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Classical Nakedness in British Sculpture and Historical Painting 1798-1840 Cora Hatshepsut Gilroy-Ware Ph.D Univ

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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 the increasing aestheticisation and eroticisation of the naked figure onto the changing political milieu. TABLE OF CONTENTS List of Illustrations………………………………………………………………………...1 Acknowledgements..………………………………………………………………………7 Author’s Declaration………………………………………………………………………8 Introduction: Classical Nakedness and the Contemporary………………………………..9 1 Classical Nakedness as Symbolic Expression: Thomas Banks’s Monument to Captain Burges……………………………..48 2 Classical Nakedness as Public Form: Benjamin West’s “radical redirection”……………………………………..99 3 Interventions into Classical Nakedness: the Theory of Benjamin Robert Haydon……………………………………141 4 The Charm of Classical Nakedness: Thomas Stothard and Richard Westall……………………………………..189 5 Classical Nakedness in Exile: Henry Howard, John Gibson and Richard James Wyatt……………………234 List of Abbreviations…………………………………………………………………...290 Bibliography Unpublished sources………………………………………………………..291 Checklist of newspapers and periodicals…………………………………...292 Published Sources…………………………………………………………..294 Illustrations……………………………………………………………………………..322 1 LIST OF ILLUSTRATIONS 1. Comparative graphs: usage of phrases “naked figure” and “nude figure” in digitised works of literature produced between 1750 and 1900, Google Ngram. 2. Thomas Banks, Monument to Captain Richard Rundle Burges, 1798-1803, St. Paul’s Cathedral, London (Art and Architechture, Courtauld Institute of Art database). 3. John Condé after Thomas Banks, Monument to Sir Eyre Coote, 1790, London (British Museum database). 4. Joseph Wilton, Monument to General Wolfe, Westminster Abbey, 1772, London (Art and Architechture, Courtauld Institute of Art database). 5. John Bacon the elder, Monument to Major General Thomas Dundas, 1798-1805, St. Paul’s Cathedral, London (Art and Architechture, Courtauld Institute of Art database). 6. Charles Felix Rossi, Monument to Captain Robert Faulknor, 1798-1803, St. Paul’s Cathedral, London (Art and Architechture, Courtauld Institute of Art database). 7. Thomas Banks, Monument to Captain George Blagdon Westcott, 1803-05, St. Paul’s Cathedral, London (Art and Architechture, Courtauld Institute of Art database). 8. Anon. after Raphael, The Dead Christ being Carried to the Tomb, 1483-1520, London (British Museum database). 9. Thomas Banks, design for Monument to Captain Burges, 1798, National Archives, London. 10. William Blake after George Cumberland, Venus Councels Cupid, 1794 (Cumberland, 1794, Pl. 14). 11. Thomas Banks, Thetis and her nymphs rising from the sea to console Achilles for the loss of Patroclus, 1778, London (Victoria and Albert Museum online collection). 12. John Flaxman, preliminary study for the “Iliad”; two studies for Thetis bidding the Nereids seek their Father under the sea, 1793, London (British Museum database). 2 13. The Farnese Hermes, Roman 1stC, London (British Museum database). 14. James Gillray, Two Pair of Portraits, 1798, London (British Museum database). 15. Guillaume Guillon Lethière, Liberty and Equality United by Nature, 1793, private collection (Bryant, 2005, Fig. 10). 16. John Bacon the elder, detail from design for Monument to Major General Thomas Dundas, 1798, London (National Archives). 17. Benjamin West, Venus Lamenting the Death of Adonis, 1803, New Brunswick (Zimmerli Art Museum online collection). 18. Benjamin West, Venus Lamenting the Death of Adonis, c. 1763-67, Pittsburgh (Carnegie Museum of Art online collection). 19. Benjamin West, Cupid and Psyche, 1808, Bentonville (Crystal Bridges Museum of American Art records). 20. Titian, Venus and Adonis, c. 1485-90, New York (Metropolitan Museum of Art online collection). 21. P.S Lamborn, engraving after wall painting of Reclining Bacchante and Faun, Roman 1stC, Naples (Bayardi, 1773, Pl. XV). 22. Giorgione, detail from The Tempest, c. 1506-08, Venice (Web Gallery of Art). 23. Veronese, detail from Jupiter and Venus, 1560s, Boston (Museum of Fine Arts Boston online collection). 