DOCSLIB.ORG

Fänad I Helgade Grifter Svensk Djurgravpoesi 1670–1760 Möller, Daniel

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Fänad I Helgade Grifter Svensk Djurgravpoesi 1670–1760 Möller, Daniel Fänad i helgade grifter svensk djurgravpoesi 1670–1760 Möller, Daniel 2011 Document Version: Förlagets slutgiltiga version Link to publication Citation for published version (APA): Möller, D. (2011). Fänad i helgade grifter: svensk djurgravpoesi 1670–1760. Ellerströms förlag. Total number of authors: 1 General rights Unless other specific re-use rights are stated the following general rights apply: Copyright and moral rights for the publications made accessible in the public portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognise and abide by the legal requirements associated with these rights. • Users may download and print one copy of any publication from the public portal for the purpose of private study or research. • You may not further distribute the material or use it for any profit-making activity or commercial gain • You may freely distribute the URL identifying the publication in the public portal Read more about Creative commons licenses: https://creativecommons.org/licenses/ Take down policy If you believe that this document breaches copyright please contact us providing details, and we will remove access to the work immediately and investigate your claim. LUND UNIVERSITY PO Box 117 221 00 Lund +46 46-222 00 00 fänad i helgade grifter daniel möller Fänad i helgade grifter Svensk djurgravpoesi 1670–1760 Copyright © Daniel Möller och ellerströms förlag 2011 Omslag Clara Möller Grafisk form inlaga Klara Rasmussen Omslagsbild tillskriven Jacob Philip Thelott d.y. Två hundar och två papegojor på en altan (1724). Foto © Åsa Lundén, Nationalmuseum. Tryck Pozkal, Inowrocław, Polen 2011 isbn 978 91 7247 260 0 Innehåll inledning 9 Utgångspunkter 9 Avhandlingens syfte, metod och material 11 Tillfälleslitteratur och retorik 15 Gravdiktning över människor 15 Begravningspoesins underarter 17 . Äkta och fingerade gravdikter 21 Tillfällespoeten som rollgestaltare 24 . Retoriken och läran om imitatio 25 Dialogicitet 26 . Principen om decorum 27 Tidigare forskning 29 Tidigare forskning om tillfällesdiktning 29 . Internationell forskning om djurgravpoesi 30 . Den outforskade svenska djurgravdiktningen 31 Poetikböckerna 32 Poetikböckernas anvisningar 32 . Gravdiktningens varierande beteckningar 35 Hypotes 36 Avhandlingens disposition 37 I. Lindschöld, Rosenfelt och Leijoncrona 1. erik lindschölds epitafier över änkedrottning hedvig eleonoras hundar 41 Lindschöld och hovkulturen 41 Anthologia Graeca 44 Den franska salongspoesin 46 Genren kommer till Sverige 48 Antikinfluerad poesi 50 2. werner von rosenfelts epicedium ”klagan öfwer en mächta artig papegoijas dödh” och dess antika förlagor 63 Rosenfelts poetiska samtal 63 Exotiska, talande fåglar 66 Diktens innehåll och uppbyggnad 69 Epitafiet 76 3. djurgravpoesi som ämbetsmeritering: christoffer leijoncronas björnepitafium till karl xi 81 Den unge skalden 81 Karl XI och björnjakten i Sickelsjö 83 Leijoncronas epitafium och dess funktion 86 II. Holmström och epitafiet över Pompe 4. den svenska djurgravpoesins magnum opus 99 Holmströms epitafium över Pompe 99 Pompe och Karl XII:s övriga hundar 104 Holmström och den burleska panegyriken 109 Karl XII, Pompe och antiken 111 Holmströms Pompe-epitafium som replik på Lindschöld 112 5. den erotiska djurgravpoesin 117 Frivola ordlekar 117 Holmström och det franska epigrammet 119 Djur, humor, erotik 121 Meleager och epitafiet över haren 125 Catullus’ gravdikt över Lesbias sparv 126 Imitationer av Catullus’ gravdikt 131 Svensk, erotisk djurgravpoesi före Dalin 136 Karl XII och la petite mort 138 6. pompedikter i dialog och på olika språk 143 Replikdikter 143 Pompe-epitafier på latin 145 Pompe-epitafiet iCelsius’ manuskriptsamling 145 . Bolle Willum Luxdorphs