corpus Christi State University, 1984-87. PUBLICATIONS: Books: American Art: A Cultural History. Revised and Expanded Second Edition. Prentice Hall, 2005. American Art: A Cultural History. Laurence King, Ltd, Prentice Hall and Harry N. Abrams, Inc., 2000. Washington Allston, Secret Societies, and the Alchemy of Anglo-American Painting. Cambridge University Press, 1997. Millennial Desire and the Apocalyptic Vision of Washington Allston. New Directions in American Art, Washington, DC: Smithsonian Institution Press, 1988. Bjelajac 2 Catalogues: Eric Avery: Healing before Art. Corpus Christi, Texas: Weil Gallery, Corpus Christi State University, 1987. Private Visions: The Paul and Mary Haas Collection of Art. Corpus Christi, Texas: Paul and Mary Haas, 1987. Articles, Essays and Book Chapters: “Honey from the Louvre: Gleaning God’s Word from the Old Masters,” in Samuel F. -
(Hrsg.): American Icons : Transatlantic Perspectives on Eighteenth- and Nineteenth-Century American Art, Santa Monica (Calif.) 1992, S
Originalveröffentlichung in: Gaehtgens, Thomas W. (Hrsg.): American icons : transatlantic perspectives on eighteenth- and nineteenth-century American art, Santa Monica (Calif.) 1992, S. 34-59 l. John Singleton Copley (American), Watson and the Shark, 1778, oil on canvas, 182.1 x 229.7 cm- Washington, D.C., National Gallery of Art, Ferdinand Lammot Belin Fund, no. 1963.6.1. Werner Busch COPLEY, WEST, AND THE TRADITION OF EUROPEAN HIGH ART We have become used to seeing American painting of the eighteenth and nineteenth centuries from a European perspective, that is, as an art of only relative merit. In the eighteenth century, American art seems totally depen dent on English models, while in the nineteenth century it is largely domi nated by the influence of the Dusseldorf school. Very often it is precisely the American element in American painting that is considered provincial and naive. Recent exhibitions — such as Thomas Gaehtgens's Bilder aus der Neuen Welt — have tried to do justice to the particular contribution of Ameri can painting.1 As a correction of current views, this is useful and necessarv. In academic discourse, however, established positions are not that readily discarded. I think it justifiable, therefore, to assume the European role once more — playing a kind of devil's advocate. In the following discussion of American history painters working in England at the end of the eighteenth century, I shall argue that the novelty of American history painting — so abundantly stressed in recent critical discussion — is not so much a specifically American phenomenon but instead follows an English tradition and is part of a general change of the European conception of painting in the late eighteenth century. -
French Classicism in Four Painters: Where It Went and Why
Bard College Bard Digital Commons Senior Projects Spring 2019 Bard Undergraduate Senior Projects Spring 2019 French Classicism in Four Painters: Where It Went and Why Kristen Tayler Westerduin Bard College, [email protected] Follow this and additional works at: https://digitalcommons.bard.edu/senproj_s2019 Part of the Ancient Philosophy Commons, French and Francophone Literature Commons, History Commons, History of Art, Architecture, and Archaeology Commons, and the Philosophy Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Westerduin, Kristen Tayler, "French Classicism in Four Painters: Where It Went and Why" (2019). Senior Projects Spring 2019. 130. https://digitalcommons.bard.edu/senproj_s2019/130 This Open Access work is protected by copyright and/or related rights. It has been provided to you by Bard College's Stevenson Library with permission from the rights-holder(s). You are free to use this work in any way that is permitted by the copyright and related rights. For other uses you need to obtain permission from the rights- holder(s) directly, unless additional rights are indicated by a Creative Commons license in the record and/or on the work itself. For more information, please contact [email protected]. French Classicism in Four Painters: Where It Went and Why Senior Project Submitted to The Divisions of Art History and Visual Culture and French Studies of Bard College by Kristen T. Westerduin Annandale-on-Hudson, New York May 2019 Westerduin, 2 Acknowledgements A big thank you to Laurie Dahlberg for taking the time to guide me through this process and answering every question I had, big and small.