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1
van der Merwe, Pieter. "Theatres and Spectacles in Italy: An English Gentleman on Tour, 1838–9." Theatre Research International 10, no. 1 (1985): 46–58. http://dx.doi.org/10.1017/s0307883300010488.
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Following an exhibition in 1979 on the British theatrical scene-painter and marine artist Clarkson Stanfield R.A. (1793–1867) a previously unseen document came to light in the hands of one of his descendants.
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Griffiths, Alan. "‘What leaf-fringed legend …?’ A cup by the Sotades painter in London." Journal of Hellenic Studies 106 (November 1986): 58–70. http://dx.doi.org/10.2307/629642.
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The British Museum possesses, and displays as a group, three elegant white-ground kylikes potted around the middle of the fifth century by Sotades, and painted by that skilled, inventive and intelligent miniaturist dubbed by Beazley ‘The Sotades Painter’. First impressions suggest, and further investigation confirms, that the three make up a coherent set, designed and executed according to a pre-conceived plan. This paper will have something to say about the nature of that plan, but most of it will necessarily be occupied with a prior, and fundamental, problem: for the dramatic and very individual scene illustrated on one of the cups has so far resisted all attempts at interpretation, and I have a new proposal to make. The acid test of that identification will be whether it turns out to form an appropriately complementary element to the other two scenes, and whether all three taken together make sense as a mid-fifth century cultural ensemble.
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Davenport, Nancy. "William Holman Hunt: Layered Belief in the Art of a Pre-Raphaelite Realist." Religion and the Arts 16, no. 1-2 (2012): 29–77. http://dx.doi.org/10.1163/156852912x615874.
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Abstract The essay is concerned with the evolving religious beliefs of the British Pre-Raphaelite painter, William Holman Hunt (1827–1910). Hunt’s faith was forged by his early connection and friendships with members and patrons of the High Anglican Oxford Movement and transformed by his repeated trips to the fraught religious environment of nineteenth-century Syria, the name generally used at the time to denote modern Israel. His contacts with urban and agrarian Jews, Christians, and Muslims, with officials in the Anglican, Byzantine, and Lutheran Churches, and with British colonial officials turned both him and his art in more universalistic directions from his former parochial British colonial/elitist global understanding.
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Falliers, Constantine J. "Asthma in the Life of a Modern British Painter, Francis Bacon (1909-1992)." Journal of Asthma 33, no. 5 (1996): 349–50. http://dx.doi.org/10.3109/02770909609055376.
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Brogi, Susanna, and Elisabeth Gallas. "Das ‚Etwas nach dem Nichts‘: Marie-Louise von Motesiczkys Gemälde Gespräch in der Bibliothek." Internationales Archiv für Sozialgeschichte der deutschen Literatur 46, no. 1 (2021): 283–99. http://dx.doi.org/10.1515/iasl-2021-0017.
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Abstract Marie-Louise von Motesiczky’s painting Gespräch in der Bibliothek (Conversation in the Library) relates back to a specific historical constellation insofar as it highlights the interwoven stories of Elias Canetti, Franz Baermann Steiner, and the painter herself, but also of H. G. Adler during the early years of their British exile. Although the painting does not include and likely does not even explicitly refer to H. G. Adler, he saved Steiner’s library from destruction, which made him an integral part of the intellectual exchange that is depicted here, since the library plays a central role in the portrait. Numerous notes and letters in Steiner’s and Adler’s estates testify to the close net of all four protagonists. The article discusses the crucial role of book collections as a mainstay of the three authors’ self-conception and intellectual self-positioning in the wake of the Holocaust, and the continuing impact of this intellectual network visible throughout the dispersed papers of the authors and the painter.
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Morecroft, Eleanor. "The Battlefield as Enlightened Space: War, the Senses, and the Emotional Soldier, ca. 1790–1840." Eighteenth-Century Life 45, no. 3 (2021): 69–87. http://dx.doi.org/10.1215/00982601-9273006.
