The Art and Artefact Trail at Derby Hospitals
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
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. -
Darnley Portraits
DARNLEY FINE ART DARNLEY FINE ART PresentingPresenting anan Exhibition of of Portraits for Sale Portraits for Sale EXHIBITING A SELECTION OF PORTRAITS FOR SALE DATING FROM THE MID 16TH TO EARLY 19TH CENTURY On view for sale at 18 Milner Street CHELSEA, London, SW3 2PU tel: +44 (0) 1932 976206 www.darnleyfineart.com 3 4 CONTENTS Artist Title English School, (Mid 16th C.) Captain John Hyfield English School (Late 16th C.) A Merchant English School, (Early 17th C.) A Melancholic Gentleman English School, (Early 17th C.) A Lady Wearing a Garland of Roses Continental School, (Early 17th C.) A Gentleman with a Crossbow Winder Flemish School, (Early 17th C.) A Boy in a Black Tunic Gilbert Jackson A Girl Cornelius Johnson A Gentleman in a Slashed Black Doublet English School, (Mid 17th C.) A Naval Officer Mary Beale A Gentleman Circle of Mary Beale, Late 17th C.) A Gentleman Continental School, (Early 19th C.) Self-Portrait Circle of Gerard van Honthorst, (Mid 17th C.) A Gentleman in Armour Circle of Pieter Harmensz Verelst, (Late 17th C.) A Young Man Hendrick van Somer St. Jerome Jacob Huysmans A Lady by a Fountain After Sir Peter Paul Rubens, (Late 17th C.) Thomas Howard, Earl of Arundel After Sir Peter Lely, (Late 17th C.) The Duke and Duchess of York After Hans Holbein the Younger, (Early 17th to Mid 18th C.) William Warham Follower of Sir Godfrey Kneller, (Early 18th C.) Head of a Gentleman English School, (Mid 18th C.) Self-Portrait Circle of Hycinthe Rigaud, (Early 18th C.) A Gentleman in a Fur Hat Arthur Pond A Gentleman in a Blue Coat -
Annual Report 1995
19 9 5 ANNUAL REPORT 1995 Annual Report Copyright © 1996, Board of Trustees, Photographic credits: Details illustrated at section openings: National Gallery of Art. All rights p. 16: photo courtesy of PaceWildenstein p. 5: Alexander Archipenko, Woman Combing Her reserved. Works of art in the National Gallery of Art's collec- Hair, 1915, Ailsa Mellon Bruce Fund, 1971.66.10 tions have been photographed by the department p. 7: Giovanni Domenico Tiepolo, Punchinello's This publication was produced by the of imaging and visual services. Other photographs Farewell to Venice, 1797/1804, Gift of Robert H. and Editors Office, National Gallery of Art, are by: Robert Shelley (pp. 12, 26, 27, 34, 37), Clarice Smith, 1979.76.4 Editor-in-chief, Frances P. Smyth Philip Charles (p. 30), Andrew Krieger (pp. 33, 59, p. 9: Jacques-Louis David, Napoleon in His Study, Editors, Tarn L. Curry, Julie Warnement 107), and William D. Wilson (p. 64). 1812, Samuel H. Kress Collection, 1961.9.15 Editorial assistance, Mariah Seagle Cover: Paul Cezanne, Boy in a Red Waistcoat (detail), p. 13: Giovanni Paolo Pannini, The Interior of the 1888-1890, Collection of Mr. and Mrs. Paul Mellon Pantheon, c. 1740, Samuel H. Kress Collection, Designed by Susan Lehmann, in Honor of the 50th Anniversary of the National 1939.1.24 Washington, DC Gallery of Art, 1995.47.5 p. 53: Jacob Jordaens, Design for a Wall Decoration (recto), 1640-1645, Ailsa Mellon Bruce Fund, Printed by Schneidereith & Sons, Title page: Jean Dubuffet, Le temps presse (Time Is 1875.13.1.a Baltimore, Maryland Running Out), 1950, The Stephen Hahn Family p. -
'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. -
100. a Philosopher Giving a Lecture on the Orrery Joseph Wright Of
100. A Philosopher Giving a Lecture on the Orrery Joseph Wright of Derby. C. 1763-1765 C.E. Oil on canvas Orrery: mechanical model of the solar system Article at Khan Academy The Orrery, caused a greater stir (than Wright’s first painting), as it replaced the Classical subject at the centre of the scene with one of a scientific nature o Wright's depiction of the awe produced by scientific "miracles" marked a break with previous traditions in which the artistic depiction of such wonder was reserved for religious events The painting was one of a number of British works challenging the set categories of the rigid, French-dictated, hierarchy of genres in the late 18th century, as other types of painting aspired to be treated as seriously as the costumed history painting of a Classical or mythological subject The Orrery was painted without a commission, probably in the expectation that it would be bought by Washington Shirley, 5th Earl Ferrers, an amateur astronomer who had an orrery of his own, and with whom Wright's friend Peter Perez Burdett was staying while in Derbyshire. o Figures thought to be portraits of Burdett and Ferrers feature in the painting, Burdett taking notes and Ferrers seated with a youth next to the orrery.[9] Ferrers purchased the painting for £210, but the 6th Earl auctioned it off, and it is now held by Derby Museum and Art Gallery,[10] where it is on permanent display, and close to a working replica of a full-sized mechanical Grand Orrery Close observation of the adult faces in the picture reveals that each one demonstrates one or other of the main phases of the moon – new moon, half moon, gibbous moon and full moon . -
