George I Slides 4 2020

Total Page:16

File Type:pdf, Size:1020Kb

George I Slides 4 2020 10/12/2020 Palaces Kensington Palace with the statue of William III. He and Mary II bought it from the Earl of Nottingham and used Wren to turn it into a palace. George employed William Kent to improve and decorate the royal apartments from 1722 onwards. He also added a new wing for his mistress 1 2 C18th view of Kensington Palace Kent’s Cupola Room 1722-5 painted by Richard Cattermole in 1817 3 4 The Cupola Room today Kent’s King’s Great Drawing Room painted by Charles Wild in 1816 5 6 1 10/12/2020 Ceiling of the King’s Great Drawing Room William Kent by William Aikman c William Kent by Benedetto Luti 1718 1723-5 NPG 7 8 Kent’s Great Staircase 1725-7 painted by Charles Wild in 1819 Great Staircase Today showing Tijou’s ironwork 9 10 Mahomet and Mustafa the king’s Turkish servants and Ulric his Polish page Kent’s Presence Chamber painted by James Stephanoff in 1816 11 12 2 10/12/2020 John Vanbrugh’s New Kitchen 1717 painted by James Stephanoff in 1819 13 14 Candlesticks 1727 by John Gumley for Kensington Side table by John Gumley 1727 for Kensington 15 16 Pier Table by James Moore 1720 for Kensington 17 18 3 10/12/2020 James Moore’s Pier Table 1723-4 at Kensington 19 20 Michael Rysbrack’s Roman Marriage of 1722 for Kensington James Moore’s Pier Table 1723 at Kensington 21 22 Henry Wise designer of the gardens at Kensington Palace originally for Queen Anne but continued to 1728, painted by Sir Godfrey Kneller c 1715 Kensington Gardens in 1736 23 24 4 10/12/2020 Kensington palace and gardens before Wise’s alterations Kensington Palace and Gardens by Johannes Kip in 1724 after Wise’s alterations for George 25 26 John Rocque’s View of Kensington Palace 1739 Another view of the gardens c 1730 27 28 St James’s Palace in George’s day. George used St James’s as his main residence whilst in London. After quarrelling with the Prince of Wales he expelled him and the Princess but kept their children under his control including the new born Prince George William who died aged View of London and St James’s Park c 1727 by Johannes Kip part of panorama started in 1715 3 months 29 30 5 10/12/2020 Benjamin Pyne candlestick of 1717 for the Chapel Royal Whitehall, Royal Collection James Fraillon 1716 inkstand, Ewer with GR monogram from 1714 by Francis Royal Collection Garthorne, Royal Collection Sauce boats by James Fraillon 1717-18, British Museum 31 32 Henry Hulsberg’s designs for Whitehall after Inigo Jones’s for Charles I in the 1630s and 1640s published in Colen Campbell's Vitruvius Britannicus 1717. The palace was never rebuilt Nicholas Clausen 1721 salt, Royal Collection following the fire in 1698 33 34 Prince of Wales’s bedchamber later the Queen’s state bedchamber at Hampton Court painted by Richard Cattermole in c 1816 View of Hampton Court painted by Jan Griffier 1710 35 36 6 10/12/2020 Sir James Thornhill’s design for the ceiling of Maquette of the previous the Prince of Wales’s bedchamber at sketch Hampton Court c 1715 37 38 Queen Anne's state bed at Hampton Court by Richard Roberts and Hamden Reeve c 1714-15 Chair for Hampton Court by Richard Roberts 1717, Royal Collection 39 40 Stools probably by Richard Roberts for Hampton Court 1726, Royal Collection Stool probably by Richard Roberts for the Prince of Wales at Hampton Court, Royal Collection 41 42 7 10/12/2020 Tapestries of Alexander the Great copied from originals by Charles Le Brun purchased by George for Hampton Court 1 Alexander's triumphal entry into Babylon, seated in a chariot, with a boy 2 Battle with King Porus of India, in which an elephant is strangling a horse with its trunk riding on an elephant 43 44 5 Alexander meeting the Chaldean prophets on his way to Babylon 3 