verser över Pompe 151 . Olof Hermelins epitafium över Pompe 152 Pompepoesi i arkiv och antologier 160 ”DEPLAISIR sur la mort de PLAISIR” av Runius 166 Germund Cederhielms gravdikt över Hedvig Sofias Orange 169 Poeten och ämbetsmannen 169 . Diktens idé och innehåll 172 Den fiktiva gravinskriptionen 176 . Kärlekshundar 178 . Cederhielm och Pompe- hundarnas antal 179 III. Brenner och Dalin 7. sophia elisabet brenners gravdikt över en liten fågel 185 8. djurgravdiktaren olof von dalin 193 Bakgrund 193 Textläget 193 . Awazu och Wallasis 194 . Tillfällesdiktningen 196 Avsiktliga pekoral och kritik av prästerskap och lärde 198 Gravdikterna över tiken Kersti Berg 198 . Ett pekoral av Salig Gubben 208 Den ’lärda’ gravdikten över Gasse 214 Poetiska lekar, testamenten och panegyrik 221 En diglott lek 221 . Gravdikt och testamente 222 . Ostindiska kompaniet 226 Markattorna på Drottningholm 231 . Panegyriker till Lovisa Ulrika 232 Dalins djurgravpoesi – en konkluderande översikt 237 avslutning 241 summary 253 exkurs 261 Holmströms gravdikt över björnen Ellan 261 noter 263 bilagor 355 Rosenfelt: ”Klagan öfwer en mächta artig Papegoijas dödh” 355 Pavillon: ”Lettre a Madame Damon…” 357 Hermelin: [Två epitafier över Karl XII:s hund Pompe] 361 Hesselgren: ”In mortem Galli Silvestris…” 363 Dalin: ”En Anonymi Rim, öfwer den Rara Kersti Berg…” 365 Dalin: ”anmärkningar och uttydelser” till dikten ”Graffskrifft” 369 förteckning över funna djurgravdikter 372 källor och litteratur 383 bildförteckning 422 personregister 425 Några allmänna anmärkningar I denna bok återges, på vedertaget sätt, frakturstilen med antikva och antikvan med kursiv. Fetstil och gradstorlek följer originalen, liksom frakturstilens komma- tecken ”/”, medan ”s” och ”∫” båda skrivs med ”s”. För att undvika oklarhet används lodstrecket ”|” för att markera radbrytning när dikter med frakturstil citeras. De dubbla bindestrecken återges med vanliga bindestreck. För ordförklaringarna, som står att finna inom hakparentes i de citerade dikterna och texterna, har framför allt A. F. Dalin, Ordbok öfver svenska språket (1850–1853), F. A. Dahlgren, Glossarium öfver föråldrade eller ovanliga ord och talesätt i svenska språket (1914–1916) och Ordbok över svenska språket, utg. av Svenska Akademien, del I–XXXIV, Lund 1898–2004 (= SAOB), använts. Jag har strävat efter att återge texterna så som de ser ut i trycken och i hand- skrifterna. Således tillämpas ursprunglig stavning, även när den ser ut att vara (och kanske också är) felaktig. I Werner von Rosenfelts gravdikt över familjens papegoja, exempelvis, heter det på ett ställe: ”O Papken du war wärld at man din död bekla- gar” (rad 13). Här hade ett sic! kunnat ha satts ut efter ”wärld” eftersom det antingen rör sig om en ovanlig stavning av ordet ”wärd” (det vill säga ’värd’ på nutida svenska) eller om en felskrivning av detta ord. Det har jag alltså underlåtit att göra dels efter- som det hade medfört ett mycket flitigt användande av sic! som riskerat att störa läsningen, dels eftersom det under de tidsperioder som dessa studier anbelangar inte fanns några normaliserade stavningsregler. Vissa tryck- och skrivfel uppmärksam- mas dock ibland i brödtexten eller i fotnoterna. De översättningar av dikter och citat som ingår i boken är ibland mina egna och markeras då med ”Min översättning”; det gäller till exempel de tre latinska Pompe-epitafierna. Flera av dikterna har översatts tillsammans med Ulf Gran och markeras med ”Översättning Ulf Gran och Daniel Möller”. Ett stycke ur Pontanus’ poetik har översatts av Anders Piltz, som även översatt ett långt poem i avhand- lingens appendix (Joannes Hesselgrens latinska gravdikt över Johan Hinric Lidéns orrtupp). De utländska dikterna citeras i regel först och följs sedan av översättningar till svenska. Om det rör sig om översättningar som publicerats i böcker och dylikt, anges vanligen de svenska översättningarna i löptexten och de utländska origina- len i noterna. Vid några enstaka tillfällen har jag låtit bli att översätta kortare och enklare textpassager. 