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The Grand Tour Portraits of Pompeo Batoni Matthew Rogan University of Wisconsin-Milwaukee

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University of Wisconsin Milwaukee UWM Digital Commons Theses and Dissertations May 2015 Fashion and Identity in Georgian Britain: the Grand Tour Portraits of Pompeo Batoni Matthew Rogan University of Wisconsin-Milwaukee Follow this and additional works at: https://dc.uwm.edu/etd Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Rogan, Matthew, "Fashion and Identity in Georgian Britain: the Grand Tour Portraits of Pompeo Batoni" (2015). Theses and Dissertations. 835. https://dc.uwm.edu/etd/835 This Thesis is brought to you for free and open access by UWM Digital Commons. It has been accepted for inclusion in Theses and Dissertations by an authorized administrator of UWM Digital Commons. For more information, please contact [email protected]. FASHION AND IDENTITY IN GEORGIAN BRITAIN: THE GRAND TOUR PORTRAITS OF POMPEO BATONI by Matthew M. L. Rogan A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts in Art History at The University of Wisconsin-Milwaukee May 2015 ABSTRACT FASHION AND IDENTITY IN GEORGIAN BRITAIN: THE GRAND TOUR PORTRAITS OF POMPEO BATONI by Matthew M. L. Rogan The University of Wisconsin-Milwaukee, 2015 Under the Supervision of Professor Tanya Tiffany Portrait artist to popes, royalty, and nobility, Pompeo Batoni was hailed as the premier portrait painter in Rome during his career in the mid to late eighteenth century. Batoni’s reputation as the de rigueur portraitist amongst wealthy British Grand Tourists was solidified by the late 1750s, and he dominated this market until his death in 1787. This thesis will examine the different types of fashion displayed in Batoni’s Grand Tour portraits, and argue that many of the Georgian men depicted paid great attention to their dress and how it augmented their self-fashioned identities. The portrayal of British patrons in French-inspired continental dress, a style of clothing that was often ridiculed and seen as ostentatious at home, was integral to the images that Georgian aristocrats constructed of themselves as cosmopolitan elites worthy of being members of the ruling class. By exploring both the clothing itself and the cultural contexts in which such dress was appropriate, I will demonstrate that Batoni’s Grand Tour portraits went beyond naturalistic representation and were in fact carefully executed portrayals of how Georgian elites wished to view themselves, and how they wished to be viewed by their peers and social subordinates. Consideration of these aspects of Batoni’s Grand Tour portraits will provide new insight into the role of clothing in the literal self-fashioning of elite Georgian men, an avenue under-explored in the context of art history. ii © Copyright by Matthew M. L. Rogan, 2015 All Rights Reserved iii To my husband. iv TABLE OF CONTENTS CHAPTER PAGE 1: Introduction 1 Chapter Divisions 5 2: Continental and British Men’s Fashion in the Eighteenth Century 7 French Fashion in Continental Europe 9 The habit à la française 12 Fashion in Great Britain 16 3: Fashion and Identity in Batoni’s Grand Tour Portraits 20 Dressing for the Grand Tour 24 The British and the habit à la française 27 The Frock-Suit in Continental Fashion 32 Fur-Lined Coats 37 British Views on Continental Clothing 41 Men’s Interest in Fashion 48 Continental Dress and the Concept of Self-Fashioning 52 4: Conclusion 59 Bibliography 61 v LIST OF FIGURES Figure 1: Pompeo Batoni, Portrait of Sir Gregory Page-Turner (1768, Manchester City Art Gallery). Source: ARTstor, http://library.artstor.org.ezproxy.lib.uwm.edu/library/secure/ViewImages?id=8CJGczI9N zldLS1WEDhzTnkrX3gtel10dyE%3D&userId=hTNOezQp&zoomparams= (accessed November 23, 2014). Figure 2: Pierre Thomas LeClerc and Nicolas Dupin, Monarque Juste et Bienfaisant (1778, Museum of Fine Arts Boston). Source: Museum of Fine Arts Boston, http://www.mfa.org/collections/object/gallerie-des-modes-et-costumes-fran%C3%A7ais- 