Alexander with his horse Bucephalus, taking 4 Alexander's visit to Diogenes in his tub leave of Hephaestion 45 46 6 The Battle of the Granicus 7 Alexander and Hephaestion visiting the tent of the wife of Darius 47 48 8 10/12/2020 Jan Griffier the Elder A View of Windsor Castle, Royal Collection View of Windsor Castle from the North possibly by Jan Griffier I or Jan Wyck 49 50 Robert Griffier Windsor Castle from the River Windsor Castle from the River by Peter Tillemans 51 52 Don Rodrigo Calderon on Horseback by Rubens bought for Windsor 1723 from John Law, Royal Collection The Queen's Ballroom at Windsor Castle originally commissioned by George painted by Charles Wild in 1817 53 54 9 10/12/2020 Literature & Entertainment Alexander Pope by Charles Jervas c 1715 Alexander Pope by Michael Dahl 1727 55 56 Sir Samuel Garth by Godfrey Kneller. In 1717 Garth published the translation of Ovid’s Metamorphoses based on Dryden, Pope, Addison, Congreve and others. He was a fellow member of the Scriblerus Club with Pope, Gay and Swift, founded in 1714 An early edition (1752) of Pope’s translation of the Odyssey. Pope’s Iliad was published between 1715 and 1720 and the Odyssey followed in 1725-6 57 58 A depiction of the story of Pygmalion from Ovid’s Metamorphoses, Pygmalion adoring his statue by Jean Raoux 1717 Poems written in 1720 59 60 10 10/12/2020 Gay’s play with contributions from Pope and Dr John Arbuthnot had a record 7 sell out performances at Drury Lane and has been revived regularly in modern times Scene from Three Hours After Marriage for Jacob Bronowski’s Ascent of Man in 1973. Dr Fossil and Plotwell discuss Alchemy and Astronomy. 61 62 Revivals of Gay’s 1717 play Three Hours After Marriage written with Pope and Dr John Arbuthnot. The play satirises the government but also scientists: Dr Fossil is a caricature of Newton 63 64 An early satirical print by William Hogarth published in 1724: A Just View of the British Stage Colley Cibber, the original Plotwell Playbill for one of Cibber’s Plays in 1725 65 66 11 10/12/2020 Joseph Addison by Sir Godfrey Kneller Sir Richard Steele by Jonathan Richardson. Addison was an essayist, playwright, poet Steele was knighted by George I in 1715 and Addison and Steele circle of Kneller. Together they founded three periodicals including the and politician rising to Secretary of Sate in made manager of the Theatre Royal Drury Spectator in 1711 which was still published in George’s reign. Both were members of the Kit- 1717 Lane Kat Club founded by Addison and Swift. They fell out over Stanhope’s Peerage Bill in 1719. 67 68 Sir Thomas Sebright, Sir John Bland and others by Benjamin Ferrers 1720. Both were MPs in George’s reign. The gathering is reminiscent of the Kit-Kat and Scriblerus Clubs, the former had Swift, Addison, Steele, Congreve, Walpole, Stanhope, Newcastle, Vanbrugh and Burlington and the latter Pope, Gay, Harley and St John as members. 1788 edition of the Spectator reprinting Addison and Steele’s early articles 69 70 Voltaire by Nicolas de Largillière c 1724. Voltaire took refuge in England 1726-9 and befriended Pope, Swift, Gay, Mary Wortley Montagu and the Duchess of Marlborough. He was in London at the time of Newton’s funeral and met his physician who described the great man’s last hours. Hogarth c 1720 “A game of draughts interrupted.” The figures have been identified as Pope and Arbuthnot on the far side of the table with Count Viviani entering on the right, at Daniel Button's Coffee House in Russell Street Covent Garden 71 72 12 10/12/2020 Daniel Defoe made his name as a Jonathan Swift was a pamphleteer and also pamphleteer, worked as a spy for Robert worked for Robert Harley but made an enemy Harley, wrote a periodical The Review and of Queen Anne so became Dean of