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Shearer West Phd Thesis Vol 1
THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON (VOL. I) Shearer West A Thesis Submitted for the Degree of PhD at the University of St. Andrews 1986 Full metadata for this item is available in Research@StAndrews:FullText at: http://research-repository.st-andrews.ac.uk/ Please use this identifier to cite or link to this item: http://hdl.handle.net/10023/2982 This item is protected by original copyright THE THEATRICAL PORTRAIT IN EIGHTEENTH CENTURY LONDON Ph.D. Thesis St. Andrews University Shearer West VOLUME 1 TEXT In submitting this thesis to the University of St. Andrews I understand that I am giving permission for it to be made available for use in accordance with the regulations of the University Library for the time being in force, subject to any copyright vested in the work not being affected thereby. I also understand that the title and abstract will be published, and that a copy of the I work may be made and supplied to any bona fide library or research worker. ABSTRACT A theatrical portrait is an image of an actor or actors in character. This genre was widespread in eighteenth century London and was practised by a large number of painters and engravers of all levels of ability. The sources of the genre lay in a number of diverse styles of art, including the court portraits of Lely and Kneller and the fetes galantes of Watteau and Mercier. Three types of media for theatrical portraits were particularly prevalent in London, between ca745 and 1800 : painting, print and book illustration. -
Joseph Grimaldi
Joseph Grimaldi The most famous and popular of all the clowns in harlequinade and pantomime was Joseph Grimaldi. Despite his Italian name and family origins, he was born in London in 1779, dying in 1837. His style of clowning had its origins in the Italian commedia dell'arte of the sixteenth century, but in the popular Harlequinades of the early nineteenth century he emerged as the founding father of modern day clowns. To this day he is commemorated annually by clowns in their own church, Holy Trinity in Dalston, East London. Joseph Grimaldi was the original 'Clown Joey', the term 'Joey' being used to describe clowns since his day. Of his own name he punned 'I am grim all day - but I make you laugh at night!' Grimaldi became the most popular clown in pantomime, and was responsible for establishing the clown as the main character in the Harlequinade, in place of Harlequin. His career began at the age of three at the Sadler's Wells Theatre. He was later to become the mainstay of the Drury Lane Theatre before settling in at Covent Garden in 1806. His three year contract paid him one pound a week, rising to two pounds the following year, and finally three pounds a week. His debut at Covent Garden was in 'Harlequin and Mother Goose; or the Golden Egg' in 1806. Grimaldi himself had little faith in the piece, and undoubtedly it was hastily put together on a sparsely decorated stage. However, the production ran for 92 nights, and took over £20,000. The lack of great theatrical scenes allowed Grimaldi to project himself to the fore 'he shone with unimpeded brilliance' once critic wrote. -
The Court Theatres of the Farnese from 1618 to 1690
This dissertation has been microfilmed exactly as received 68—2969 COBES, John Paul, 1932- THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690. [Figures I-V also IX and X not microfilmed at request of author. Available for consultation at The Ohio State University Library], The Ohio State University, Ph.D., 1967 Speech-Theater University Microfilms, Inc., Ann Arbor, Michigan (S) Copyright by- John Paul Cobes 1968 THE COURT THEATRES OF THE FARNESE FROM 1618 TO 1690 DISSERTATION Presented In Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio S tate U niversity By John Paul Cobes, B.S., M.A. ******** The Ohio State University 1967 Approved by Z. Adviser Department of Speech PLEASE NOTE: Figures I-V also IX and X not microfilmed at request of auth or. Available