14e-cahier-des-costumes-fran%C3%A7ais-8e-suite-dhabillemens-%C3%A0-la-mode-en- 1778-o79-monarque-juste-et-bienfaisant-v%C3%AAtu-simplement-de-lhabit- fran%C3%A7ais-312628 (accessed 4/4/15). Figure 3: Pompeo Batoni, Portrait of Count Kiril Grigorjewitsch Razumovsky (1766, Private Collection). Source. Edgar Peters Bowron and Peter Björn Kerber. Pompeo Batoni: Prince of Painters in Eighteenth-Century Rome (New Haven: Yale University Press, 2007), 107. Figure 4: Pompeo Batoni, Portrait of Don José Moñino y Redondo, Conde de Floridablanca (1776, The Art Institute of Chicago). Source: The Art Institute of Chicago, http://www.artic.edu/aic/collections/artwork/47578 (accessed November 23, 2014). Figure 5: Pompeo Batoni, Portrait of Prince Karl Wilhelm Ferdinand, later Duke of Braunschweig and Lüneburg (1767, Herzog Anton Ulrich-Museum). Source: Bowron and Kerbre, Pompeo Batoni, 114. Figure 6: Pompoe Batoni, Portrait of Gaetano II Sforza Cesarini, Duke of Segni (1768, National Gallery of Victoria, Melbourne). Source: Bowron and Kerber, Pompeo Batoni, 124. Figure 7: Pierre-Thomas LeClerc and Nicolas Dupin, Habit de drap galonné à la financiere avec un galon large (1779, Museum of Fine Arts Boston). Source: Museum of Fine Arts Boston, http://www.mfa.org/collections/object/gallerie-des-modes-et-costumes- fran%C3%A7ais-20e-cahier-des-costumes-fran%C3%A7ais-14e-suite-dhabillemens- %C3%A0-la-mode-en-1779-u118-habit-de-drap-galonn%C3%A9-%C3%A0-la- financiere-avec-un-galon-large-312669 (accessed 4/4/15). Figure 8: Pierre-Thomas LeClerc and Nicolas Dupin, Fraque d’eté de toile vermicelée… (1779, Museum of Fine Arts Boston). Source: Museum of Fine Arts Boston, http://www.mfa.org/collections/object/gallerie-des-modes-et-costumes-fran%C3%A7ais- 19e-cahier-des-costumes-fran%C3%A7ais-13e-suite-dhabillemens-%C3%A0-la-mode- en-1779-t113-fraque-det%C3%A9-de-toile-vermicel%C3%A9e-312666 (accessed 4/4/15). vi Figure 9: Anonymous, Un Homme en grande Parurue (1785). Source: Cabinet des Modes, ou les Modes nouvelles, décrites d’une manière Claire & précies, & représentées par des Plances en Taille-douce, enluminées. Second Cahier, 1 Décembre 1785 (Paris: Chez Buisson, 1785), pl. II. Figure 10: Pierre-Thomas LeClerc and Nicolas Dupin, Cet home est vêtu d’un habit en surtout à brandebourg… (1779, Museum of Fine Arts Boston). Source: http://www.mfa.org/collections/object/gallerie-des-modes-et-costumes-fran%C3%A7ais- 19e-cahier-des-costumes-fran%C3%A7ais-13e-suite-dhabillemens-%C3%A0-la-mode- en-1779-t112-cet-homme-est-v%C3%AAtu-dun-habit-en-surtout-%C3%A0- brandenbourg-312664 (accessed 4/4/15). Figure 11: Pierre-Thomas LeClerc and Nicolas Dupin, Jeune Dame qui quete: elle est vetue d’une robe de Cour… (1779, Museum of Fine Arts Boston). Source: http://www.mfa.org/collections/object/gallerie-des-modes-et-costumes-fran%C3%A7ais- 27e-cahier-de-costumes-fran%C3%A7ais-21e-suite-dhabillemens-%C3%A0-la-mode-en- 1779-cc157-jeune-dame-qui-qu%C3%AAte-349204 (accessed 4/4/15). Figure 12: Pompeo Batoni, Portrait of Henry Straffan (1750-55, The Walters Art Museum, Baltimore). Source: Bowron and Kerber, Pompeo Batoni, 45. Figure 13: Pompeo Batoni, Portrait of Sir Humphry Morice (1762, Sir James and Lady Graham, Norton Conyers, North Yorkshire). Source: http://www.nationalgallery.org.uk/paintings/pompeo-girolamo-batoni-humphry- morice/*/key-facts (accessed November 23, 2014). Figure 14: Pompeo Batoni, Portrait of David Garrick (1764, The Ashmolean Museum, Oxford). Source: Bowron and Kerber, Pompeo Batoni, 48. Figure 15: Pompeo Batoni, Portrait of George Lucy (1758, Charlecote Park, The Lucy Collection (The National Trust)). Source: Andrew Wilton, The Swagger Portrait: Grand Manner Portraiture in Britain from Van Dyck to Augustus John 1630-1930 (London: Tate Gallery Publications), 119. Figure 16: Thomas Gainsborough, Portrait of George Lucy (1760, Charlecote Park, The Lucy Collection (The National Trust)). Source: National Trust Collections, http://www.nationaltrustcollections.org.uk/object/533837 (accessed January 10, 