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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. -
Select Bibliography
Select Bibliography The bibliography is divided into two parts: a schedule of general texts 2 the politics of portraiture c. 1660–75 selected readings for those who wish to explore the back- arnold, dana and peters corbett, david, eds., barber, tabitha, Mary Beale (1632/3–1699): Portrait ground of developments described in the book – both A Companion to British Art: 1600 to the Present, of a Seventeenth-Century Painter, Her Family and as a whole and chapter by chapter – followed by a much Chichester, 2013. Her Studio, exhibition catalogue, Geffrye Museum, longer list that is intended to function as an introductory barrell, john, The Political Theory of Painting from London, 1999. guide to research in the field of British two-dimensional Reynolds to Hazlitt: ‘The Body of the Public’, New coombs, katherine, The Portrait Miniature in art between the Restoration and the Battle of Waterloo. Haven and London, 1986. England, London, 1998. To facilitate usage of the more comprehensive bibliogra- bindman, david, ed., The History of British Art, Volume macleod, catharine and marciari alexander, phy, its materials have been organized under the follow- 2: 1600–1870, London, 2008. julia, eds., Painted Ladies: Women at the Court of ing headings: brewer, john, The Pleasures of the Imagination: English Charles II, exhibition catalogue, National Portrait Culture in the Eighteenth Century, London, 1997. Gallery, London, 2001. general texts: history (social and cultural) craske, matthew, Art in Europe, 1700–1830, Oxford, marciari alexander, julia and macleod, catha- and the history of art 1997. rine, eds., Politics, Transgression, and Representation the london art world: institutions, exhibi- farington, joseph, The Diary of Joseph Farington, at the Court of Charles II, Studies in British Art 18, tions and the art market vols. -
The Summer Exhibition 3
ART HISTORY REVEALED Dr. Laurence Shafe This course is an eclectic wander through art history. It consists of twenty two-hour talks starting in September 2018 and the topics are largely taken from exhibitions held in London during 2018. The aim is not to provide a guide to the exhibition but to use it as a starting point to discuss the topics raised and to show the major art works. An exhibition often contains 100 to 200 art works but in each two-hour talk I will focus on the 20 to 30 major works and I will often add works not shown in the exhibition to illustrate a point. References and Copyright • The talks are given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • The notes are based on information found on the public websites of Wikipedia, Tate, National Gallery, Oxford Dictionary of National Biography, Khan Academy and the Art Story. • If a talk uses information from specific books, websites or articles these are referenced at the beginning of each talk and in the ‘References’ section of the relevant page. The talks that are based on an exhibition use the booklets and book associated with the exhibition. • Where possible images and information are taken from Wikipedia under 1 an Attribution-Share Alike Creative Commons License. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 ART HISTORY REVEALED 1. Impressionism in London 1. -
Gorry Gallery an Exhibition 17Th
GORRY GALLERY ‘On Seeing Mulvany’s Battle of Aughrim ’ by Anne Weber (Great Grandniece of the Artist) INDEX OF ARTISTS Page Page The very word ‘Aughrim’, like ‘Custer’, carries with it current connotations as well as historical ones. I know the facts of the Battle of Bradley, Basil .........................................................23, 24, 25 Kavanagh, Joseph Malachy .............................................19 Aughrim, but I lack the deep emotional connection of the native born Irish to her history. Nevertheless, I reacted strongly. Burton, Frederick William ................................................27 Lawless, Matthew James .....................................16, 17, 18 Collins, Charles ...........................................................10, 11 Luttrell, Edward .................................................................21 The little shop was dark, narrow and crowded. There was a three-foot path through the jumble of tables, statuary, baskets and antiques. Colvill, Helen ....................................................................30 Marquis, James Richard ....................................................28 The walls were covered with paintings, hung salon style, in every technique imaginable, nothing newer than the 1940s. We, my brother, the pho - Danby, James Francis .......................................................22 McCloy, Samuel ................................................................26 tographer and I, stopped just inside the door while the owner moved through the maze to turn -
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. -
An Exhibition of 18Th - 21St Century Irish Paintings