8 Inledning Utgångspunkter År 1651 lät poeten och läraren i Strängnäs Andreas Arvidi (ca 1620–1673) trycka epitafiet ”En Hönas Graffskrifft dödh bijten aff Mickel Räf” i sin poe- tikbok, Manuductio Ad Poesin Svecanam. Lektorns åttaradiga dikt lyder: Här ligger vnder Steen then Höna Mickel beet/ Ey skötte han om [brydde han sig om huruvida] hon war mager eller feet/ Hon nämpndes Skarpekloo/ och hennes Fader Kock/ Hoo hennes Moder war weet Läsaren fullnock [säkert]: Men thetta weete wij/ at Räfwen stodh på Luur/ Och henne greep ther hon gick jämpte Klåstermuur.1 Arvidis epitafium är det första kända exemplet på djurgravpoesi i Sverige. I poetikboken tjänstgör det som ett av flera prov på jambisk verskonst och är förmodligen fiktivt – något verkligt föremål, det vill säga en död höna, torde inte ha åsyftats. Dikten är i alla bemärkelser enkel och entydig: syftet har varit att på ett nöjsamt sätt visa hur man bör skriva jambisk vers. Epitafiets ålder kan sättas i relation till den äldsta kända gravdikten som skrivits i Sverige över en människa. Den författades år 1535 av latin- och humanistpoeten Johannes Magnus (1488–1544),2 bror till Olaus Magnus (1490–1557), upphovsmannen till den berömda Historia de gentibus septentri- onalibus (Historia om de nordiska folken, 1555). Efter att Arvidi låtit trycka sin dikt skulle det dröja omkring tjugo år innan någon i Sverige åter skrev djurgravpoesi – i varje fall sådan som be- varats till vår tid – och då var föremålen i stället faktiska, de hade existerat i verkligheten. Änkedrottning Hedvig Eleonoras hovpoet Erik Lindschöld (1634–1690) var den som skapade förutsättningarna för att denna diktart skulle få fäste i Sverige; hans epitafier över änkedrottningens tikar är san- nolikt skrivna på 1670-talet.
Load more

Recommended publications
  • Eugene Barilo Von Reisberg, M
    Eugene Barilo von Reisberg, Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert EUGENE BARILO VON REISBERG Garters and Petticoats: Franz Xaver Winterhalter’s 1843 Portraits of Queen Victoria and Prince Albert ABSTRACT What does official royal iconography tell us? What messages does it communicate about the sitters – and from the sitters? This paper deconstructs two official portraits of Queen Victoria and Prince Albert painted by Franz Xaver Winterhalter (1805-1873) in 1843. It outlines the complex semantic layering within this pair of British royal portraits, and explores in particular the emphasis on Prince Albert‘s newly-acquired ‗Englishness‘ and the notion of an iconographic ‗gender reversal‘ within the context of traditional marital pendants. The Honourable Eleanor Stanley wrote in a letter that a ‗regular dull evening‘ at Windsor Castle on 24 March 1845 was enlivened by the youthful Queen Victoria‘s impassioned speech about the state of British portraiture, ‗a terrible broadside at English artists, both as regards their works and … their prices, and their charging her particularly outrageously high.‘1 The twenty-six-year-old queen spoke from experience. As the heir apparent to the British throne, she had been painted from infancy by a succession of artists, vying for the patronage of the future sovereign. From her accession in 1837, the queen sat to numerous painters who failed to satisfy the requirements of official portraiture in the eyes of the monarch, her courtiers, and the critics. David Wilkie‘s (1785-1841) portrait of the queen was condemned by the critics as being ‗execrable‘.2 The queen considered her portrait by Martin Archer Shee (1769- 1850) as ‗monstrous‘;3 while the Figaro compared her countenance in the portrait by George Hayter (1792-1871) as that of an ‗ill-tempered and obstinate little miss.‘4 Portraits of Prince Albert, whom the queen married in February 1840, did not fair much better.