St Patrick’s became a novelist with Robinson Crusoe Dublin which was outside her gift. He is best (1719) and Moll Flanders (1722) his most remembered for his novel Gulliver’s Travels The inspiration for Robinson Crusoe, Selkirk was abandoned on a desert island from 1704 to 1709 successful (1726) 73 74 Robinson Crusoe published 1719 75 76 Crusoe’s Island Moll Flanders by Daniel Defoe published 1722 77 78 13 10/12/2020 Defoe’s Journal of the Plague Year published 1722 Defoe’s Tour through Great Britain went through several editions after it was published in 1726 79 80 Swift published Gulliver’s Travels as if they were Gulliver’s reminiscences of real travels in 1726 81 82 Gulliver Addressing the Houyhnhnms by Sawrey Gilpin 1769 Gulliver taking his final leave of the land of the Houyhnhnms by Sawrey Gilpin 1769 83 84 14 10/12/2020 Jehan-Georges Vibert Gulliver and the Lilliputians c 1880 Gulliver in Brobdingnag by Richard Redgrave c 1840, V&A 85 86 Dinner party by Marcellus Laroon the Younger c 1719- 25 presented to George I in 1725 Bartholomew Fair, original design for a fan of 1720s with booths including the peep-show of 'The Siege of Gibraltar', Lee and Harper's presentation of 'Judith and Holofernes', Faux's 'Dexterity of Hand' and his 'Famous posture master’. 87 88 St Bartholomew's Fair in 1721 reproduced by John Frederick Setchel, bookseller and stationer of King Street Covent Garden in 1824 with description Southwark Fair 1731 by William Hogarth 89 90 15 10/12/2020 Frost Fair on Thames in the winter of 1715-16 Frost Fair of 1716, British Museum 91 92 Jan Griffier Entertainments in Greenwich Park Covent Garden in reign of George I by Jacob van Aken in England from 1720 93 94 Van Aken The Music Party 1725 Saying Grace by Van Aken 1720 95 96 16 10/12/2020 Peter Tillemans Foxhunting 1720 The King’s Plate at Newmarket by Peter Tillemans 1725 97 98 Newmarket by Peter Tillemans John Wootton The Duke of Hamilton’s Grey Racehorse, 'Victorious,’ at Newmarket 1725 99 100 Painting Sculpture & James Thornhill self portrait Architecture 101 102 17 10/12/2020 Britannia receiving homage from the four continents for the Royal State coach by Thornhill c 1718 Dome of St Paul’s Cathedral.
Recommended publications
  • Notes to the Note on the Text and Introduction
    Notes Notes to the Note on the Text and Introduction i. Mandeville’s address is repeated at the end of the Preface: “From my House in Manchester-Court, Channel-Row, Westminster.” ii. A Treatise of the Hypochondriack and Hysterick Passions, vulgarly call’d the hypo in men and vapours in women; In which the Symptoms, Causes, and Cure of those Diseases are set forth after a Method intirely new. The whole interspers’d, with Instructive Discourses on the Real art of Physick it self; And Entertaining Remarks on the Modern Practice of Physicians and Apothecaries; Very useful to all, that have the Misfortune to stand in need of either. In three dialogues. By B. de Mandeville, M.D. (London, printed for and to be had of the author, at his house in Manchester-Court, in Channel- Row, Westminster; and D. Leach, in the Little-Old-Baily, and W. Taylor, at the Ship in Pater-Noster-­Row, and J. Woodward in Scalding-Alley, near Stocks-Market, 1711). The second 1711 issue bears the following publica- tion details: “London, printed and sold by Dryden Leach, in Elliot’s Court, in the Little-Old-Baily, and W. Taylor, at the Ship in Pater-Noster-Row, 1711”. The 1715 reprint bears the same title with different publication details (London, printed by Dryden Leach, in Elliot’s Court, in the Little Old-Baily, and sold by Charles Rivington, at the Bible and Crown, near the Chapter-House in St. Paul’s Church Yard, 1715). A Treatise of the Hypochondriack and Hysterick Diseases. In three dialogues.