2015). Figure 17: Pompeo Batoni, Portrait of Edward Augustus, Duke of York (1764, Private Collection). Source: Bowron and Kerber, Pompeo Batoni, 43. Figure 18: Pompeo Batoni, Portrait of James Stewart (1768, National Museums Northern Ireland). Source: National Museums Northern Ireland, http://www.nmni.com/um/Collections/Fine-Art/Italian-Painting (accessed November 23, 2014). vii Figure 19: Pompeo Batoni, Portrait of Colonel the Honourable William Gordon (1765- 66, Fyvie Castle, The National Trust for Scotland). Source: Wikimedia Commons, http://commons.wikimedia.org/wiki/File:William_Gordon_Batoni.jpg (accessed November 23, 2014). Figure 20: Pompeo Batoni, Portrait of Alexander, 4th Duke of Gordon (1764, National Galleries Scotland). Source: National Galleries Scotland, https://www.nationalgalleries.org/collection/artists-a-z/b/artist/pompeo- batoni/object/alexander-gordon-4th-duke-of-gordon-1743-1827-ng-2589 (accessed November 23, 2014). Figure 21: Pompeo Batoni, Portrait of James Bruce (1762, National Galleries Scotland). Source: Nation Galleries Scotland, https://www.nationalgalleries.org/collection/artists-a- z/b/artist/pompeo-batoni/object/james-bruce-of-kinnaird-1730-1794-african-explorer-pg- 141 (accessed Novemer 23, 2014). Figure 22: Pompeo Batoni, Portrait of Charles John Crowle (1762, Louvre Museum). Source: Artstor, http://library.artstor.org/library/secure/ViewImages?id=%2FThWdC8hIywtPygxFTx5Rn gtU3Iqelk%3D&userId=hTNOezQp&zoomparams= (accessed January 10, 2015). Figure 23: Pompeo Batoni, Portrait of Peter Beckford (1766, National Gallery of Denmark). Source: National Gallery of Denmark, http://www.smk.dk/en/explore-the- art/search-smk/#/detail/KMS4945 (accessed September 3, 2014). Figure 24: Pompeo Batoni, Portrait of Sir Sampson Gideon and an Unidentified Companion (1764, National Gallery of Victoria, Melbourne). Source: National Gallery of Victoria, Melbourne, http://www.ngv.vic.gov.au/explore/collection/work/3770/ (accessed November 23, 2014). Figure 25: Joshua Reynolds, Portrait of Sir Sampson Gideon (1764, Firle Estate Trust). Source: Image courtesy of the Firle Estate Trust. Figure 26: Pompeo Batoni, Portrait of George Henry Arthur Herbert, 2nd Earl of Powis (1771, Powis Castle, National Trust).
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  • Insights from Stourhead Gardens

    Insights from Stourhead Gardens

    Open Research Online The Open University’s repository of research publications and other research outputs Myth In Reception: Insights From Stourhead Gardens Thesis How to cite: Harrison, John Edward (2018). Myth In Reception: Insights From Stourhead Gardens. PhD thesis The Open University. For guidance on citations see FAQs. c 2017 The Author https://creativecommons.org/licenses/by-nc-nd/4.0/ Version: Version of Record Link(s) to article on publisher’s website: http://dx.doi.org/doi:10.21954/ou.ro.0000d97e Copyright and Moral Rights for the articles on this site are retained by the individual authors and/or other copyright owners. For more information on Open Research Online’s data policy on reuse of materials please consult the policies page. oro.open.ac.uk Myth in reception: Insights from Stourhead gardens John Edward Harrison BSc (Hons) Psychology, University of Hertfordshire, UK Dip CS, Open University, UK PhD Neuroscience, University of London, UK Thesis submitted to The Open University in partial fulfilment of the requirement for the degree of Doctor of Philosophy Faculty of Arts and Social Sciences (FASS) The Open University December 2017 1 Declaration I declare that this thesis represents my own work, except where due acknowledgement is made, and that is has not been previously submitted to the Open University or to any other institution for a degree, diploma or other qualification. 2 Abstract The focus of my thesis is the reception of classical myth in Georgian Britain as exemplified by responses to the garden imagery at Stourhead, Wiltshire. Previous explanations have tended to the view that the gardens were designed to recapitulate Virgil’s Aeneid.