    [Show full text]
  • Royal Portraits and Sporting Pictures
    ROYAL PORTRAITS AND SPORTING PICTURES FROM THE COLLECTIONS OF THEIR EXCELLENCIES THE GOVERNOR GENERAL AND LADY NORRIE AUCKLAND C TY ART GAL :RY ROYAL PORTRAITS AND SPORTING PICTURES FROM THE COLLECTIONS OF THEIR EXCELLENCIES THE GOVERNOR GENERAL AND LADY NORRIE AUCKLAND CITY ART GALLERY during the FESTIVAL OF THE ARTS 1955 HIS is ONE OF THE RARE OCCASIONS when the general public > is given the opportunity or seeing a well chosen and well > balanced private collection or valuable pictures, which in the ' ordinary course of things would not be seen outside an English country house. So what a great pleasure, as well as a privilege, it is for us in Auckland to be allowed to see this selection of royal portraits and sporting pictures from the collections of Their Excellencies the Governor- General and Lady Norrie. A private collection should reflect its owner; and that is exactly what the collection now being exhibited does. Even if we knew nothing previously of the special interests of Their Excellencies, we would be aware immediately from these works, of Their Excellencies' deep love of British history and those activities of country life which have played such an important part in forming the character of rural England. The paintings which form part of these collections demonstrate also the artistic judgment and taste of Their Excellencies, for all of them have been chosen not only for the personages and events represented, but for their qualities as works of art as well. Their Excellencies' pictures have not been exhibited previously in New Zealand, and Auckland feels proud that the exhibition should form part of its 1955 Festival of the Arts, which has already become a dominant feature in the life of our City.
    [Show full text]
  • London | 24 March 2021 March | 24 London
    LONDON | 24 MARCH 2021 MARCH | 24 LONDON LONDON THE FAMILY COLLECTION OF THE LATE COUNTESS MOUNTBATTEN OF BURMA 24 MARCH 2021 L21300 AUCTION IN LONDON ALL EXHIBITIONS FREE 24 MARCH 2021 AND OPEN TO THE PUBLIC 10 AM Saturday 20 March 12 NOON–5 PM 34-35 New Bond Street Sunday 21 March London, W1A 2AA 12 NOON–5 PM +44 (0)20 7293 5000 sothebys.com Monday 22 March FOLLOW US @SOTHEBYS 10 AM–5 PM #SothebysMountbatten Tuesday 23 March 10 AM–5 PM TO LEARN MORE ABOUT THE PROPERTY IN THIS SALE, PLEASE VISIT This page SOTHEBYS.COM/L21300 LOT XXX UNIQUE COLLECTIONS SPECIALISTS ENQUIRIES FURNITURE & DECORATIVE ART MIDDLE EAST & INDIAN SALE NUMBER David Macdonald Alexandra Roy L21300 “BURM” [email protected] [email protected] +44 20 7293 5107 +44 20 7293 5507 BIDS DEPARTMENT Thomas Williams MODERN & POST-WAR BRITISH ART +44 (0)20 7293 5283 Mario Tavella Harry Dalmeny Henry House [email protected] Thomas Podd fax +44 (0)20 7293 6255 +44 20 7293 6211 Chairman, Sotheby’s Europe, Chairman, UK & Ireland Senior Director [email protected] [email protected] +44 20 7293 5497 Chairman Private European +44 (0)20 7293 5848 Head of Furniture & Decorative Arts ANCIENT SCULPTURE & WORKS Collections and Decorative Arts [email protected] +44 (0)20 7293 5486 OF ART Telephone bid requests should OLD MASTER PAINTINGS be received 24 hours prior +44 (0)20 7293 5052 [email protected] Florent Heintz Julian Gascoigne to the sale. This service is [email protected] [email protected] [email protected] offered for lots with a low estimate +44 20 7293 5526 +44 20 7293 5482 of £3,000 and above.