24. Veronese, detail from Venus and Adonis, 1560s, Augsburg, Germany. 25. Tintoretto, detail from Susanna and the Elders, c. 1550, Paris, Musée du Louvre. 26. Jacques Louis David, The Intervention of the Sabine Women, 1799, Paris (Musée du Louvre online collection). 27. Benjamin West, preliminary study for Thetis Bringing Armour to Achilles, 1802, Columbus (Columbus Museum online collection). 28. William Makepeace Thackeray, satirical illustration (Thackeray, 1869: 51). 29. William Bond after Benjamin West, Thetis Bringing Armour to Achilles, 1809, London (British Museum database). 3 30. Thomas Phillips, Venus and Adonis, 1808, London (Royal Academy of Arts database). 31. Benjamin West, Omnia Vincit Amor, 1809, New York (Metropolitan Museum of Art online collection). 32. Benjamin West, Cupid Releasing Two Doves, 1798-1808, private collection (Art Print Collection). 33. Benjamin Robert Haydon, study after Wilson the black, 1010, London (British Museum database). 34. Benjamin Robert Haydon, study after the Theseus, 1808, London (British Museum database). 35. Petrus Camper, engraving of facial angles, 1767, (Meijer, 1999, Pl. 26-27). 36. Benjamin Robert Haydon, study after Wilson the black, 1010, London (British Museum database). 37. Benjamin Robert Haydon, Punch or May Day, 1829, London (Tate Gallery online collection). 38. Benjamin Robert Haydon, detail from Punch or May Day, 1829, London (Tate Gallery online collection). 39. Venus of Taurida, Hellenistic 2ndC, St. Petersburg (Google Cultural Institute). 40. Silenus, Roman 1stC, St. Petersburg (Hermitage Museum online collection). 41. Bust of Achilles, Roman 1stC, Amsterdam (Hermitage Museum online collection). 42. James Barry, The Temptation of Adam, 1776, London (Tate Gallery online collection). 43. James Barry, The Temptation of Adam, 1767-1770, Dublin (National Gallery of Ireland online collection). 44. Venus de’ Medici, Hellenistic 2ndC, Florence (Uffizi Gallery archives). 45. Venus Braschi, Hellenistic 2ndC, Munich (Wikimedia). 46. Edward Dayes, The Triumph of Beauty, 1800, London (Lowell Libson online collection). 4 47. Thomas Stothard, standing female figure viewed from the back, c. 1800, London (Royal Academy of Arts database). 48. Thomas Stothard, preliminary study for the Wellington Shield, c. 1815, London (Tate Gallery online collection). 49. Thomas Stothard, study for the Wellington Monument, c. 1815 New Haven (Yale Center for British Art online collection). 50. Lely Venus, Roman 2ndC, London (British Museum database). 51. Richard Westall, Flora Unveiled by the Zephyrs, 1807, private collection (Christie’s online records). 52. Joseph Noel Paton, The Reconciliation of Titania and Oberon, 1847, Edinburgh (National Galleries of Scotland online collection). 53. Richard Westall, A Nymph and Two Satyrs, 1796, Buarth Mawr (Aberystwyth University School of Art Museum online collection). 54. Richard Westall, The Boar that Killed Adonis Brought to Venus, 1799, London (British Museum database) 55. Richard Westall, Vertumnus and Pomona, 1809, private collection (Christie’s online records). 56. Richard Westall, Jupiter disguised as a Swan, pretending to seek the protection of Leda from the attack of an Eagle, c. 1799, private collection (Bonhams online records). 57. Richard Westall, The Bower of Pan, 1800, Manchester (Manchester Art Gallery online collection). 58. Richard Westall, Leda and the Swan, 1792, London (British Museum database). 59. Thomas Stothard, Amphitrite, 1819, Birmingham (BBC Your Paintings). 60. Townley Venus, Roman 2ndC, London (British Museum database). 61. The Triumph of Nepture and Amphitrite, Roman 4thC, Paris (Musée du Louvre online collection). 62. Thomas Stothard, The Birth of Venus, c. 1820, private collection (Sotheby’s online records). 5 63. Thomas Stothard, Girls Bathing, c. 1820, private collection (Lynda Cotton Gallery online records). 64. William Etty, Cleopatra’s Arrival in Cicilia, 1821, Liverpool (BBC Your Paintings). 65. John Young after Henry Howard, The Pleiades Disappearing, 1821, London (British Museum database). 66. Henry Howard,
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