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In 1760 an innovation transformed the character of artistic life in Great Britain: the first public exhibition of art. The successful London exhibition was repeated in 1761, but a dispute in the wake of the first show split exhibitors into rival groups, among them the Society of Artists of Great Britain. This book is the first to examine closely the Society from its origins to its demise in 1791. Matthew Hargraves looks at the politics and personalities behind the earliest public exhibitions of British art and uncovers the profound impact of the Society of Artists on the history of British art.The book analyzes the motivations behind public exhibitions and the competing interests that shaped their development. It offers new insights into the infighting in the Society of Artists that led to the foundation of the Royal Academy and the subsequent rivalry between the two institutions. Far from being eclipsed by the Royal Academy, the Society provided a serious alternative and acted as a haven for some of the leading artists of the time.
The return of Charles II to the English throne after eleven years of Interregnum heralded the beginning of a new era in which the court was characterized by the licentious behavior of the new king. Edited by the authors of the critically acclaimed "Painted Ladies: Women at the Court of Charles II" (2002), this book brings together ten distinguished scholars of history, literature, music, theatre, and art to explore the political and cultural implications of the court's transgressive new character. With particular reference to the perception and representation of women, it offers a varied examination of topics including popular prints and broadsheets; court masque; poetry and painted portraits; and the operation of women in the political sphere.
A remarkably versatile man, Jan van der Heyden (1637-1712) was the
preeminent painter of cityscapes in the Netherlands and the first
artist to capture all the beauty of the urban scene.
Notwithstanding his achievements as an artist, Van der Heyden was
even more famous in his own time as an inventor and engineer: he
invented firefighting equipment that set the standard throughout
Europe for two centuries, and he perfected the streetlamp. This is
the first book in English devoted to Van der Heyden. It includes
recent discoveries about his fascinating life and offers an
introduction to his ravishing art.
Imagined scenes of daily life by Antoine Watteau, Jean-Baptiste-Simeon Chardin, Jean-Honore Fragonard, Jean-Baptiste Greuze, Francois Boucher, Louis-Leopold Boilly, and other 18th-century French artists are the subject of this important new study. The wide range of these artists' works encompasses domestic subjects both grand and intimate, portraits and fashion plates, and depictions of stylish entertainments, seductions, and sentimental tales. The examples span the century, from the time of Louis XIV to the French Revolution. Fifteen distinguished scholars present their latest research into the contexts and meanings of French genre painting during this period. The authors offer a variety of critical and historical perspectives, covering such topics as the relationship of genre painting to contemporary life and to sexuality, sentiment, and sensibilite; its patrons and collectors; its popularization through reproduction in the print trade; its relation to the ideals of the dominant Royal Academy, history painting, and portraiture; its contemporary critical reception; and its resonances through subsequent centuries, continuing to our own time.
From fine art paintings by such artists as Stubbs and Landseer to zoological illustrations and popular prints, a vast array of animal images was created in Britain during the century from 1750 to 1850. This highly original book investigates the rich meanings of these visual representations as well as the ways in which animals were actually used and abused. What Diana Donald discovers in this fascinating study is a deep and unresolved ambivalence that lies at the heart of human attitudes toward animals. The author brings to light dichotomies in human thinking about animals throughout this key period: awestruck with the beauty and spirit of wild animals, people nevertheless desired to capture and tame them; the belief that other species are inferior was firmly held, yet at the same time animals in stories and fables were given human attributes; though laws against animal cruelty were introduced, the overworking of horses and the allure of sport hunting persisted. Animals are central in cultural history, Donald concludes, and compelling questions about them-then and now-remain unanswered.
This illuminating and original book opens up a neglected corner of eighteenth-century art - the funeral monument. In the last forty years, studies of the satires of early and mid-eighteenth-century England have multiplied, whereas its funerary monuments have been neglected by all but a small group of enthusiasts. This book redresses the balance and demonstrates that tombs and inscriptions are of manifest worth to the student of eighteenth-century English value systems, providing as they do an archaeology of ideal types. Across the genres of art, there is, perhaps, no better register of shifting notions of correct behaviour, in life and in death. Matthew Craske looks closely for the first time at tomb sculptures in their social context. He discusses a large number of monuments by many different sculptors, all with a knowledge of the person commemorated and the circumstances behind the commission, resulting in a work of great scholarly density and originality that probes the motives behind the imagery and the epitaph. He begins by analysing the relationship of tomb designs to the changing and diverse culture of death in the eighteenth century, and then explains conditions of production and the shifting dynamics of the market, concluding with a masterly analysis of the motivations of those who commissioned monuments, including women and ranging from aristocrats to merchants and professional people. This handsomely illustrated book presents a unique history of death, fame, example and attitudes to loss, as well as a remarkable art history.