    [Show full text]
  • From the Commonwealth to the Georgian Period, 1650-1730
    A STROLL THROUGH TATE BRITAIN This two-hour talk is part of a series of twenty talks on the works of art displayed in Tate Britain, London, in June 2017. Unless otherwise mentioned all works of art are at Tate Britain. References and Copyright • The talk is given to a small group of people and all the proceeds, after the cost of the hall is deducted, are given to charity. • Our sponsored charities are Save the Children and Cancer UK. • Unless otherwise mentioned all works of art are at Tate Britain and the Tate’s online notes, display captions, articles and other information are used. • Each page has a section called ‘References’ that gives a link or links to sources of information. • Wikipedia, the Oxford Dictionary of National Biography, Khan Academy and the Art Story are used as additional sources of information. • The information from Wikipedia is under an Attribution-Share Alike Creative Commons License. • Other books and articles are used and referenced. • If I have forgotten to reference your work then please let me know and I will add a reference or delete the information. 1 A STROLL THROUGH TATE BRITAIN • The History of the Tate • From Absolute Monarch to Civil War, 1540-1650 • From Commonwealth to the Georgians, 1650-1730 • The Georgians, 1730-1780 • Revolutionary Times, 1780-1810 • Regency to Victorian, 1810-1840 • William Blake • J. M. W. Turner • John Constable • The Pre-Raphaelites, 1840-1860 West galleries are 1540, 1650, 1730, 1760, 1780, 1810, 1840, 1890, 1900, 1910 East galleries are 1930, 1940, 1950, 1960, 1970, 1980, 1990, 2000 Turner Wing includes Turner, Constable, Blake and Pre-Raphaelite drawings Agenda 1.
    [Show full text]
  • JPO Service Centre (JAA Focal Point: Jean- [email protected])
    2020 Directory The JPO Alumni Association (JAA) Launched in 2003, the Junior Professional Officer Alumni Association (JAA) groups 2,952 members as of July 2020. The JAA is viewed as a key contribution to the development of a cross-generational JPO community spirit. The JAA is also open to former SARCs (Special Assistant to the Resident Coordinator) alumni. 84 former SARCs are member of the JAA, 56 of them were former JPOs as well. The JPO Alumni Association promotes a lifelong connection to the United Nations' activities and the Organisation's ethical standards. More specifically, it aims at: o Making use of the talents and resources of former JPOs to advocate the United Nations values; o Fostering a community spirit and knowledge sharing among former JPOs; o Facilitating job search for former JPOs. For more information on the JAA, please visit our website, or contact the UNDP JPO Service Centre (JAA focal point: jean- [email protected]). The Yearly JAA Member Directory Published every year by the UNDP JPO Service Centre (Office of Human Resources / Bureau for Management Services) the JAA Member Directory aims at producing a yearly snapshot of the composition of the JAA, from which key statistics, as well as trends over the years can be extracted. We trust that this JAA Member Directory will strengthen the visibility of the JAA and further develop its activities. It will also allow the JPO Service Centre to refine its response to donor’s follow-up requests and to support career development of current JPOs. The JPO Service Centre would like to take this opportunity to thank the JAA Members for their continuous commitment in the Alumni initiative and their contribution to the current document.