    [Show full text]
  • John Vanderbank, Was the Son of a Tapestry Weaver of Dutch Origins
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition VANDERBANK, John London 9.IX.1694–23.XII.1739 Johann van der Banck, known as John Vanderbank, was the son of a tapestry weaver of Dutch origins. From 1711 he was a pupil at Kneller’s academy, but in 1720 he joined Louis Chéron (q.v.) in establishing the first St Martin’s Lane academy; there were 33 subscribers, including established artists such as Louis Laguerre, William Kent and Giuseppe Grisoni; younger artists included Joseph Highmore, Bartholomew Dandridge, George Knapton and William Hogarth, with Arthur Pond one of the youngest and least prepared. Leading an extravagant lifestyle, Vanderbank was forced to quit England in 1724 to avoid his creditors, but returned by 1727 and resumed his career as a history painter, portraitist and illustrator. On 23.VI.1737 he took on John Robinson as an apprentice for five years for a premium of £157 10s. He normally worked in oil but produced many drawings; however virtually no pastels survive. His painting technique has been described as “lively”, in the sense of a Hogarthian lack of finish; the portraits are brightly, sometimes crudely lit. Bibliography Bénézit, s.v. Banck; Lippincott 1983; New Haven 1979; Oxford DNB; Walpole 1828, p. 53f; Waterhouse 1981; Wright 2006; Register of duties paid for apprentices’ indentures, 1710– 1811 Pastels J.7414.101 ?SELF-PORTRAIT in red coat, white wig, pstl, 58.5x43 (Sir Edward Coates; London, Sotheby’s, 22.VI.1922, Lot 2 n.r., 40 gns; Newstead) J.7414.106 Man in a brown coat, pstl/ppr, 57x42.5 (Barnard Castle, Bowes Museum, inv.
    [Show full text]
  • Blackstone As Architect: Constructing the Commentaries
    Blackstone as Architect: Constructing the Commentaries Wilfrid Prest* On January 28, 1746, as Cumberland's forces pursued the retreating Jacobite army into Scotland, a twenty-three year old newly-minted Bachelor of Civil Law and junior fellow of All Souls College sat down to write a characteristically cheerful letter to his lawyer uncle Seymour Richmond, shortly after reaching "my new Habitation (which is at Mr Stoke's a Limner in Arundel St)."' In the light of what is becoming clear about William Blackstone's own accomplishments and interests in draftsmanship and the visual arts, his choice of London lodgings was perhaps not entirely accidental. Be that as it may, this report on what was seemingly Blackstone's first serious encounter with the common law (even though he had by now accumulated a full five years' standing at the Middle Temple), exudes a jaunty self-confidence, couched in topically martial language: "I have stormed one Book of Littleton, & opened my Trenches before ye 2d; and I can with Pleasure say I have met with no Difficulty of Consequence...." Having established that even the * Australian Research Council Australian Professorial Fellow, University of Adelaide. This paper is part of William Blackstone. Life and Works, an Australian Research Council Discovery Project (DP0210901) at the University of Adelaide which aims to produce a full- length biography, together with annotated editions of Blackstone's correspondence and architectural writings. Preliminary versions were presented from 1998 onwards to audiences at the University of South Australia, the National Humanities Center, the Australian and New Zealand Law and History Conference, the Australian Modem British History Conference (La Trobe University), the British Legal History Conference (University of Wales, Aberystwyth), the Law and Public Affairs Seminar, Princeton University, the Yale Legal History Forum, and a conference on "Enlightenment Law and Lawyers" at Glasgow University.
    [Show full text]
  • The Avarice and Ambition of William Benson’, the Georgian Group Journal, Vol
    Anna Eavis, ‘The avarice and ambition of William Benson’, The Georgian Group Journal, Vol. XII, 2002, pp. 8–37 TEXT © THE AUTHORS 2002 THE AVARICE AND AMBITION OF WILLIAM BENSON ANNA EAVIS n his own lifetime William Benson’s moment of probably motivated by his desire to build a neo- Ifame came in January , as the subject of an Palladian parliament house. anonymous pamphlet: That Benson had any direct impact on the spread of neo-Palladian ideas other than his patronage of I do therefore with much contrition bewail my making Campbell through the Board of Works is, however, of contracts with deceitfulness of heart … my pride, unlikely. Howard Colvin’s comprehensive and my arrogance, my avarice and my ambition have been my downfall .. excoriating account of Benson’s surveyorship shows only too clearly that his pre-occupations were To us, however, he is also famous for building a financial and self-motivated, rather than aesthetic. precociously neo-Palladian house in , as well He did not publish on architecture, neo-Palladian or as infamous for his corrupt, incompetent and otherwise and, with the exception of Wilbury, consequently brief tenure as Surveyor-General of the appears to have left no significant buildings, either in King’s Works, which ended in his dismissal for a private or official capacity. This absence of a context deception of King and Government. Wilbury, whose for Wilbury makes the house even more startling; it elevation was claimed to be both Jonesian and appears to spring from nowhere and, as far as designed by Benson, and whose plan was based on Benson’s architectural output is concerned, to lead that of the Villa Poiana, is notable for apparently nowhere.