for consultation at The Ohio State University Library. UNIVERSITY MICROFILMS. The author wishes to acknowledge, with dee nest gratitude, the assistance, suggestions, and guidance of the following persons, all of whom were instrumental in the camnletion of this study; Dr. Row H. Bowen, adviser to this study, and all the nersonnel of the Theatre Division of the Deonrtment of Speech at the Ohio State University. Dr. John ft. McDowell and Dr. John q . Morrow, advisers to this study, a".d nil +V> -•ersonnel of the Theatre Collection of the Ohio State Universit.w, D r. A l^ent M ancini of th e I t a l i a n D iv isio n o f th e Romance La.-wn.aTes Department of the Ohio State University’. -
Frecent RESEARCHES in the MUSIC of the BAROQUE ERA
fRECENT RESEARCHES IN THE MUSIC OF THE BAROQUE ERA. A-R EDITIONS UPDATED 2012 M/2/R238 V.1 CHARPENTIER, MARC-ANTOINE. JUDICIUM SALOMONIS. EDITED BY H. WILEY HITCHCOCK. V.2 TELEMANN, GEORG PHILIPP. FORTY-EIGHT CHORALE PRELUDES. EDITED BY ALAN THALER. V.3 KERLL, JOHANN CASPAR. MISSA SUPERBA. EDITED BY ALBERT C. GIEBLER. V.4 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, AND 15. PART I: OPUS 5 , SONATAS I-V. EDITED BY ROBERT PRESTON. V.5 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, AND 15. PART II: OPUS 5, VI-XII. EDITED BY ROBERT PRESTON. V.6 TEN EIGHTEENTH-CENTURY VOLUNTARIES. EDITED BY GWILYM BEECHEY. V.7 BOYCE, WILLIAMS. TWO ANTHEMS FOR THE GREGORIAN COURT. PART I: THE SOULS OF THE RIGHTEOUS. EDITED BY JOHN R. VAN NICE. V.8 BOYCE, WILLIAM. TWO ANTHEMS FOR THE GREGORIAN COURT. PART II: THE KING SHALL REJOICE. EDITED BY JOHN R. VAN NICE. V.9 CACCINI, GIULIO. LE NUOVE MUSICHE. EDITED BY H. WILEY HITCHCOCK. V.10 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, and 15. PART III: OPUS 9, SONATAS I-VI. EDITED BY ROBERT PRESTON. V.11 LECLAIR, JEAN-MARIE. SONATAS FOR VIOLIN AND BASSO CONTINUO OPUS 5, 9, AND 15. PART IV: OPUS 9, SONATAS VII-XII. OPUS 15, POSTHUMOUS SONATA. EDITED BY ROBERT E. PRESTON. V.12 EBERLIN, JOHANN ERNST. TE DEUM DIXIT DOMINUS MAGNIFICAT. EDIT BY REINHARD G. PAULY. V.13 AICHINGER, GREGOR. CANTIONES ECCLESIASTICAE. EDITED BY WILLIAM E. HETTRICK. V.14 LEGRENZI, GIOVANNI. -
Volume 2, Issue 3, Autumn 2018
The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Front Cover Image: Textile Detail of an Evening Dress, circa 1950s, Maker Unknown, Middlesex University Fashion Collection, London, England, F2021AB. The Middlesex University Fashion Collection comprises approximately 450 garments for women and men, textiles, accessories including hats, shoes, gloves, and more, plus hundreds of haberdashery items including buttons and trimmings, from the nineteenth century to the present day. Browse the Middlesex University Fashion Collection at https://tinyurl.com/middlesex-fashion. The Journal of Dress History Volume 2, Issue 3, Autumn 2018 Editor–in–Chief Jennifer Daley Editor Scott Hughes Myerly Proofreader Georgina Chappell Published by The Association of Dress Historians [email protected] www.dresshistorians.org The Journal of Dress History Volume 2, Issue 3, Autumn 2018 [email protected] www.dresshistorians.org Copyright © 2018 The Association of Dress Historians ISSN 2515–0995 Online Computer Library Centre (OCLC) accession #988749854 The Journal of Dress History is the academic publication of The Association of Dress Historians through which scholars can articulate original research in a constructive, interdisciplinary, and peer reviewed environment. The Association of Dress Historians supports and promotes the advancement of public knowledge and education in the history of dress and textiles. The Association of Dress Historians (ADH) is Registered Charity #1014876 of The Charity Commission for England and Wales. The Journal of Dress History is copyrighted by the publisher, The Association of Dress Historians, while each published author within the journal holds the copyright to their individual article. The Journal of Dress History is circulated solely for educational purposes, completely free of charge, and not for sale or profit. -