Download Derby Walks
The City Circuit 24 Iron Gate 8 Michael Thomas Bass 16 The Old Bell Hotel 21 The former Boots Building 25 Bonnie Prince Charlie Statue 30 An early 18th century house which was statue This is the last coaching Inn to survive in Derby. Built for the Nottingham based A magnificent life-size statue set up Assembly Rooms/Derby Sales & 1 once the home of horologer, scientist and A statue of Michael Thomas Bass MP for Built in 1680, it was extended with an ornate chemists at the beginning of the high upon a stone plinth. Glossop born Information Centre philosopher, John Whitehurst FRS (1713 – Derby 1847 – 1883 is situated next to the ballroom in 1776 and acquired its timber façade 20th century. The top of the building sculptor, Anthony Stones created the work 1788). In 1855, the roof was removed and the Derby Museum and Library. He funded the in 1929. A meeting was held here in 1884 by displays statues of important which was unveiled in December 1995. The Assembly Rooms complex the Derby Midland Cricket Club. It was during Derby people who have influenced This landmark signifies Bonnie Prince present glass structure substituted to make construction of this fine gothic building. is an award winning architectural a studio for Richard Keene (1825 – 1894) this meeting that the members elected to progress within the city – Florence Charlie’s fateful return to Scotland in design by Casson and Conder Derby’s pioneer Victorian photographer. form their own football team – the evolution of Nightingale, John Lombe (co-founder 1745. He arrived in Derby on 4 December built in 1977. -
Chemistry 1 Stokiometry Contents
chemistry 1 stokiometry Contents 1 John Dalton 1 1.1 Early life ................................................ 1 1.2 Early careers .............................................. 1 1.3 Scientific contributions ........................................ 1 1.3.1 Meteorology ......................................... 1 1.3.2 Colour blindness ....................................... 1 1.3.3 Measuring mountains in the Lake District .......................... 2 1.3.4 Gas laws ............................................ 2 1.3.5 Atomic theory ......................................... 2 1.3.6 Atomic weights ........................................ 3 1.3.7 Other investigations ...................................... 3 1.3.8 Experimental approach .................................... 4 1.4 Other publications ........................................... 4 1.5 Public life ............................................... 4 1.6 Personal life .............................................. 5 1.7 Disability and death .......................................... 5 1.8 Legacy ................................................. 5 1.9 See also ................................................ 6 1.10 References ............................................... 6 1.11 Sources ................................................ 7 1.12 External links ............................................. 8 2 Atomic theory 9 2.1 History ................................................. 9 2.1.1 Philosophical atomism .................................... 9 2.1.2 Dalton ............................................ -
Willersley Castle Research
WILLERSLEY CASTLE, CROMFORD A research paper produced by Barry Joyce and Doreen Buxton with the assistance of David Hool for the Derwent Valley Mills World Heritage Partnership August 2011 1 SUMMARY Willersley Castle was built as a mansion house for Sir Richard Arkwright. He commissioned it in 1786, the year he was knighted, to provide a suitably prestigious ‘seat’, to which he intended to move from Rock House, the substantial but less prestigious house in Cromford he had lived in since 1776. The knight died in 1792, before it was completed. Sir Richard gave the commission to William Thomas, a London architect. Thomas was much influenced by the work of Robert Adam. It would seem from undated drawings that Arkwright also invited designs from a local architect, Thomas Gardner of Uttoxeter. Gardner’s design is in the Adam neo- classical style but the chosen design of William Thomas is in what has come to be called ‘the Robert Adam castle style’. Thomas’s Willersley Castle design owes much to Adam’s designs for Culzean Castle, which is roughly contemporary. The site is a spectacular one, on a rocky eminence, looking out southwards down the Derwent Valley across picturesque rocky outcrops, avoiding sight of the two nearby Arkwright cotton mills. Following a serious fire in 1791 and after Sir Richard’s death in 1792, the Castle was completed in a modified form under the supervision of Thomas Gardner. Pleasure grounds were laid out for Sir Richard and his successor, Richard Arkwright II, by John Webb, who took the meadows sloping down to the River Derwent and turned them into an Arcadian park. -
