Samuel Johnson: the Critical Heritage
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ
MARMOREALITIES: CLASSICAL NAKEDNESS IN BRITISH SCULPTURE AND HISTORICAL PAINTING 1798-1840 CORA HATSHEPSUT GILROY-WARE PH.D UNIVERSITY OF YORK HISTORY OF ART SEPTEMBER 2013 ABSTRACT Exploring the fortunes of naked Graeco-Roman corporealities in British art achieved between 1798 and 1840, this study looks at the ideal body’s evolution from a site of ideological significance to a form designed consciously to evade political meaning. While the ways in which the incorporation of antiquity into the French Revolutionary project forged a new kind of investment in the classical world have been well-documented, the drastic effects of the Revolution in terms of this particular cultural formation have remained largely unexamined in the context of British sculpture and historical painting. By 1820, a reaction against ideal forms and their ubiquitous presence during the Revolutionary and Napoleonic wartime becomes commonplace in British cultural criticism. Taking shape in a series of chronological case-studies each centring on some of the nation’s most conspicuous artists during the period, this thesis navigates the causes and effects of this backlash, beginning with a state-funded marble monument to a fallen naval captain produced in 1798-1803 by the actively radical sculptor Thomas Banks. The next four chapters focus on distinct manifestations of classical nakedness by Benjamin West, Benjamin Robert Haydon, Thomas Stothard together with Richard Westall, and Henry Howard together with John Gibson and Richard James Wyatt, mapping what I identify as -
Heim Gallery Records, 1965-1991
http://oac.cdlib.org/findaid/ark:/13030/kt5779r8sb No online items Finding aid for the Heim Gallery records, 1965-1991 Finding aid prepared by Isabella Zuralski. Finding aid for the Heim Gallery 910004 1 records, 1965-1991 Descriptive Summary Title: Heim Gallery records Date (inclusive): 1965-1991 Number: 910004 Creator/Collector: Heim Gallery Physical Description: 120.0 linear feet(271 boxes) Repository: The Getty Research Institute Special Collections 1200 Getty Center Drive, Suite 1100 Los Angeles, California, 90049-1688 (310) 440-7390 Abstract: London gallery directed by Andrew Ciechanowieck. Records include extensive correspondence with museums, galleries, collectors, and other colleagues in Europe and the United States. Photographs document paintings, drawings, sculptures, and decorative art sold and exhibited by, and offered to the gallery. Stock and financial records trace acquisitions and sales. Request Materials: Request access to the physical materials described in this inventory through the catalog record for this collection. Click here for the access policy . Language: Collection material is in English Biographical / Historical Note Heim Gallery London began in June 1966 with François Heim (from Galerie Heim, Paris, begun 1954) and Andrew S. Ciechanowiecki as partners. Ciechanowiecki served as director in London while Heim remained in France. The emphasis of the gallery was Old Master paintings, especially French of the 15th - 18th century, Italian paintings of all periods, and sculpture (marble, terracotta and bronze) from the Renaissance to the 19th century. The gallery was known for its scholarly exhibitions and catalogs. Between 1966 and 1989 the gallery presented exhibitions two to three times a year. The gallery did business with museums and individual clients in Europe and the United States. -
BLACK LONDON Life Before Emancipation