The Italian Comedians Probably 1720 Oil on Canvas Overall: 63.8 × 76.2 Cm (25 1/8 × 30 In.) Framed: 94.62 × 107 × 13.65 Cm (37 1/4 × 42 1/8 × 5 3/8 In.) Samuel H
National Gallery of Art NATIONAL GALLERY OF ART ONLINE EDITIONS French Paintings of the Fifteenth through Eighteenth Centuries Antoine Watteau French, 1684 - 1721 The Italian Comedians probably 1720 oil on canvas overall: 63.8 × 76.2 cm (25 1/8 × 30 in.) framed: 94.62 × 107 × 13.65 cm (37 1/4 × 42 1/8 × 5 3/8 in.) Samuel H. Kress Collection 1946.7.9 ENTRY Numerous paintings with figures in theatrical costume attest to Jean Antoine Watteau’s interest in the theater. In The Italian Comedians, however—as in others of his works in this genre—the identity of some of the characters remains uncertain or equivocal because he sometimes reused the same model for different figures and modified standard costumes according to his whim. Pierre Rosenberg has drawn attention to the announcement in the Mercure de France of the 1733 print after The Italian Comedians [fig. 1] by Bernard Baron (1696–1762): “These are almost all portraits of men skilled in their art, whom Watteau painted in the different clothing of the actors of the Italian Theatre.” [1] It would seem, then, that the painting does not record an actual performance; and we lack evidence as to who these individuals might actually be. It was Baron’s print (included in the Recueil Jullienne, the compendium of prints after Watteau’s work) that gave The Italian Comedians its title. The scene appears to represent a curtain call of the Comédie Italienne, the French version of the commedia dell’arte, which presented stock characters in predictably humorous plots. A red curtain has been drawn aside from a stage where fifteen figures stand together. -
German Arias Concert Program
Graduate Vocal Arts Program Bard College Conservatory of Music OPERA WORKSHOP Stephanie Blythe and Howard Watkins, instructors “Thank you, do you have anything in German?” Friday, March 5 at 8pm Wo bin ich? Engelbert Humperdinck (1854 - 1921) from Hänsel und Gretel Diana Schwam, soprano Ryan McCullough, piano Nimmermehr wird mein Herze sich grämen Friedrich von Flotow (1812 - 1883) from Martha Joanne Evans, mezzo-soprano Elias Dagher, piano Glück, das mir verblieb Erich Wolfgang Korngold (1897 - 1957) from Die tote Stadt Jardena Gertler-Jaffe, soprano Diana Borshcheva, piano Einst träumte meiner sel’gen Base Carl Maria von Weber (1786 - 1826) from Der Freischütz Kirby Burgess, soprano Gwyyon Sin, piano Witch’s Aria Humperdinck from Hänsel und Gretel Maximillian Jansen, tenor Diana Borshcheva, piano Da Anagilda sich geehret… Ich bete sie an Reinhard Kaiser (1674 - 1739) from Die Macht der Tugend Chuanyuan Liu, countertenor Ryan McCullough, piano Arabien, mein Heimatland Weber from Oberon Micah Gleason, mezzo-soprano Gwyyon Sin, piano Da schlägt die Abschiedsstunde Wolfgang Amadeus Mozart (1756 - 1791) from Der Schauspieldirektor Meg Jones, soprano Sung-Soo Cho, piano Mein Sehnen, mein Wähnen Korngold from Die tote Stadt Louis Tiemann, baritone Diana Borshcheva, piano Wie du warst Richard Strauss (1864 - 1949) from Der Rosenkavalier Melanie Dubil, mezzo-soprano Elias Dagher, piano Presentation of the Rose Strauss from Der Rosenkavalier Samantha Martin, soprano Elias Dagher, piano Arie des Trommlers Viktor Ullman (1898 - 1944) from Der Kaiser von Atlantis Sarah Rauch, mezzo-soprano Gwyyon Sin, piano Weiche, Wotan, weiche! Richard Wagner (1813 - 1883) from Das Rheingold Pauline Tan, mezzo-soprano Sung-Soo Cho, piano Nun eilt herbei! Otto Nicolai (1810 - 1849) from Die lustigen Weiber von Windsor Alexis Seminario, soprano Elias Dagher, piano SYNOPSES: Wo bin ich? Hänsel und Gretel Engelbert Humperdinck, Adelheid Wette, 1893 Gretel has just awakened from a deep sleep in the forest. -
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist
HOWARD COLLEGE MUSIC FALL 2018 RECITAL Monday November 5, 2018 Hall Center for the Arts Linda Lindell, Accompanist Makinsey Grant . Bb Clarinet Fantasy Piece No. 1 by Robert Schumann Fantasy Piece No. 1 by Robert Schumann (1810 – 1856) was written in 1849. It is the first movement of three pieces written to promote the creative notion of the performer. It allows the performer to be unrestricted with their imagination. Fantasy Piece No. 1 is written to be “Zart und mit Ausdruck” which translates to tenderly and expressively. It begins in the key of A minor to give the audience the sense of melancholy then ends in the key of A major to give resolution and leave the audience looking forward to the next movements. (M. Grant) Tony Lozano . Guitar Tu Lo Sai by Giuseppe Torelli (1650 – 1703) Tu lo sai (You Know It) This musical piece is emotionally fueled. Told from the perspective of someone who has confessed their love for someone only to find that they no longer feel the same way. The piece also ends on a sad note, when they find that they don’t feel the same way. “How much I do love you. Ah, cruel heart how well you know.” (T. Lozano) Ruth Sorenson . Mezzo Soprano Sure on this Shining Night by Samuel Barber Samuel Barber (1910 – 1981) was an American composer known for his choral, orchestral, and opera works. He was also well known for his adaptation of poetry into choral and vocal music. Considered to be one of the composers most famous pieces, “Sure on this shining night,” became one of the most frequently programmed songs in both the United States and Europe. -
The Possibility of Opera
7 The Possibility of Opera In the performances of the Prologue of Orfeo, as staged by Luca Ronconi (see chapter 3), and of Combattimento, as staged by Pierre Audi (chapter 6), a char- acter at first represents the narrator — La Musica in the former case, Testo in the latter one. Both characters assert their presences through musical, verbal, and scenic effects. At a later phase — respectively, in the third and seventh strophes of their settings — La Musica and Testo also emerge as focalizing agents, their func- tion as narrators gradually receding into the background in order to “give life” to focalized characters — respectively, Orpheus and Tancredi/Clorinda. Clorinda becomes so autonomous a character as to herself become a focalizer at the end. Under this perspective, both performances can be said to stage the birth of musi- cal theater, and in the second case, we might add, out of the spirit of the madrigal. The madrigal is traditionally dominated by the narrator’s voice, diffused into the polyphonic concentus. But in the hands of Monteverdi, particularly in his Books V to VIII, the madrigal becomes the privileged site for the performance of a plurality of points of view. Characters come to life intermittently even despite their absence from the verbal text as such, thanks, for example, to the focalizing role played by instruments in concertato madrigals. Still, the narrator remains the ever-present voice (in narrative terms) that is audible and visible mostly in the continuo line, but also intermittently in individual voices (in physical terms) such as the bass — this was a traditional conduit of the “speaker” since Arcadelt. -
Charles Le Brun 1679-84 Charles Le Brun - Franche Comté Conquered for a 2Nd Time - Hall of Mirrors, Versailles
The Grand Style and the Royal Academy Louis XIV in 1685 Louis XIV on the ceiling of the Hall of Mirrors, Equestrian portrait by Houasse Versailles by Charles Le Brun 1679-84 Charles Le Brun - Franche comté Conquered for a 2nd time - Hall of Mirrors, Versailles Louis XIV on the ceiling of the Hall of Mirrors, Hall of Mirrors, Château de Versailles Versailles by Charles Le Brun 1679-84 The Royal Academy of Artistic models: Art the Ancients (Greek and Roman art) Director Raphael Rector (Italian 16th century art) Assistants to Rector Poussin th Professor (French 17 century) Assistant professors Counter models: Officers with Secretary Academicians Venetian art – too much color Aspiring academicians Dutch art – too much realism (agrées) Nicolas Largillière (1656-1746) Portrait of Charles Le Brun (1619-1690) 1683-86 First painter to the King and