    [Show full text]
  • Critical Ideology: Pope's Epistle to Burlington
    SYDNEY STUDIES Critical Ideology: Pope's Epistle to Burlington ROBEIIT W. WILLIAMS Well, it had to happen - Pope has been 'recuperated' for the modern reader. The word is not mine but is taken from the most recent general survey of Pope's work, that of Brean S. Hammond in the Harvester 'New Readings' series. Pope, it seems, can be recuperated because he can be shown to have that indispensable requirement for some current criticism - an ideology: ... the character of Pope's ideology is that of a family-based, Christian aristocrat or landed gentleman, implacably opposed to the elite of, as he believed, corrupt financiers, bankers and brokers who governed the country. Pope himself did not experience his ideology as an ideology, however.! There is an irony in that last sentence which, I think, escapes the writer of it. As Hammond "reads" it, the Epistle To Burlington is to be seen as an early example of the politicization of Pope's ideology, a preaching of the via media in which all extremes are to be eschewed. Through exemplary figures such as Burlington and Lord Bathurst, an ideology of aristocratic restraint is offered for adoption by the British voting public, especially the squirearchy and the lesser landed gentry. If this is all that current critical approaches can find to say about the poem that is worth saying, I would suggest that such a Procrustean approach does little to illuminate the poetry of To Burlington and, to a fair extent, falsifies the text. The matter of Epistle to Burlington is drawn from the aesthetics of landscape-gardening and architecture, areas of the Arts in which Pope and Burlington were both practitioners and theoreticians.
    [Show full text]
  • Annual Report 2014 ANNUAL REPORT 2014 Table of Contents Staff Sean E
    THE ROYAL OAK FOUNDATION Annual Report 2014 ANNUAL REPORT 2014 Table of Contents Staff Sean E. Sawyer, Ph.D. Executive Director (through 5/15) Board of Directors, Advisory Council and Board Committees 2 [email protected] Letter from the Chairman and the Executive Director 3 Lorraine L. Brittle Executive Director (from 10/15) SUPPORT: Grants and Donors [email protected] Marilyn Fogarty Grants Awarded Director of Operations & Finance Interim Executive Director (from 6/15) Grants to National Trust Projects 4 [email protected] Winifred E. Cyrus Grants to Sponsored Projects 7 Director of Member Services [email protected] Scholarships 8 Jan Lizza Donations Received Member Services Associate [email protected] National Trust Properties 9-14 Jennie L. McCahey Program Director Support for Royal Oak Foundation 15-16 [email protected] Kristin Sarli Licensed Products Program 16 Assistant Program Director [email protected] Corporate Matching 17 Robert Dennis Royal Oak Sponsored Projects 17 Program & Development Assistant [email protected] Legacy Circle 2014 18 Chelcey Berryhill Timeless Design Gala Benefit 19-20 Development & Communications Manager Heritage Circle 2014 21 [email protected] Sam McCann EXPERIENCE: Membership 22-23 Communications Associate [email protected] Travel 24 Jacqueline Bascetta (from 10/14) Executive Coordinator & LEARN: Lectures and Tours 25-27 Board Liaison [email protected] Programs Support 28 Jessie Walker Financial Summary 29-30 Foundation Volunteer Our Mission The Royal Oak Foundation inspires Americans to learn about, experience and support places of great historic and natural significance in the United Kingdom in partnership with the National Trust of England, Wales and Northern Ireland.