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The Revolutionary and Napoleonic Wars produced a new generation of military authors and artists who recounted their wartime experiences with unprecedented vividness and immediacy. Exploring the intense conflict and suffering of men at war while also underscoring their virtue and heroism, this work typifies what has come to be known as “military Enlightenment.” This essay examines a selection of military texts and images that represent soldiers’ sensory and emotional experience of the wartime spaces of battlefield and bivouac: the anonymous Journal Kept in the British Army (1796), L. T. Jones's Historical Journal of the British Campaign on the Continent (1797), the work of the army officer and historian William Napier (1785–1860), and the Waterloo images of the army officer and painter George “Waterloo” Jones (1786–1869) presented the wider British public with a complex understanding of war. Even as they represented battlefield violence and death with visceral intensity, they understood battlefield space itself to be grounded in affective practices associated with enlightened modes of virtue, sensibility, and civility. There the chaos and horror of conflict gave way to duty, order, civility, and community, and the distinctions of rank were maintained, even as the common humanity of officers and their men was affirmed.
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Duparc, F. J. "Philips Wouwerman, 1619 - 1668." Oud Holland - Quarterly for Dutch Art History 107, no. 3 (1993): 257–86. http://dx.doi.org/10.1163/187501793x00018.
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AbstractPhilips Wouwerman(s) was undoubtedly the most accomplished and successful Dutch painter of equestrian scenes in the 17th century. Even so, neither a critical study of his work nor a documented biography has been published. The present essay not only presents the results of archive research but also outlines his artistic development. Besides the seven dated pictures by the artist known by Hofstede de Groot, several others have been discovered. Wouwerman was born in Haarlem, the eldest son of the painter Pouwels Joosten and his fourth wife, Susanna van den Bogert. Two other sons, Pieter and Johannes Wouwerman, were also to become painters. Wouwerman's grandfather originally came from Brussels. Philips probably received his first painting lessons from his father, none of whose work has been identified however, making it impossible to determine the extent of his influence on the son's work. According to Cornelis de Bie, Wouwerman was next apprenticed to Frans Hals. He is subsequently reputed to have spent several weeks in 1638 or 1639 working in Hamburg in the studio of the German history painter Evert Decker. In Hamburg he married Annetje Pietersz van Broeckhof. On 4 September 1640 Wouwerman became a member of the Haarlem painters' guild, in which he held the office of vinder in 1646. In the following years his presence in Haarlem is mentioned repeatedly. In view of the many southern elements in his landscapes it has frequently been suggested that Wouwerman travelled to France or Italy. However, there is no documentary evidence of his having left Haarlem for any length of time. Wouwerman died on 19 May 1668 and was buried on 23 May 1668 in the Nieuwe Kerk in Haarlem. He evidently attained a certain degree of prosperity, going by the relatively large sums of money each of his seven children inherited on his widow's death in 1670 and by the various houses he owned. No confirmation can be found of Arnold Houbraken's often quoted remark that Wouwerman's daughter Ludovica brought a dowry of 20,000 guilders with her in 1672 when she married the painter Hendrik de Fromantiou (1633/34 - after 1694). Wouwerman's oeuvre consists mainly of small cabinet pieces with horses, such as battle and hunting scenes, army camps, smithies and interiors of stables. He also painted sensitively executed silvery-grey landscapes, genre pieces and a few original representations of religious and mythological scenes. Wouwerman was also exceptionally prolific. Although he only lived to the age of 48, more than a thousand paintings bear his name. Even when one bears in mind that a number of these paintings should actually be attributed to his brothers Pieter and Jan, Philips left an extraordinarily large oeuvre. Only a small number of drawings by his hand are known. His pupils include Nicolaes Ficke, Jacob Warnars, Emanuel Murant and his brothers Pieter (1623-1682) and Jan Wouwerman (1629-1666). He had many followers and his paintings were much sought after in the i8th and early 19th centuries, especially in France. Important collections created during that period, including those which form the nuclei of the museums in St Petersburg, Dresden and The Hague, all contain a large number of his works. Establishing a chronology with respect to Philips Wouwerman's work is extremely problematic. His extensive oeuvre notwithstanding, only a comparatively small number of paintings are dated. The style of the signature enables us to date pictures only within wide margins: the monogram composed of P, H, and W was only used before 1646; thenceforth he used a monogram composed of PHILS and W. Wouwerman's earliest dated work, of 1639 (sale London, Christie's, October 10, 1972), is of minor quality. However, during the 1640s his talents improved rapidly. During that period he was strongly influenced by the Haarlem painter Pieter van Laer (1599 - after 1642) with respect to both style and subject matter. This tallies with Houbraken's remark that Wouwerman laid his hands on sketches and studies by Van Laer after that artist's death. Van Laer's influence is evident in Attack on a Coach, dated 1644, in the collection of the Prince of Liechtenstein, Vaduz. Several