    [Show full text]
  • Henry Tilson (1576–1655), He Became a Pupil of Sir Peter Lely
    Neil Jeffares, Dictionary of pastellists before 1800 Online edition TILSON, Henry J.7162.106 Gentleman in wig, pstl, 25x17 Yorkshire 1659 – London brd 25.XI.1695 (Colnaghi. Dorchester, Duke’s, 29.IX.2011, Portraitist in oil and pastel. The son of Lot 55 repr., attr., est. £200–400) ϕα Nathaniel Tilson and grandson of Bishop Henry Tilson (1576–1655), he became a pupil of Sir Peter Lely. He travelled to Paris, Venice and Rome in the 1680s with Michael Dahl (q.v.). After his return to London, he shot himself while depressed as a result of a passion for a Mrs Green, “a woman of great wealth & Interest…[who] recommended Mr Tilson every where and procured him a deal of business” but who it seems did not reciprocate his love. Vertue noted his “particular genius for Crayons, in which he perform’d admirably well, after the pictures of Correggio, Titian and the Caracci.” Apart from these pastel copies, very few portrait drawings have been traced. They show the artist using pastel more in the manner of Ashfield than of Lely. Woodward describes the 1683 sheet in the British Museum as “rather J.7162.108 Lady, bl. chlk, crayons/ppr, 26.8x20, sd lifeless”. “HT 1683” (British Museum 1934.0710.3. Charles Henry Collins Baker; acqu. 1934 with Bibliography H. L. Florence fund). Lit.: Woodward 1951, Bénézit; Buckeridge 1754; Croft-Murray & n.r.; Croft-Murray & Hulton 1960, no. 1, pl. Hulton 1960; Füßli 1826; Oxford DNB; 262 ϕ Waterhouse 1988; Woodward 1951, p. 35; Wright 2006 Portraits in various media J.7162.101 Gian Lorenzo BERNINI (1598–1680), architect and sculptor, crayons (Kingsweston 1695).
    [Show full text]
  • Swedish Immigrant Artists' Patronage Systems, 1880-1940 Mary Towley Swanson University of St
    University of St. Thomas, Minnesota UST Research Online Art History Faculty Publications Art History 2004 A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880-1940 Mary Towley Swanson University of St. Thomas, Minnesota Follow this and additional works at: http://ir.stthomas.edu/arthistory_pub Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Swanson, Mary Towley, "A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880-1940" (2004). Art History Faculty Publications. 9. http://ir.stthomas.edu/arthistory_pub/9 This Paper is brought to you for free and open access by the Art History at UST Research Online. It has been accepted for inclusion in Art History Faculty Publications by an authorized administrator of UST Research Online. For more information, please contact [email protected]. A Tangled Web: Swedish Immigrant Artists' Patronage Systems, 1880‐1940 An unpublished manuscript by Mary Towley Swanson, emeritus Professor of Art History, University of St. Thomas © 2004 Table of Contents: CHAPTER 1. Overview: Towards a Definition of Swedish‐American Artistic Patronage CHAPTER 2: Official Swedish Art Exhibitions in America Lend Support to Ethnic Artists CHAPTER 3: Early Immigrant Artists Create Template for Success CHAPTER 4. Ethnic Periodicals Help Artists Sustain Careers CHAPTER 5: Exhibitions Create a Catalyst for Artists’ Ethnic Sustainability and Support CHAPTER 6: Diverse American Systems of Patronage Provide Broad Support CHAPTER 7: Swedish Patronage Networks Encourage Artists’ Careers and Ethnic Collections APPENDIX A: Art Exhibitions: American Swedish Institute APPENDIX B: Art Exhibitions, American Swedish Historical Museum APPENDIX C: Swedish –American Artists’ Index A Tangled Web: Swedish Immigrant Artists’ Patronage Systems, 1880-1940 Ch.