This volume of essays reexamines the establishment and early history of the Accademia di San Luca in Rome, one of the most important centers of governance, education, and theory in the arts for the early modern period and the model for all subsequent academies of art worldwide. It is the most comprehensive history of the Accademia to be published in more than forty years, and the first in nearly two hundred years to be based almost entirely on new primary and documentary material. In reconstructing the early history of the institution, the volume also provides a new basis for tracking the careers of painters, sculptors, and architects working in Rome in the early 16th century, and for understanding the artistic and professional issues that engaged them.
During the Colonial era, artists began to create an American identity in the art world. The drawings of explorer John White; the maps of John Foster, American's first printmaker; the silverwork of the famous patriot Paul Revere; the creations of America's first professional woman artist, Henrietta Johnston; and the portraits of John Singleton Copley all helped create a distinct culture in the young colonies. This volume presents narrative chapters on the lives of ten pioneers in Colonial American art. Each biographical chapter traces the artistic development of these and other artists, describing their masterworks and placing them within the artistic traditions and cultural codes of the time. A plethora of illustrations, including an 8-page color insert, provides an invaluable look at Colonial American art. Chapter bibliographies, a glossary of terms, a timeline, and a subject index provide additional tools for students of art from the nation's earliest years.
Wallpaper's spread across trades, class and gender is charted in this first full-length study of the material's use in Britain during the long eighteenth century. It examines the types of wallpaper that were designed and produced and the interior spaces it occupied, from the country house to the homes of prosperous townsfolk and gentry, showing that wallpaper was hung by Earls and merchants as well as by aristocratic women. Drawing on a wide range of little known examples of interior schemes and surviving wallpapers, together with unpublished evidence from archives including letters and bills, it charts wallpaper's evolution across the century from cheap textile imitation to innovative new decorative material. Wallpaper's growth is considered not in terms of chronology, but rather alongside the categories used by eighteenth-century tradesmen and consumers, from plains to flocks, from China papers to papier mache and from stucco papers to materials for creating print rooms. It ends by assessing the ways in which eighteenth-century wallpaper was used to create historicist interiors in the twentieth century. Including a wide range of illustrations, many in colour, the book will be of interest to historians of material culture and design, scholars of art and architectural history as well as practicing designers and those interested in the historic interior.
Winterthur Museum is world renowned for its decorative arts collections and its exceptional educational programs. Adapted from the training materials developed at the museum, the revised and enhanced Early American Decorative Arts, 1620-1860: A Handbook for Interpreters is an indispensable guide for anyone involved with interpretation of decorative arts collections. Early American Decorative Arts, 1620-1860 elucidates the principles of public interpretation, explains how to analyze objects, and defines the concept of style. Eighteen chapters provide comprehensive descriptions of decorative arts including furniture, ceramics, textiles, paintings and prints, metalwork, glass, and other objects. Many museums and historic sites display such collections to thousands of visitors annually. Guides, interpreters, educators, and collection managers will find this book a helpful summary and a guide to further research. This enhanced edition includes now includes a CD featuring beautiful color images of the more than 170 black-and-white photographs in the book, bringing the Winterthur collections to life on your computer and in your classroom. Published in cooperation with Winterthur Museum, Garden & Library.
The Spooner Collection of watercolours is one of the finest of its kind, featuring all the leading artists of the period 1750 - 1850. Notable among them are watercolours of the Lake District by John White Abbott, and rural scenes by several artists - Gainsborough, Turner, Cozens, Rowlandson, Francis Towne, Samuel Palmer. Architecture dominates the setting, in works by Girtin, Cotman and Sandby. The essays accompanying the catalogue discuss outdoor painting and the role of memory in watercolour painting, the connoisseurship, and attitudes towards watercolours; and give a brief biography of William Wycliffe Spooner himself. This complete catalogue of the collection, bequeathed by Spooner to the Courtauld Institute, is published on the occasion of a touring exhibition of select works from the collection, showing at The Worsworth Trust, Grasmere; The Huntingdon Library, California; and the Courtauld Institute Gallery, London, 2005 - 2006.
At the start of the nineteenth century, J.C. Dahl (1788-1857) recognized the political potential of landscape painting. Firmly anchored in the discursive surroundings of the European cultural elite, from Dresden, he contributed to forming the national identity of Norway, his home country. Less well known is the fact that his work was also reflected in the protection of historical monuments and in journalism. As a painter, monument conservationist, and journalist, Dahl combined scholarly, topographical, aesthetic, historical, political, and mythological aspects with a Nordic and national discourse on identity. The first German-language monograph on Dahl addresses the multifaceted work of this artistic personality from the perspective of the history of art and culture.