first director of Royal Academy of art Charles Le Brun - Alexander the Great entering Babylon 1665 Tripartite composition, relief arrangement, geometric shapes, classical architecture and costume Dominance of line and form, hierarchy of color, three primaries Charles Le Brun Alexander the Great entering Babylon 1665 “Relief” composition Roman relief from 3rd century sarcophagus Hyacinth Rigaud (1659-1743) Portrait of Louis XIV in armor 1694 tradition of the Baroque portrait Hyacinth Rigaud Portrait of Louis XIV 1701 Largillière - Portrait of Charles Le Brun Pierre Mignard (1612-1692) - Self Portrait 1690 1683-86 Mignard – The Delivery of Andromeda 1679 (hero is Perseus) academic mythological painting -
Inventario (1
INVENTARIO (1 - 200) 1 Scatola contenente tre fascicoli. V. segn. 1 ELETTRICE PALATINA ANNA MARIA LUISA DE’ MEDICI 1 Lettere di auguri natalizi all’elettrice palatina Anna Maria Luisa de’ Medici di: Filippo Acciaiuoli, cc.2-4; Faustina Acciaiuoli Bolognetti, cc.5-7; Isabella Acquaviva Strozzi, cc.8-10; cardinale Alessandro Albani, cc.11-13; Fi- lippo Aldrovandi Marescotti, cc.14-16; Maria Vittoria Altoviti Cor- sini, cc.17-19; Achille Angelelli, cc.20-23; Roberto Angelelli, cc.24- 26; Dorothea Angelelli Metternich, cc.27-29; Lucrezia Ansaldi Le- gnani, cc.30-32; Giovanni dell’Aquila, cc.33-35; duchessa Douariere d’Arenberg, con responsiva, cc.36-40; governatore di Grosseto Cosimo Bagnesi, cc.41-43; Andrea Barbazzi, cc.44-46; segretario della Sacra Consulta Girolamo de’ Bardi, cc.47-49; cardinale [Lodovico] Belluga, cc.50-52; Lucrezia Bentivoglio Dardinelli, cc.53-55; Maria Bergonzi Ra- nuzzi, cc.56-58; cardinale Vincenzo Bichi, cc.59-61; «re delle Due Si- Nell’inventario, il numero del pezzo è posto al centro in neretto. Alla riga successiva, in cor- cilie» Carlo VII, con responsiva, cc.62-66; vescovo di Borgo Sansepol- sivo, sono riportate la descrizione estrinseca del volume, registro o busta con il numero com- cro [Raimondo Pecchioli], cc.67-69; Camilla Borgogelli Feretti, cc.70- plessivo dei fascicoli interni e le vecchie segnature. Quando il nesso contenutistico fra i do- 72; Cosimo Bourbon del Monte, cc.73-75; baronessa de Bourscheidt, cumenti lo rendeva possibile si è dato un titolo generale - in maiuscoletto - a tutto il pezzo, con responsiva, cc.76-79; vescovo di Cagli [Gerolamo Maria Allegri], o si è trascritto, tra virgolette in maiuscoletto, il titolo originale. -
New Editions 2012
January – February 2013 Volume 2, Number 5 New Editions 2012: Reviews and Listings of Important Prints and Editions from Around the World • New Section: <100 Faye Hirsch on Nicole Eisenman • Wade Guyton OS at the Whitney • Zarina: Paper Like Skin • Superstorm Sandy • News History. Analysis. Criticism. Reviews. News. Art in Print. In print and online. www.artinprint.org Subscribe to Art in Print. January – February 2013 In This Issue Volume 2, Number 5 Editor-in-Chief Susan Tallman 2 Susan Tallman On Visibility Associate Publisher New Editions 2012 Index 3 Julie Bernatz Managing Editor Faye Hirsch 4 Annkathrin Murray Nicole Eisenman’s Year of Printing Prodigiously Associate Editor Amelia Ishmael New Editions 2012 Reviews A–Z 10 Design Director <100 42 Skip Langer Design Associate Exhibition Reviews Raymond Hayen Charles Schultz 44 Wade Guyton OS M. Brian Tichenor & Raun Thorp 46 Zarina: Paper Like Skin New Editions Listings 48 News of the Print World 58 Superstorm Sandy 62 Contributors 68 Membership Subscription Form 70 Cover Image: Rirkrit Tiravanija, I Am Busy (2012), 100% cotton towel. Published by WOW (Works on Whatever), New York, NY. Photo: James Ewing, courtesy Art Production Fund. This page: Barbara Takenaga, detail of Day for Night, State I (2012), aquatint, sugar lift, spit bite and white ground with hand coloring by the artist. Printed and published by Wingate Studio, Hinsdale, NH. Art in Print 3500 N. Lake Shore Drive Suite 10A Chicago, IL 60657-1927 www.artinprint.org [email protected] No part of this periodical may be published without the written consent of the publisher.