    [Show full text]
  • The Spirit & Force Of
    THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 THE SPIRIT & FORCE OF ART: DRAWING IN BRITAIN 1600–1750 3 Clifford Street, London 20 June to 6 July 2018 London London Art Week 29 June to 6 July 2018 new york TeFAF New York Fall 27 to 31 October 2018 THE SPIRIT &FORCE OF ART Drawing in Britain 1600–1750 Lowell Libson & Jonny Yarker Ltd London 2018 Contents Index of Artists 6 Foreword Lowell Libson 7 Introduction Jonny Yarker 8 3 Clifford Street · London w1S 2LF +44 (0)20 7734 8686 ‘The spirit and force of art’: [email protected] Defining Drawing in England, 1600–1750 www.libson-yarker.com Richard Stephens 11 Lowell Libson [email protected] A Lost Art? Collecting Early British Drawings Jonny Yarker & their Critical Fate [email protected] Richard Stephens and Jonny Yarker 33 Cressida St Aubyn [email protected] CATALoGUe Published by Lowell Libson & Jonny Yarker Ltd 2018 I Towards an English School 41 Text and publication © Lowell Libson & Jonny Yarker Ltd All rights reserved II Academies 69 ISBn 978 1 9999783 1 0 Designed by Dalrymple III The Rise of the Sketch 85 Set in Mário Feliciano’s Rongel type Photography by Rodney Todd-White & Son Ltd VI From Prospect to Landscape 101 Colour reproduction by Altaimage Ltd Printed in Belgium by Albe De Coker V From Ceiling to Exhibition Room: the Progress of History Painting 127 VI Face Painting 147 VII ‘A noble, delightful and useful art’: Drawings by Antiquarians, Amateurs and Artisans 169 VIII The Age of Hogarth 181 Notes and References 199 Index of Artists Foreword References are to catalogue numbers Laguerre, Louis 47 We are delighted to publish this catalogue which represents the culmination of over ten years of gathering these rare drawings which were created before the ‘Golden Age’ Amigoni, Jacopo 58 Laroon, Marcellus 73 of British watercolours and which demonstrate the formation of an identifiable ‘British’ Baron, Bernard 74 Laroon, Marcellus, the younger 84 School.
    [Show full text]
  • A History of the French in London Liberty, Equality, Opportunity
    A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick A history of the French in London liberty, equality, opportunity A history of the French in London liberty, equality, opportunity Edited by Debra Kelly and Martyn Cornick LONDON INSTITUTE OF HISTORICAL RESEARCH Published by UNIVERSITY OF LONDON SCHOOL OF ADVANCED STUDY INSTITUTE OF HISTORICAL RESEARCH Senate House, Malet Street, London WC1E 7HU First published in print in 2013. This book is published under a Creative Commons Attribution- NonCommercial-NoDerivatives 4.0 International (CC BY- NCND 4.0) license. More information regarding CC licenses is available at https://creativecommons.org/licenses/ Available to download free at http://www.humanities-digital-library.org ISBN 978 1 909646 48 3 (PDF edition) ISBN 978 1 905165 86 5 (hardback edition) Contents List of contributors vii List of figures xv List of tables xxi List of maps xxiii Acknowledgements xxv Introduction The French in London: a study in time and space 1 Martyn Cornick 1. A special case? London’s French Protestants 13 Elizabeth Randall 2. Montagu House, Bloomsbury: a French household in London, 1673–1733 43 Paul Boucher and Tessa Murdoch 3. The novelty of the French émigrés in London in the 1790s 69 Kirsty Carpenter Note on French Catholics in London after 1789 91 4. Courts in exile: Bourbons, Bonapartes and Orléans in London, from George III to Edward VII 99 Philip Mansel 5. The French in London during the 1830s: multidimensional occupancy 129 Máire Cross 6. Introductory exposition: French republicans and communists in exile to 1848 155 Fabrice Bensimon 7.
    [Show full text]
  • Dutch-English Relations in the 17Th and 18Th Centuries
    1 Dutch-English Relations in the Zeeland and commander of the army of the 17th and 18th Centuries States, was now also appointed Stadholder of Gelderland, Overijssel and Utrecht. Julie and Frans Muller English version of a lecture at the Utrecht Early Music Festival, 2 September 2015 The relations between England and the Lowlands go back many centuries. Today we will limit ourselves to the period of the Republic of the Seven Provinces, known in English as the Dutch Republic, approximately the period in music history covered by the Early Music Fesitval Utrecht. Sometimes it was indeed “Holland against England”, but it was sometimes Holland with England too. Here are some of the most important examples of cultural relations and the social circumstances which influenced them. 2. Union of Utrecht, 1579: last page with signatures During the eighty-years war the English and the Dutch were natural allies against Spain, for reasons of both religion and trade. When the Republic came into being that changed. 1. Simon Fokke, 1756-58: Taking Den Briel, April 1st, 1572 Den Briel: the subject of a song about the Dutch privateers known as the Sea Beggars. Where did they suddenly come from to free the port? From England. Lumey’s men, with their English 3. Johan Abrahamsz. Beerstraten, 1685: allies, were harassing the Spaniards from the Dutch ships in a foreign port safety of the English coast and under the th protection of Queen Elizabeth. Philip of Spain By the middle of the 17 century, the Republic was a threat to her, as her fleet wasn’t ready to controlled trade with Asia and America, and take his on yet and so she sent the Sea both trade and fishing in the Baltic and the Beggars away in March.