figures and details are quotations from works by Van Laer. Most of Wouwerman's compositions of the mid-1640os are dominated by a diagonally placed hill or dune covering most of the horizon, a tree - often dead - as a repoussoir and a few rather large figures, usually with horses. Landscape with Peasants Merrymaking in front of a Cottage in the City Art Gallery, Manchester, Battle Scene in the National Gallery, London and Landscape with a Resting Horseman in the Museum der Bildcnden Künste, Leipzig, all dated 1646, are proof that Wouwerman gradually developed his own style; nonetheless, Van Laer continued to be an important source of inspiration. As demonstrated by the four known dated paintings of 1649, the artist had replaced his sombre palette for a more colourful one by that time, and had also adopted a predominantly more horizontal scheme for his compositions. During that same period Wouwerman' pictures came to reflect a growing interest in landscape, and in the first half of the 1650s he produced a number of paintings which bear witness to his mastery of the landscape idiom. In a Landscape with Horsemen, of 1652, in a private British collection, painted in silvery tones, the figures and horses are reduced to a fairly insignificant staffage. Genre elements continued to play an important role in most of his paintings, though. One of his most successful works of that period is the Festive Peasants before a Panorama, dated 1653, in the Minneapolis Institute of Arts. Perhaps nowhere else in his oeuvre did the artist succeed in producing such a happy synthesis of genre and landscape elements. In the second half of the 1650s Wouwerman painted many of the fanciful hunting scenes - often with a vaguely Italian setting and brighter local colours - which were particularly sought after in the 18th and early 19th centuries. Only a few dated works from the last decade of his life have been preserved, but they do show a tendency towards more sombre colours and suggest a slight decline in his artistic skills. Van Laer's stylistic influence on Wouwerman had almost disappeared by then, although it continued to play a major role in terms of subject matter. After the middle of the 19th century Wouwerman's popularity waned, but more recently his work has met with increasing acclaim.
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Irving, Howard. "Empiricism, Ideology and William Crotch's Specimens." Nineteenth-Century Music Review 9, no. 2 (2012): 237–53. http://dx.doi.org/10.1017/s1479409812000298.
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William Crotch's Specimens of Various Styles of Music Referred to in a Course of Lectures Read at Oxford and London was a remarkable new type of score anthology when it first appeared in three volumes published between 1807 and 1810. Many anthologies in this period effectively serve as memorials to an earlier classical tradition, but Crotch compiled the Specimens with an almost museum-like detachment and intended it only for the practical pedagogical purpose of tracing the evolution of music. Crotch's empirical, dispassionate, and one might say scientific approach in the Specimens mirrors a turn in British culture generally around the turn of the century toward empiricism, a shift that has been discussed at length in connection with the painter John Constable and his circle. Crotch himself was, not coincidentally, a significant landscape painter and a friend of Constable during the years in which the Specimens were published.Crotch's relatively objective approach to criticism in the Specimens is most noticeable in his treatment of so-called “national” music. In this area his remarks are strikingly different from the criticism of contemporaries, especially Charles Burney. In connection with concert music, however, Crotch is less successful at pursuing a programme of value-free criticism. In some cases he clearly selects examples with the goal of influencing a composer's reception and stresses qualities that are in line with his developing conception of what might be called “classical music”.
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Marini, Giorgio. "“Moses c’est le maître à nous tous”:." Manazir Journal 2 (April 1, 2021): 66–81. http://dx.doi.org/10.36950/manazir.2020.2.5.
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The paper focuses on the artistic work of Moses Levy (Tunis, 1885 - Viareggio, 1968), painter and printmaker active in Italy, Tunisia and Paris. A peculiar figure of cosmopolitan painter, whose father was British and the mother Italian, and whose art eludes attempts at univocal classification. On the contrary, it remains emblematic of the fruitfulness made possible by the encounter between different artistic traditions, as well as the reciprocal enrichment offered by the plurality of cultures.
 Deeply linked by birth to the Jewish community in Tunis, he moved to Italy at a very young age, where he came into contact with the major exponents of the Tuscan school of painting around the turn of the century, starting with Giovanni Fattori. Constantly commuting between the two shores of the Mediterranean, he became an example of dialogue between different worlds, between his African roots, his Tuscan upbringing, his French-speaking culture and his stays in Paris, where he met Chagall and Picasso and could not fail to find a natural identification with Matisse’s pure rhythms and solar charge. A regular exhibitor at the Salons Tunisiens, in 1936 he was a co-founder of the Le Quatre group and later one of the promoters of the École de Tunis. Thus, the local artists saw in Levy the master who had been able to promote the birth of a modern art that was representative of Tunisian culture and people, but free from any easy Orientalist stereotype or folkloric flavour.