GORRY GALLERY 19. WILLIAM OLIVER fl. 1867-1897 FRONT COVER: Harry Jones Thaddeus R.H.A 1860-1929 Catalogue Number 8 © GORRY GALLERY LTD. GORRY GALLERY requests the pleasure of your company at the private view of An Exhibition of 18th - 21st Century Irish Paintings on Sunday 30th March 2014 Wine 3.30 p.m. This exhibition can be viewed prior to the opening by appointment also on Wednesday, Thursday, Friday and Saturday 26th, 27th, 28th and 29th March 11.30 a.m. - 5.30 p.m. and Sunday 30th March 12 noon - 3.30 p.m. prior to the opening and sale of exhibition. www.gorrygallery.ie 30th March - 12th April 2014 8. Harry Jones Thaddeus R.H.A. (1860-1929) ‘The Friends of the Model’ Signed ‘HTHADDEUS JONES/1881’ Oil on canvas 116 x 98 cm EXHIBITED: Paris Salon, 1882 Number 1427 Cork Industrial and Fine Arts Exhibition, 1883, Number 138 Royal Scottish Academy 1883, Number 601 LITERATURE: Cork Constitution 4 July 1883 Recollections of a Court Painter by H. Jones Thaddeus, London 1912 The Life and Work of Harry Jones Thaddeus, Brendan Rooney, Four Courts Press, 2003 2 The Chapelle de l’Hôpital sits on the rue Vauban, the France in the nineteenth century, it speaks volumes of main thoroughfare leading to the heart of the Ville Close, Thaddeus’s affection for Concarneau and his ambitions Concarneau’s medieval fortified island.1 A hospital church for the art that he would produce there that he remained built in the sixteenth century, it originally comprised two during an outbreak of pox in 1881 that claimed over a communal wards from which male and female patients, hundred lives in four months.6 ‘At the commencement of cared for by nuns, could follow religious services from the outbreak,’ Thaddeus remembered ‘I invariably had their beds. -
Gorry Gallery 16
Gorry Gallery 16. William H. Bartlett (Detail) FRONT COVER: William H. Bartlett 1858-1932 Catalogue Number 16. (Detail) © GORRY GALLERY LTD. GORRY GALLERY requests the pleasure of your company at the private view of An Exhibition of 18th - 21st Century Paintings on Wednesday, 14th March, 2007 Wine 6 o’clock This exhibition can be viewed prior to the opening by appointment and at www.gorrygallery.ie Kindly note that all paintings in this exhibition are for sale from 6.00 p.m. 14th March – 31st March 2007 16. WILLIAM HENRY BARTLETT, 1858-1932 ‘His Last Work’ Oil on canvas 115.5 x 153.5 Signed and dated 1885 Exhibited, Royal Academy, 1885 (no 1160) Provenance: William Wallace Spence, Baltimore City Gifted to the Presbyterian House, Towson, Maryland by Mrs Bartow Van Ness and Mrs Frederick Barron granddaughters of William Wallace Spence Bears label of Dicksee and Dicksee, 1 Pall Mall Place, London and a label inscribed with the title in the artist’s hand, giving his address as Park Lodge, Church Street, Chelsea In its original carved and gilded exhibition frame, possibly designed by the artist William Henry Bartlett is emerging as one of the most interesting and accomplished artists to have worked in Ireland in the nineteenth century. Although a visitor, he engaged directly with Irish subject matter both in paint and in print. He is known today for his remarkably innovative views of daily life in the West, which form an important link between the essentially Victorian, and often sentimental, work of other visiting artists such as Howard Helmick and the figurative work of Charles Lamb and Paul Henry in the early decades of the twentieth century. -
Gorry Gallery
Gorry Gallery Gorry Cover.indd 1 22/02/2005 02:16:04 pm GORRY GALLERY requests the pleasure of your company at the private view of An Exhibition of 18th, 19th and 20th Century Irish Paintings on Wednesday, 2nd March, 2005 Wine 6 o’clock This exhibition can be viewed prior to the opening by appointment and at www.gorrygallery.ie Kindly note that all paintings in this exhibition are for sale from 6.00 p.m. 2nd March – 12th March 2005 13513 Gorry Gallery.indd 3 16/02/2005 09:12:18 am 5. ROBERT CRONE, c.1718 – 1779 ‘A view of the Roman Campagna from the Temple of Vesta at Delphi with a view of Rome in the far distance’ Oil on canvas 95.6 x 132.7 Signed, inscribed ‘Roma’, and dated 1765 Travelling in Italy in 1764, John Martin noted an expatriate group of Irish artists: ‘Mr Crone, Mr Delane and Mr Forrester the only persons from our part of the world who practice landscape painting are all Irish’. Indeed this group of artists defined a remarkable branch of the eighteenth-century landscape school, mixing native influence with their exposure to both the Roman Campagna and the incipient neo-classical movement. The work of all three artists is extremely rare, but has been the subject of much recent scholarly enquiry. Crone was born in, or about 1718, thus making him at least ten years older than artists of Barret’s generation. After studying in Dublin with Robert Hunter and his kinsman Phillip Hussey, Crone went to Italy where he was to spend some twelve years. -
Sarah Sophia Banks: Femininity, Sociability and the Practice of Collecting In