    [Show full text]
  • Philip Mercier Portraits for a Prince
    Hall 1 2 The Royal Family: A Centenary Portrait King George II (1683–1760) by John Wonnacott (b. 1940) by studio of Charles Jervas Oil on canvas on foamboard, 2000 (1675–1739) NPG 6479 Oil on canvas, c.1727 © John Wonnacott/ National Portrait NPG 368 Gallery, London 3 King George I (1660–1727) Prince George of Denmark replica by Sir Godfrey Kneller (1653–1708) (1646–1723) by or after Michael Dahl (1659–1743) Oil on canvas, 1716 Oil on canvas, c.1705 NPG 5174 NPG 4163 3 Queen Anne (1665–1714), when Frederick, Prince of Wales Princess of Denmark, with William, (1707–51) Duke of Gloucester (1689–1700) by Philip Mercier (1691–1760) after Sir Godfrey Kneller (1646–1723) Oil on canvas, c.1735– 6 Oil on canvas, c.1694 NPG 2501 NPG 325 4 Augusta, Princess of Wales John Churchill, 1st Duke of (1719–72) Marlborough (1650–1722) with by Charles Philips (1703–47) Colonel John Armstrong (1674–1742) Oil on canvas, c.1736 by an unknown artist NPG 2093 Oil on canvas, c.1711–20 NPG 5318 Pope Clement XIV (1705–74) by Christopher Hewetson (1739–99) Marble, 1771 NT Further Information If there are other things that interest you, please ask the Room Steward. More information on the portraits can be found on the Portrait Explorer upstairs. • Please return after use This In-Focus can be downloaded at www.npg.org.uk Hall 1 2 A Portrait of Majesty The Royal Family: A Centenary Portrait by John Wonnacott, 2000 NPG 6479 © John Wonnacott/ National Portrait Gallery, London Grand, double height entrance halls like this were a flamboyant symbol of the owner’s hospitality and social standing.
    [Show full text]
  • Still Lifes, Botanical Illustrations, and Garden Design in Seventeenth-Century Sweden: A
    Still Lifes, Botanical Illustrations, and Garden Design in Seventeenth-Century Sweden: A Geo-History of Art Elisabeth Knall Department of Art History and Communication Studies McGill University, Montreal January 2020 A thesis submitted to McGill University in partial fulfillment of the requirements of the degree of Doctor of Philosophy © Elisabeth Knall, 2020 ii ABSTRACT This dissertation investigates how a growing interest in flowers and plants during the seventeenth century was shared and expressed by artists, scientists, horticulturists, patrons, and estate owners. The focus is on cultural production in Sweden and I argue that information on artistic developments as well as knowledge of botanical discoveries between this Scandinavian country and other parts of the world were shared more frequently and more extensively than has been generally suggested. The thesis’ premise is that both painters and patrons participated in multidirectional geographic travels, and that artistic exchanges were not dictated by national borders. This dissertation consequently contributes to an increased interest within the field of art history in widespread circulation of artistic forms and knowledge. In addition, topics traditionally considered marginal in art-historical discourse, such as scientific illustrations and garden design, are analyzed with the aim of bringing attention to the interactions between different areas of artistic production. This thesis does not subscribe to symbolic readings of still lifes or interpretive parameters based on a perceived domination by a few national schools of art. Instead, this dissertation brings attention to the exciting prospect of new insights obtained through an openness to alternative analytical approaches. The introduction explores the reasons behind a noticeable surge in cultural production in Sweden during the seventeenth and early eighteenth centuries, including the importance of Gothicism and the country’s participation in the Thirty Years’ War.
    [Show full text]