Shakespeare, Vermeer, Lope de Vega, Moliere, and Diderot don't
usually keep company with one another. This new book-Richard
Helgerson's first since the highly acclaimed "Forms of
Nationhood"-shows that each contributed to a common project of
enormous significance: the artistic promotion of the middle-class
home. In a study that stretches over two centuries and four
countries, Helgerson unearths the shared preoccupations of European
domestic drama and painting. The result is an unexpected prehistory
of the nineteenth- and twentieth-century cult of domesticity.
This bibliography provides a source for reviews of the state-sponsored Parisian exhibitions of painting and sculpture (Salons) held during the July Monarchy and Second Republic (1831-1851). It includes an extensive list of references, each presented in a standard format, with titles, dates and ordering codes based upon the holdings of the Bibliotheque nationale in Paris. It is indexed both by authors and by periodicals. The essays and articles that are catalogued are of fundamental importance in establishing a picture of contemporary reactions to art in mid-nineteenth-century France and yet the standard work by Maurice Tourneux, Salons et expositions d'art a Paris, 1801-1870, has been out of print for several decades. By incorporating and correcting the relevant material from Tourneux and adding new references gathered from unpublished nineteenth-century manuscript bibliographies and a broad sample of the periodical press, this work offers a substantial increase in the volume and range of criticism available for analysis by cultural and literary historians.
"Geography of the Gaze" offers a new history and theory of how the
way we look at things influences what we see. Focusing on Western
Europe from the seventeenth to nineteenth centuries, Renzo Dubbini
shows how developments in science, art, mapping, and visual
epistemology affected the ways natural and artificial landscapes
were perceived and portrayed.
The French Revolution had a marked impact on the ways in which citizens saw the newly liberated spaces in which they now lived. Painting, gardening, cinematic displays of landscape, travel guides, public festivals, and tales of space flight and devilabduction each shaped citizens' understanding of space. Through an exploration of landscape painting over some 40 years, Steven Adams examines the work of artists, critics and contemporary observers who have largely escaped art historical attention to show the importance of landscape as a means of crystallising national identity in a period of unprecedented political and social change.
In a major analysis of pictorial forms from the late Middle Ages to the Enlightenment, Christopher Braider argues that the painted image provides a metaphor and model for all other modes of expression in Western culture--particularly literature, philosophy, religion, and science. Because critics have conventionally explained visual images in terms of verbal texts (Scripture, heroic poetry, and myth), they have undervalued the impact of the pictorial naturalism practiced by painters from the fifteenth century onward and the fundamentally new conception of reality it conveys. By reinterpreting modern Western experience in light of northern "descriptive art," the author enriches our understanding of how both painted and written cultural texts shape our perceptions of the world at large. Throughout Braider draws on works by such painters as van der Weyden, Bruegel the Elder, Steen, Vermeer, Rembrandt, and Poussin, and addresses such topics as the Incarnation of the Word in Christ, the elegiac foundations of Enlightenment aesthetics, and the rivalry between northern and southern art. His goal is not only to reexamine important aesthetic issues but also to offer a new perspective on the general intellectual and cultural history of the modern West. Originally published in 1993. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
In this richly illustrated study of the relationship of art, drama, and fiction in the nineteenth century, Martin Meisel illuminates the collaboration between storytelling and picturemaking that informed narrative painting, pictorial dramaturgy, and serial illustrated fiction. Originally published in 1984. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
The relationship between music and painting in the Early Modern period is the focus of this collection of essays by an international group of distinguished art historians and musicologists. Each writer takes a multidisciplinary approach as he or she explores the interface between music performance and painting, or between music and art theory. The essays reflect a variety and range of approaches and offer methodologies which might usefully be employed in future research in this field. The volume is dedicated to the memory of Franca Trinchieri Camiz, an art historian who worked extensively on topics related to art and music, and who participated in some of the conference panels from which many of these essays originate. Three of Professor Camiz's own essays are included in the final section of this volume, together with a bibliography of her writings in this field. They are preceded by two thematic groups of essays covering aspects of musical imagery in portraits, issues in iconography and theory, and the relationship between music and art in religious imagery.