Sarah Sophia Banks: Femininity, Sociability and the Practice of Collecting in Late Georgian England Two Volumes Volume I Arlene Carol Leis Ph.D. University of York History of Art September 2013 2 Abstract Sarah Sophia Banks, sister to the botanist and President of the Royal Society, Sir Joseph Banks, assumed an assertive role as a collector. Her repository, which is now housed in the British Museum and British Library contains a rich assemblage of commercial materials that documents the social urban culture of elite eighteenth and nineteenth-century circles. My dissertation will investigate Sarah Sophia Banks and her paper collections. Sifting through her overabundance of everyday, mass-produced, visual and textual sources, this study examines her elite status and collecting practices. It will also offer a social and art historical analysis of four categories of objects that Sarah Sophia collected: the admission ticket, the trade card, the visitor ticket and ladies’ pocket book imagery. This thesis will demonstrate how her collections embody the many characteristics of a modern and polite Eighteenth-century society. 3 Table of Contents Note Regarding Illustrations............................................................................4 Acknowledgments...........................................................................................5 Author’s Declaration........................................................................................7 Introduction .....................................................................................................8 -
A Guide for the Amateur Collector of Portrait Minl\Tures
mm THE MINIATURE COLLECTOR A GUIDE TO COLLECTORS OF OLD PORTRAIT MINIATURES THE LIBRARY OF THE UNIVERSITY OF CALIFORNIA LOS ANGELES THE MINIATURE COLLECTOR THE MINIATURE COLLECTOR A GUIDE FOR THE AMATEUR COLLECTOR OF PORTRAIT MINL\TURES BY DR. GEORGE C. WILLIAMSON HERBERT JENKINS LIMITED 3 YORK STREET SAINT JAMES'S LONDON S.W.I MCMXXI N.B.—The copyright of all the illustrations used in this book is strictly reserved by the author oa behalf of the respcctire owners of the miniatures. Printed in Great Britain by Butler & Tanner, Frome and London f/ 7616 Q PREFACE SOME apology is surely needed from me, for inflicting yet another book about miniatures upon a long- suffering public ; but I hope that this latest work may fill the position that is at the moment vacant/ and may supply information that is needed. My chief excuse for it consists in the fact that new material bearing on this, my special subject, is constantly being discovered, and I have here endeavoured—to use a familiar expression—to bring the science up to date. Investigations in archives and records quite often bring to light new facts about miniature painters and their doings, and as an example, there is information in this book concerning Nicholas HiUiard and the gold mines of Scotland, in which he is actu- ally described as Queen EHzabeth's portrait painter, that has only been brought before the pubhc notice in the Rhind lectures delivered by Mr. Warrach during the past few months, having hitherto been buried in the dry pages of a scarce reprint (issued in 1815) of a precious Elizabethan document. -
National Gallery of Ireland Annual Report 2012
Annual Report 2012 Annual Report National Gallery of Ireland National Gailearaí Násiúnta na hÉireann | Tuarascáil Bhliantúil 2012 National Gallery of Ireland | Annual Report 2012 Gailearaí Násiúnta nahÉireann Násiúnta Gailearaí Tuarascáil Bhliantúil 2012 Bhliantúil Tuarascáil www.nationalgallery.ie e National Gallery of Ireland (NGI) was founded by an Act of Parliament in and opened to the public in . It houses over , items: over , oil paintings, and some , works in dierent media including watercolours, drawings, prints and sculpture. e works range in date from the fourteenth century to the present day and broadly represent the development of the major European schools of painting: British, Dutch, Flemish, French, German, Italian, Spanish and Netherlandish, complemented by a comprehensive collection of Irish art. e Gallery also holds the most extensive research collections relating to the national and international development of the visual arts, which are housed in the NGI Art Library, Centre for the Study of Irish Art, Yeats Archive and NGI Archive. To accommodate the collection, the NGI has been extended over the years; in (Milltown Wing), in (Beit Wing) and in (Millennium Wing). A major refurbishment of the historic Dargan and air. thabhairt a cuairt le iontach Milltown Wings on Merrion Square is currently underway and scheduled áit mar cinn chun hÉireann na Náisiúnta Gailearaí chuireann a bhealach to be completed in . ar taispeáint ar chur a agus orbairt a léirmhíniú, a sin ealaín an agus Is é cuspóir Ghailearaí Náisiúnta na hÉireann ná aire a thabhairt d’ealaín d’ealaín thabhairt a aire ná hÉireann na Náisiúnta Ghailearaí cuspóir é Is M R e purpose of the National Gallery of Ireland is to care for, interpret, develop and showcase art in a way that makes the National Gallery of . -
Did Joshua Reynolds Paint His Pictures? the Transatlantic Work of Picturing in an Age of Chymical Reproduction
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 1777.