BLACK LONDON Life before Emancipation ^^^^k iff'/J9^l BHv^MMiai>'^ii,k'' 5-- d^fli BP* ^B Br mL ^^ " ^B H N^ ^1 J '' j^' • 1 • GRETCHEN HOLBROOK GERZINA BLACK LONDON Other books by the author Carrington: A Life BLACK LONDON Life before Emancipation Gretchen Gerzina dartmouth college library Hanover Dartmouth College Library https://www.dartmouth.edu/~library/digital/publishing/ © 1995 Gretchen Holbrook Gerzina All rights reserved First published in the United States in 1995 by Rutgers University Press, New Brunswick, New Jersey First published in Great Britain in 1995 by John Murray (Publishers) Ltd. The Library of Congress cataloged the paperback edition as: Gerzina, Gretchen. Black London: life before emancipation / Gretchen Holbrook Gerzina p. cm. Includes bibliographical references and index ISBN 0-8135-2259-5 (alk. paper) 1. Blacks—England—London—History—18th century. 2. Africans— England—London—History—18th century. 3. London (England)— History—18th century. I. title. DA676.9.B55G47 1995 305.896´0421´09033—dc20 95-33060 CIP To Pat Kaufman and John Stathatos Contents Illustrations ix Acknowledgements xi 1. Paupers and Princes: Repainting the Picture of Eighteenth-Century England 1 2. High Life below Stairs 29 3. What about Women? 68 4. Sharp and Mansfield: Slavery in the Courts 90 5. The Black Poor 133 6. The End of English Slavery 165 Notes 205 Bibliography 227 Index Illustrations (between pages 116 and 111) 1. 'Heyday! is this my daughter Anne'. S.H. Grimm, del. Pub lished 14 June 1771 in Drolleries, p. 6. Courtesy of the Print Collection, Lewis Walpole Library, Yale University. 2. -
Images Re-Vues, 13 | 2016, « Supports » [En Ligne], Mis En Ligne Le 20 Août 2016, Consulté Le 28 Février 2021
Images Re-vues Histoire, anthropologie et théorie de l'art 13 | 2016 Supports Doina Craciun et Bénédicte Duvernay (dir.) Édition électronique URL : http://journals.openedition.org/imagesrevues/3901 DOI : 10.4000/imagesrevues.3901 ISSN : 1778-3801 Éditeur : Centre d’Histoire et Théorie des Arts, Groupe d’Anthropologie Historique de l’Occident Médiéval, Laboratoire d’Anthropologie Sociale, UMR 8210 Anthropologie et Histoire des Mondes Antiques Référence électronique Doina Craciun et Bénédicte Duvernay (dir.), Images Re-vues, 13 | 2016, « Supports » [En ligne], mis en ligne le 20 août 2016, consulté le 28 février 2021. URL : http://journals.openedition.org/imagesrevues/ 3901 ; DOI : https://doi.org/10.4000/imagesrevues.3901 Ce document a été généré automatiquement le 28 février 2021. Images Re-vues est mise à disposition selon les termes de la Licence Creative Commons Attribution - Pas d’Utilisation Commerciale 4.0 International. 1 SOMMAIRE Editorial Bénédicte Duvernay The Deceptive Surface: Perception and Sculpture’s “Skin” Christina Ferando Illusion de surface : percevoir la « peau » d’une sculpture Christina Ferando L’épiderme des statues grecques : quand le marbre se fait chair Adeline Grand-Clément Une archéologie des icônes éthiopiennes Matériaux, techniques et auctorialité au XVe siècle Claire Bosc-Tiessé et Sigrid Mirabaud Des images en quête de supports L’iconographie implicite des crises hallucinatoires grisi siknis Maddalena Canna Poser la couleur : le Centre Pompidou Mobile, la coloration des murs et l’anthropologie Arnaud Dubois -
Lorenzo Bartolini Vernio, 1777 - Florence, 1850
Lorenzo Bartolini Vernio, 1777 - Florence, 1850 Elisa Bonaparte Baciocchi Levoy, Princesse Française, Princess of Piombino and Lucca, Grand Duchess of Tuscany, Countess of Compignano, Sister of Napoleon (1777 –1820) and Felix Pasquale Baciocchi Levoy, Prince of Piombino and Lucca (1762 –1841) Circa 1809 White marble, Elisa presented on a later turned marble socle; Felix inscribed along the chest ‘FELIX’, an old repair to the tip of Felix’s nose Elisa: 57 cm. high, 75 cm. high, overall Felix: 51.5 cm. high Provenance: By family tradition, Elisa Bonaparte, at her country house, the Villa Ciardi a Villa Vicentina, where also photographed between 1913 and 1919.1 On her death, Joseph Bonaparte (1768–1844), brother of Elisa, who, as the first-born son of their parents, had inherited much of the personal property in Villa Ciardi belonging to his sister Elisa, the fifth- born child, when she died in 1820. On his death, his daughter Zenaide Letizia Bonaparte (1801–54), who married her cousin Charles Lucien Bonaparte (1803–57), the son of Lucien Bonaparte (1775–1840), Napoleon's third-born brother. On her death, Julia Charlotte Bonaparte (1830–1900), daughter of Charles Lucien Bonaparte and Zenaide Letizia Bonaparte, who married Alessandro del Gallo, Marchese di Roccagiovine, Cantalupo e Bardella (1826–92) in 1847. On her death Marchese Alberto del Gallo di Roccagiovine (1854–1947) where documented in the State Archives as being in Villa Ciardi in 1913-1919 and erroneously attributed to Antonio Canova. On his death Marchesa Matilde del Gallo di Roccagiovine (1888-1977), who married Francesco Bucci Casari, Conte degli Atti di Sassoferrato. -