The eighteenth century is recognized as a complex period of dramatic epistemic shifts that would have profound effects on the modern world. Paradoxically, the art of the era continues to be a relatively neglected field within art history. While women's private lives, their involvement with cultural production, the project of Enlightenment, and the public sphere have been the subjects of ground-breaking historical and literary studies in recent decades, women's engagement with the arts remains one of the richest and most under-explored areas for scholarly investigation. This collection of new essays by specialist authors addresses women's activities as patrons and as "patronized" artists over the course of the century. It provides a much needed examination, with admirable breadth and variety, of women's artistic production and patronage during the eighteenth century. By opening up the specific problems and conflicts inherent in women's artistic involvements from the perspective of what was at stake for the eighteenth-century women themselves, it also acts as a corrective to the generalizing and stereotyping about the prominence of those women, which is too often present in current day literature. Some essays are concerned with how women's involvement in the arts allowed them to fashion identities for themselves (whether national, political, religious, intellectual, artistic, or gender-based) and how such self-fashioning in turn enabled them to negotiate or intervene in the public domains of culture and politics where "The Woman Question" was so hotly debated. Other essays examine how men's patronage of women also served as a vehicle for self-fashioning for both artist and sponsor. Artists and patrons discussed include: Carriera; Queen Lovisa Ulrike and Chardin; the Bourbon Princesses Mlle Clermont, Mme AdelaA-de and Nattier; the Duchess of Osuna and Goya; Marie-Antoinette and Vigee-Lebrun; Labille-Guiard; Queen Carolina of Naples, Prince Stanislaus Poniatowski of Poland and Kauffman; David and his students, Mesdames Benoist, Lavoisier and Mongez.
By examining their production practices in a variety of genres"including manuscript illustration, glass painting and staining, tapestry manufacture, portrait painting, and engraving"this book explores how Netherlandish artists migrating to England in the early modern period overcame difficulties raised by their outsider status. This study examines, for the first time in this context, the challenges of alien status to artistic production and the effectiveness of cooperation as a countermeasure. The author demonstrates that collaboration was chief among the strategies that these foreigners chose to secure a position in London's changing art market. Curd's exploration of these collaborations primarily follows Pierre Bourdieu's model of "establishment and challenger" in which dominance in a field of cultural production depends upon how much cultural, political, and economic capital can be accumulated and the effectiveness of the strategies used to confront competition. The analysis presented here challenges received opinion that a collaborative work is only a joint effort of artists working together on a single monument by demonstrating that the participation of patrons and middlemen can also shape the final appearance of a work of art. Furthermore, this book shows that the strategic use of collaboration served the goal of competition by helping to establish foreign artists in the London art market and suggests that their coping strategies have implications for the study of immigrant behaviors today.
This book explores the rich but understudied relationship between English country houses and the portraits they contain. It features essays by well-known scholars such as Alison Yarrington, Gill Perry, Kate Retford, Harriet Guest, Emma Barker and Desmond Shawe-Taylor. Works discussed include grand portraits, intimate pastels and imposing sculptures. Moving between residences as diverse as Stowe, Althorp Park, the Vache, Chatsworth, Knole and Windsor Castle, it unpicks the significance of various spaces - the closet, the gallery, the library - and the ways in which portraiture interacted with those environments. It explores questions around gender, investigating narratives of family and kinship in portraits of women as wives and daughters, but also as mistresses and celebrities. It also interrogates representations of military heroes in order to explore the wider, complex ties between these families, their houses, and imperial conflict. This book will be essential reading for all those interested in eighteenth-century studies, especially for those studying portraiture and country houses. -- .
By the end of the eighteenth century, the arts had been surveyed by an unprecedented series of major works on literature, music, and painting of which the author or this book provides a rich and comprehensive analysis. Originally published in 1970. The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Chinoiserie-the use of motifs, materials, and techniques considered "Chinese" in ceramics, furniture, interior design, and landscape architecture-has often been associated with courtly decadence and shallow escapism. In Siting China in Germany, Christiane Hertel challenges conventional assumptions about this art form by developing a fresh, complex perspective on collections, gardens, and literature in the long eighteenth century. From the extraordinary porcelain palaces at Dresden and Rastatt and the gardens of Wilhelmsthal and Wilhelmshoehe in Kassel to the literary and artistic translation practices in Dresden and Thomas Mann's historical novel Lotte in Weimar, Hertel interprets the extensive history of chinoiserie within but also beyond court culture. In particular, her study focuses on how manifestations of chinoiserie in Germany oscillated between the imagination, judgment, and critique of cultural and historical difference as well as identity. Hertel's erudite analysis of the cultural significance of German chinoiserie will interest art historians and scholars of Orientalism, German Sinophilia, and German Sinophobia.
Among the many treasures of The State Hermitage Museum in St. Petersburg is its remarkable collection of seventeenth- and eighteenth-century Flemish paintings--more than five hundred in all--including key works by Rubens, Van Dyck, Jordaens, Snyders, and Teniers. Forming the core of the Hermitage's Flemish collection, these works were acquired from all over Europe by the Empress Catherine II, and the collection has continued to develop. This magnificent volume is the first to provide detailed information in English with illustrations for every work.
More than 140 artists are represented in the collection and in this complete catalogue, which provides a comprehensive picture of the golden age of Flemish painting. Individual illustrated entries for every work are accompanied by detailed indexes and provenance information that provides a unique view of the history of collecting in Russia.
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