    [Show full text]
  • Archaeology in Northumberland Friends
    100 95 75 Archaeology 25 5 in 0 Northumberland 100 95 75 25 5 0 Volume 20 Contents 100 100 Foreword............................................... 1 95 Breaking News.......................................... 1 95 Archaeology in Northumberland Friends . 2 75 What is a QR code?...................................... 2 75 Twizel Bridge: Flodden 1513.com............................ 3 The RAMP Project: Rock Art goes Mobile . 4 25 Heiferlaw, Alnwick: Zero Station............................. 6 25 Northumberland Coast AONB Lime Kiln Survey. 8 5 Ecology and the Heritage Asset: Bats in the Belfry . 11 5 0 Surveying Steel Rigg.....................................12 0 Marygate, Berwick-upon-Tweed: Kilns, Sewerage and Gardening . 14 Debdon, Rothbury: Cairnfield...............................16 Northumberland’s Drove Roads.............................17 Barmoor Castle .........................................18 Excavations at High Rochester: Bremenium Roman Fort . 20 1 Ford Parish: a New Saxon Cemetery ........................22 Duddo Stones ..........................................24 Flodden 1513: Excavations at Flodden Hill . 26 Berwick-upon-Tweed: New Homes for CAAG . 28 Remapping Hadrian’s Wall ................................29 What is an Ecomuseum?..................................30 Frankham Farm, Newbrough: building survey record . 32 Spittal Point: Berwick-upon-Tweed’s Military and Industrial Past . 34 Portable Antiquities in Northumberland 2010 . 36 Berwick-upon-Tweed: Year 1 Historic Area Improvement Scheme. 38 Dues Hill Farm: flint finds..................................39
    [Show full text]
  • Experimental Pharmacology and Therapeutic Innovation in the Eighteenth Century
    -e: EXPERIMENTAL PHARMACOLOGY AND THERAPEUTIC INNOVATION IN THE EIGHTEENTH CENTURY by ANDREAS-HOLGER MAEHLE A thesis submitted for the degree of Doctor of Philosophy of the University of London University College London 1996 ProQuest Number: 10017185 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest 10017185 Published by ProQuest LLC(2016). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 ABSTRACT In the historiography of pharmacology and therapeutics, the 18th century is regarded as a period of transition from traditional, Galenistic materia medica to the beginnings of modern, experimental drug research. Ackerknecht (1973) characterized the pharmacotherapy of this period as a "chaotic mixture of chemiatric and Galenistic practices", yet acknowledged an "increasing tendency toward empiricism, partly even true experimentalism". This thesis explores this transitional phase for the first time in depth, examining the relations between pharmacological experimentation, theory-building, and therapeutic practice. Furthermore, ethical aspects are highlighted. The general introduction discusses the secondary literature and presents the results of a systematic study of pharmacological articles in relevant 18th-century periodicals. The identified main areas of contemporary interest, the spectrum of methods applied, and the composition of the authorship are described and interpreted.
    [Show full text]
  • Government Art Collection Annual Report 2008-2009
    Annual Report and Acquisitions 2008 – 2009 Contents 3 Foreword – Julia Somerville, Chairman of the Advisory Committee 4 Director’s Report – Penny Johnson 15 Advisory Committee members and GAC staff 16 Acquisitions 28 Annex 1 – List of works lent to public exhibitions 34 Annex 2 – List of long-term loans outside Government Our aim is to improve the quality of life for all through cultural and sporting activities, support the pursuit of excellence, and champion the tourism, creative and leisure industries. 2 Foreword Looking back over the past year, what stands out is the extraordinary growth in public interest in the Government Art Collection (GAC). We’ve been featured on radio and in the newspapers. And the public continues to flock through the doors of our headquarters when we have open house days. Visitors enjoying an Open House Tour at the GAC’s premises We continue to make our resources stretch as far as they can. The Director’s report highlights some of the exciting and important works which we have been able to acquire over the last year. This continues the GAC’s track record of making acquisitions by British artists of the highest calibre, fulfilling its role in promoting British art by displaying it in Government buildings in the UK and abroad. The Collection plays a vital part in Britain’s representation abroad: both as a reminder of our historical past and an illustration of our contemporary preoccupations. Our activities are an integral part of the UK’s diplomatic mission. We are pleased that we are increasingly playing a strategic role when new embassies are being planned.