Drawing After the Antique at the British Museum
Drawing after the Antique at the British Museum Supplementary Materials: Biographies of Students Admitted to Draw in the Townley Gallery, British Museum, with Facsimiles of the Gallery Register Pages (1809 – 1817) Essay by Martin Myrone Contents Facsimile, Transcription and Biographies • Page 1 • Page 2 • Page 3 • Page 4 • Page 5 • Page 6 • Page 7 Sources and Abbreviations • Manuscript Sources • Abbreviations for Online Resources • Further Online Resources • Abbreviations for Printed Sources • Further Printed Sources 1 of 120 Jan. 14 Mr Ralph Irvine, no.8 Gt. Howland St. [recommended by] Mr Planta/ 6 months This is probably intended for the Scottish landscape painter Hugh Irvine (1782– 1829), who exhibited from 8 Howland Street in 1809. “This young gentleman, at an early period of life, manifested a strong inclination for the study of art, and for several years his application has been unremitting. For some time he was a pupil of Mr Reinagle of London, whose merit as an artist is well known; and he has long been a close student in landscape afer Nature” (Thom, History of Aberdeen, 1: 198). He was the third son of Alexander Irvine, 18th laird of Drum, Aberdeenshire (1754–1844), and his wife Jean (Forbes; d.1786). His uncle was the artist and art dealer James Irvine (1757–1831). Alexander Irvine had four sons and a daughter; Alexander (b.1777), Charles (b.1780), Hugh, Francis, and daughter Christian. There is no record of a Ralph Irvine among the Irvines of Drum (Wimberley, Short Account), nor was there a Royal Academy student or exhibiting or listed artist of this name, so this was surely a clerical error or misunderstanding. -
Course Guide Cover Page Template
LOUISIANA STATE UNIVERSITY CONTINUING EDUCATION INDEPENDENT & DISTANCE LEARNING British Literature I: The Middle Ages, Renaissance, and 18th Century ENGLISH 3020 British Literature I: The Middle Ages, Renaissance, and 18th Century. Survey of English literature from the Anglo-Saxon period through Chaucer, Shakespeare, the 17th and 18th centuries. ENGL 3020 15 lessons and 3 exams. 3 hours of college credit. 08/11/04. version R Prerequisite: The satisfactory completion of English 1002, 1003, 1005, or equivalent credit is prerequisite for all English courses numbered 2001 or higher. ENGLISH 3020 British Literature I: The Middle Ages, Renaissance, and 18th Century Copyright © 2004 LOUISIANA STATE UNIVERSITY BATON ROUGE, LOUISIANA Dorothy McCaughey, MA Instructor in English Independent & Distance Learning Louisiana State University All rights reserved. No part of this course guide may be used or reproduced without written permission of LSU Independent & Distance Learning. Printed in the United States of America. LB Table of Contents TTaabbllee ooff CCoonntteennttss How to Take an Independent Learning Course ......................................................................... iii Where the Books Are ............................................................................................................................. vii Syllabus ....................................................................................................................................................... S–1 Textbooks Other Materials Nature and Purpose of -
Anatomy of Criticism with a New Foreword by Harold Bloom ANATOMY of CRITICISM