Bluestocking Feminism and British-German Cultural Transfer, 1750-1837
0/-*/&4637&: *ODPMMBCPSBUJPOXJUI6OHMVFJU XFIBWFTFUVQBTVSWFZ POMZUFORVFTUJPOT UP MFBSONPSFBCPVUIPXPQFOBDDFTTFCPPLTBSFEJTDPWFSFEBOEVTFE 8FSFBMMZWBMVFZPVSQBSUJDJQBUJPOQMFBTFUBLFQBSU $-*$,)&3& "OFMFDUSPOJDWFSTJPOPGUIJTCPPLJTGSFFMZBWBJMBCMF UIBOLTUP UIFTVQQPSUPGMJCSBSJFTXPSLJOHXJUI,OPXMFEHF6OMBUDIFE ,6JTBDPMMBCPSBUJWFJOJUJBUJWFEFTJHOFEUPNBLFIJHIRVBMJUZ CPPLT0QFO"DDFTTGPSUIFQVCMJDHPPE Bluestocking Feminism and British- German Cultural Transfer, 1750– 1837 Bluestocking Feminism and British- German Cultural Transfer, 1750– 1837 Alessa Johns The University of Michigan Press Ann Arbor Copyright © by the University of Michigan 2014 All rights reserved This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publisher. Published in the United States of America by The University of Michigan Press Manufactured in the United States of America c Printed on acid- free paper 2017 2016 2015 2014 4 3 2 1 A CIP catalog record for this book is available from the British Library. Library of Congress Cataloging- in- Publication Data Johns, Alessa. Bluestocking feminism and British- German cultural transfer, 1750–1837 / Alessa Johns. pages cm Includes bibliographical references and index. ISBN 978- 0- 472- 11938- 7 (hardcover : alk. paper) — ISBN 978- 0- 472- 03594- 6 (pbk. : alk. paper) — ISBN 978- 0- 472- 12047- 5 (e- book) 1. Feminism— Europe— History— 18th century. -
Joseph Wright, Esq. Painter and Gentleman
Joseph Wright, Esq. Painter and Gentleman Joseph Wright, Esq. Painter and Gentleman By Andrew Graciano Joseph Wright, Esq. Painter and Gentleman, by Andrew Graciano This book first published 2012 Cambridge Scholars Publishing 12 Back Chapman Street, Newcastle upon Tyne, NE6 2XX, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2012 by Andrew Graciano All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-4438-3914-0, ISBN (13): 978-1-4438-3914-3 TABLE OF CONTENTS List of Illustrations .................................................................................... vii Preface........................................................................................................ ix Acknowledgements .................................................................................... xi Introduction .............................................................................................. xiii Chapter One................................................................................................. 1 Surface and Depth Chapter Two.............................................................................................. 31 Sources of Wealth: Wright’s Social Status and His Portraits of Industrial Power Chapter Three........................................................................................... -
The Great Age of English Mezzotints (January 19–March 14, 2010), Curated by T
“Th e Artful Disposition of Shades”: Th e Great Age of English Mezzotints 1 hood museum of ar . darmouh college INTRODUCTION amson Occom’s (1723–1792) fundraising trip to England, Ireland, and Scotland from 1766 to 1768 relied heavily on the power of the press to promote his mission. Newspa- pers reported on his sermons and travels, a published brochure described the goals of the campaign, and a printed portrait highlighted his celebrity (fig. 1). The image por- trayed the sitter’s erudition and exoticism in the most popular medium available at Sthat time: mezzotint. It was also one of the earliest prints to be collected at Dartmouth College. Immediately after Occom arrived in London along with Nathaniel Whitaker (1732–1795) in early 1766 to raise money “to support the Rev. Mr. Wheelock’s school at Lebanon in New England” (London Evening Post, 1 May 1766, p. 1), they published a sixty-four-page booklet entitled A Brief Narrative of the Indian Charity School. It outlined their goal of “building and endowing an Indian academy for clothing, boarding, maintaining, and educating such Indians as are designed for missionaries and schoolmasters, and for maintaining those who are, or here- after shall be, employed on this glorious errand.” It also included numerous testimonials from leading American ministers and statesmen. A second edition with new letters of recommenda- tion came out the following year. Copies were widely circulated in the British Isles during the travelers’ two-year venture in order to publicize their background and objectives. Moreover, the centerpiece of the promotional drive was the “Reverend Mr.