    [Show full text]
  • Portraits of Sculptors in Modernism
    Konstvetenskapliga institutionen Portraits of Sculptors in Modernism Författare: Olga Grinchtein © Handledare: Karin Wahlberg Liljeström Påbyggnadskurs (C) i konstvetenskap Vårterminen 2021 ABSTRACT Institution/Ämne Uppsala universitet. Konstvetenskapliga institutionen, Konstvetenskap Författare Olga Grinchtein Titel och undertitel: Portraits of Sculptors in Modernism Engelsk titel: Portraits of Sculptors in Modernism Handledare Karin Wahlberg Liljeström Ventileringstermin: Höstterm. (år) Vårterm. (år) Sommartermin (år) 2021 The portrait of sculptor emerged in the sixteenth century, where the sitter’s occupation was indicated by his holding a statue. This thesis has focus on portraits of sculptors at the turn of 1900, which have indications of profession. 60 artworks created between 1872 and 1927 are analyzed. The goal of the thesis is to identify new facets that modernism introduced to the portraits of sculptors. The thesis covers the evolution of artistic convention in the depiction of sculptor. The comparison of portraits at the turn of 1900 with portraits of sculptors from previous epochs is included. The thesis is also a contribution to the bibliography of portraits of sculptors. 2 Acknowledgements I would like to thank my supervisor Karin Wahlberg Liljeström for her help and advice. I also thank Linda Hinners for providing information about Annie Bergman’s portrait of Gertrud Linnea Sprinchorn. I would like to thank my mother for supporting my interest in art history. 3 Table of Contents 1. Introduction .......................................................................................................................
    [Show full text]
  • Kit-Cat Related Poetry
    ‘IN AND OUT’: AN ANALYSIS OF KIT-CAT CLUB MEMBERSHIP (Web Appendix to The Kit-Cat Club by Ophelia Field, 2008) There are four main primary sources with regard to the membership of the Kit-Cat Club – Abel Boyer’s 1722 list,1 John Oldmixon’s 1735 list,2 a Club subscription list dated 1702,3 and finally the portraits painted by Sir Godfrey Kneller between 1697 and 1721 (as well as the 1735 Faber engravings of these paintings). None of the sources agree. Indeed, only the membership of four men (Dr Garth, Lord Cornwallis, Spencer Compton and Abraham Stanyan) is confirmed by all four of these sources. John Macky, a Whig journalist and spy, was the first source for the statement that the Club could have no more than thirty-nine members at any one time,4 and Malone and Spence followed suit.5 It is highly unlikely that there were so many members at the Kit-Cat’s inception, however, and membership probably expanded with changes of venue, especially around 1702–3. By 1712–14, all surviving manuscript lists of toasted ladies total thirty-nine, suggesting that there was one lady toasted by each member and therefore that Macky was correct.6 The rough correlation between the dates of expulsions/deaths and the dates of new admissions (such as the expulsion of Prior followed by the admission of Steele in 1705) also supports the hypothesis that at some stage a cap was set on the size of the Club. Allowing that all members were not concurrent, most sources estimate between forty- six and fifty-five members during the Club’s total period of activity.7 There are forty- four Kit-Cat paintings, but Oldmixon, who got his information primarily from his friend Arthur Maynwaring, lists forty-six members.
    [Show full text]
  • Inside the Bank of England Opens in a New Window
    Inside the Bank of England Inside the Bank of England 1 The Bank’s mission The Bank of England is the central bank of the United Kingdom. Sometimes known as ‘the Old Lady of Threadneedle Street’, the Bank was founded in 1694 during a period of economic turbulence, in order to ‘promote the publick good and benefitt of our people’ by acting as the Government’s banker and debt manager. The Bank Charter Although the Bank’s role and responsibilities The Bank Charter was sealed on 27 July 1694, have evolved and expanded since its foundation, and the Bank opened for business shortly after. its mission today remains true to its original purpose: to promote the good of the people of the William III By Henry Cheere United Kingdom by maintaining monetary and William III was the monarch at the time of the financial stability. Bank’s founding in 1694. This statue was In 2013, a new legal framework governing the commissioned by the Bank and unveiled in its new Bank of England conferred greater statutory premises in Threadneedle Street on 1 January 1735. duties on the Bank than at any time in its history. Originally established as a privately owned The Bank needs to be understood, credible and institution, the Bank was nationalised on trusted so that its policies are effective. The Bank 1 March 1946, but retained its broad – but is therefore committed to being transparent, largely informal – public service mission. independent and accountable to stakeholders. 2 Bank of England The Bank today The Bank’s mission to maintain monetary and financial stability is overseen, in the first instance, by the Bank’s Governors.
    [Show full text]