Anatomy of Criticism With a new foreword by Harold Bloom ANATOMY OF CRITICISM Four Essays Anatomy of Criticism FOUR ESSAYS With a Foreword by Harold Bloom NORTHROP FRYE PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY Copyright © 1957, by Princeton University Press All Rights Reserved L.C. Card No. 56-8380 ISBN 0-691-06999-9 (paperback edn.) ISBN 0-691-06004-5 (hardcover edn.) Fifteenth printing, with a new Foreword, 2000 Publication of this book has been aided by a grant from the Council of the Humanities, Princeton University, and the Class of 1932 Lectureship. FIRST PRINCETON PAPERBACK Edition, 1971 Third printing, 1973 Tenth printing, 1990 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) {Permanence of Paper) www.pup.princeton.edu 25 24 23 22 21 20 19 18 17 16 15 Printed in the United States of America HELENAE UXORI Foreword NORTHROP FRYE IN RETROSPECT The publication of Northrop Frye's Notebooks troubled some of his old admirers, myself included. One unfortunate passage gave us Frye's affirmation that he alone, of all modern critics, possessed genius. I think of Kenneth Burke and of William Empson; were they less gifted than Frye? Or were George Wilson Knight or Ernst Robert Curtius less original and creative than the Canadian master? And yet I share Frye's sympathy for what our current "cultural" polemicists dismiss as the "romantic ideology of genius." In that supposed ideology, there is a transcendental realm, but we are alienated from it. -
Samuel Johnson
Samuel Johnson By Leslie Stephen SAMUEL JOHNSON CHAPTER I. CHILDHOOD AND EARLY LIFE. Samuel Johnson was born in Lichfield in . His father, Michael Johnson, was a bookseller, highly respected by the cathedral clergy, and for a time sufficiently prosperous to be a magistrate of the town, and, in the year of his son's birth, sheriff of the county. He opened a bookstall on marketdays at neighbouring towns, including Birmingham, which was as yet unable to maintain a separate bookseller. The tradesman often exaggerates the prejudices of the class whose wants he supplies, and Michael Johnson was probably a more devoted High Churchman and Tory than many of the cathedral clergy themselves. He reconciled himself with difficulty to taking the oaths against the exiled dynasty. He was a man of considerable mental and physical power, but tormented by hypochondriacal tendencies. His son inherited a share both of his constitution and of his principles. Long afterwards Samuel associated with his childish days a faint but solemn recollection of a lady in diamonds and long black hood. The lady was Queen Anne, to whom, in compliance with a superstition just dying a natural death, he had been taken by his mother to be touched for the king's evil. The touch was ineffectual. Perhaps, as Boswell suggested, he ought to have been presented to the genuine heirs of the Stuarts in Rome. Disease and superstition had thus stood by his cradle, and they never quitted him during life. The demon of hypochondria was always lying in wait for him, and could be exorcised for a time only by hard work or social excitement. -
John Opie's Portraits of Dr. Johnson
John Opie's portraits of Dr. Johnson The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Clingham, Greg. 2019. John Opie's portraits of Dr. Johnson. Harvard Library Bulletin 28 (2), Summer 2017: 57-80. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:42660039 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA John Opie’s Portraits of Dr. Johnson Greg Clingham Introduction amuel Johnson is one of the most painted individuals in English literary history. Given the advanced state of the scholarship, one assumes that Sall lifetime paintings of Johnson have been identifed, cataloged, and discussed.1 We do not expect to stumble upon a new contemporary portrait of Johnson, let alone two diferent portraits, one by a then-unknown Lady Anne Lindsay (1750–1825), the eldest child of the ffh Earl of Balcarres, the other by the well-known portrait painter John Opie (1761–1807). Te frst is unknown; the second has been of the radar of both art historians and Johnson scholars. Lady Anne Lindsay’s efort—a drawing in pencil and watercolor—was executed in November 1773, at the home of Sir Alexander Dick, the president of the Royal College of Physicians in Scotland and Lady Anne’s great-uncle, at the end of Boswell and Johnson’s Highland tour.2 Te Opie “discovery” occurred in Fife during a visit to Balcarres House, Fife, the sixteenth-century home of I am grateful to the twenty-ninth Earl of Crawford and Balcarres for his kind hospitality in inviting me to Balcarres, for providing the image reproduced here, and for his general support of this research. -
Summary Catalogue of European Sculpture in the J. Paul Getty Museum
Summary Catalogue of European Sculpture Summary Catalogue of European Sculpture in The J. Paul Getty Museum Peter Fusco THE J.PAUL GETTY MUSEUM o» LOS ANGELES Christopher Hudson, Publisher On the front and back covers: Mark Greenberg, Managing Editor Joseph Chinard Shelly Kale, Copy Editor Bust of Madame Recamier Kurt Hauser, Designer 88.SC.42 Amy Armstrong, Production Coordinator see page 18 © 1997 The J. Paul Getty Museum Frontispiece: 1200 Getty Center Drive, Suite 1000 Christoph Daniel Schenck Los Angeles, California 90049-1687 The Penitent Saint Peter [detail] 96.80.4.2 Library of Congress Cataloging-in-Publication Data see page 47 On page i: J. Paul Getty Museum. Vincenzo Gemito Summary Catalogue of European Sculpture in the J. Paul Medusa [detail] Getty Museum / Peter Fusco. 86.SE.528 p. cm. see page 25 ISBN 0-89236-488-2 i. Sculpture—California—Malibu—Catalogs. 2. J. Paul Getty Museum— On page 59: Catalogs. I. Fusco, Peter, 1945- . II. Title. Bust of Winter .[detail] NB25.M36J25 1997 82.SA.io 730' .74794' 93—dcai 97-16753 see page 62 CIP On page 76: Antonio Susini, or Giovanni Francesco Susini Lion Attacking a Horse [detail] 94.SB.11.1 see page 48 Contents vii FOREWORD by John Walsh viii ACKNOWLEDGMENTS ix NOTE TO THE READER i CATALOGUE OF ATTRIBUTED WORKS 59 CATALOGUE OF UNATTRIBUTED WORKS 77 SUBJECT INDEX In Memory of Franklin D. Murphy vii Foreword This catalogue appears just thirteen years after the Getty the timescale, pieces from the nineteenth century have been Museum began to collect European sculpture in a serious bought only very selectively, partly because there are impor way. -
Lowell Libson
LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD · 2014 New York: January 25 – February 1 Annual exhibition at Mitchell-Innes & Nash: British Art: Recent Acquisitions & Thomas Gainsborough: The Landscape of Refinement london: february 17 – february 28 Thomas Gainsborough: The Landscape of Refinement Maastricht: March 14 – 23 TEFAF: The European Fine Art Fair London: July 4 – July 11 Master Drawings & Sculpture Week London Art Week London: October 16 – october 19 Frieze Masters LOWELL LIBSON LTD 2 014 • LOWELL LIBSON LTD CONTENTS 3 Clifford Street · Londonw1s 2lf William John Bankes 8 Telephone: +44 (0)20 7734 8686 Fax: +44 (0)20 7734 9997 James Barry 12 Email: [email protected] Louis-Gabriel Blanchet 15 Website: www.lowell-libson.com The gallery is open by appointment, Monday to Friday Francis Cotes 20 The entrance is in Old Burlington Street Alexander Cozens 24 Lowell Libson John Robert Cozens 26 [email protected] Arthur Devis 34 Deborah Greenhalgh [email protected] John Flaxman 39 Jonny Yarker [email protected] Lucius Gahagan 46 Daniel Gardner 50 Hugh Douglas Hamilton 52 Victor-Marie Hugo 58 Sir Thomas Lawrence 60 Edward Lear 68 William Marlow 72 Samuel Palmer 76 Published by Lowell Libson Limited 2014 Sir Joshua Reynolds 78 Text and publication © Lowell Libson Limited All rights reserved Thomas Rowlandson 82 isbn 978 0 9563930 7 4 Cover: a sheet of 18th-century Italian Thomas Stothard 82 paste paper (collection: Lowell Libson) Frontispiece: Francis Cotes RA 1726–1770 Joseph Mallord William Turner 89 Detail from Mary Colebrooke, later Lady Aubrey, 1766 Benjamin West 102 Photography by Rodney Todd White & Son Ltd Designed and typeset in Dante by Dalrymple Joseph Wright of Derby 105 Colour reproduction by Altaimage Printed in Belgium by Albe De Coker Johan Zoffany 112 our annual catalogue relies entirely on the works we have in hand and it is this serendipity that gives each of these volumes an individual character.