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VILLING, ALEXANDRA. "‘DANGEROUS PERFECTION’ AND AN OLD PUZZLE RESOLVED: A ‘NEW’ APULIAN KRATER INSPIRED BY EURIPIDES' ANTIOPE." Bulletin of the Institute of Classical Studies 57, no. 1 (2014): 61–78. http://dx.doi.org/10.1111/j.2041-5370.2014.00066.x.
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Abstract An Apulian calyx krater attributed to the Underworld Painter that entered the British Museum in 1867 as part of the collection of the Duc de Blacas (GR 1867,0508.1335, Vase F270) has long puzzled scholars on account of its enigmatic iconography, seemingly representing Orpheus and Cerberus in the Underworld. Yet cleaning of the vase some 50 years ago – hitherto unnoticed by scholarship – revealed Cerberus to be a regular single-headed dog. Two additional heads were added during nineteenth-century ‘restoration’ in the accomplished early nineteenth-century Neapolitan restorers' workshops headed by Raffaele Gargiulo. A new reading of the scene identifies it as the dialogue between Amphion and Zethos, a key episode in Euripides' play Antiope that is also referred to in Plato's Gorgias as emblematic of the rival concepts of the ‘active’ and the ‘contemplative’ life.
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Kazimierczak, Mariola. "MICHAŁ TYSZKIEWICZ (1828–1897): AN ILLUSTRIOUS COLLECTOR OF ANTIQUITIES." Muzealnictwo 60 (January 4, 2019): 64–77. http://dx.doi.org/10.5604/01.3001.0013.2202.
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Michał Tyszkiewicz was an outstanding collector of antiquities and a pioneer of Polish archaeological excavations in Egypt conducted in late 1861 and early 1862, which yielded a generous donation of 194 Egyptian antiquities to the Paris Louvre. Today Tyszkiewicz’s name features engraved on the Rotunda of Apollo among the major Museum’s donors. Having settled in Rome for good in 1865, Tyszkiewicz conducted archaeological excavations there until 1870. He collected ancient intaglios, old coins, ceramics, silverware, golden jewellery, and sculptures in bronze and marble. His collection ranked among the most valuable European ones created in the 2nd half of the 19th century. Today, its elements are scattered among over 30 major museums worldwide, e.g. London’s British Museum, Ny Carlsberg Glyptotek in Copenhagen, New York’s Metropolitan Museum of Art, or the Museum of Fine Arts in Boston. The latest investigation of M. Tyszkiewicz’s correspondence to the German scholar Wilhelm Froehner demonstrated that Tyszkiewicz widely promoted the development of archaeology and epigraphy; unique pieces from his collections were presented at conferences at Rome’s Academia dei Lincei or at the Académie des Inscriptions et Belles-Lettres in Paris, and published by Italian, French, Austrian, and German scholars. He was considered an expert in glyptic, and today’s specialists, in recognition of his merits, have called a certain group of ancient cylinder seals the ‘Tyszkiewicz Seals’, an Egyptian statue in black basalt has been named the ‘Tyszkiewicz Statue’, whereas an unknown painter of Greek vases from the 5th century BC has been referred to as the ‘Painter Tyszkiewicz’.
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Tiggelen, Brigitte Van, Danielle Fauque, and Fabienne Meyers. "London 1947: A Caricature." Chemistry International 41, no. 3 (2019): 20–21. http://dx.doi.org/10.1515/ci-2019-0307.
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Abstract The caricature published in Chemistry and Industry, 2 August 1947, is Fred May’s impressions of the luncheon offered to the XIth International Congress of Pure and Applied Chemistry at the May Fair Hotel, London, 18 July 1947 by the Society of Chemical Industry to distinguished chemists on the occasion of its centennial [1]. Fred May (1891-1976) was a caricaturist and painter, who sent his first cartoons from the front in 1917. May insists on the strenuous time the toastmaster had during the dinner that welcomed many prominent British and international figures in the chemical sciences and industry. Dr Leslie H. Lampitt, president of the SCI, chairman of the Congress and treasurer of IUPAC (1947-1957) “expressed that welcome in a very homely way” [1]. William Hulme Lever, 2nd Viscount Leverhulme (1888-1949), cofounder of Unilever, a past president of the SCI, acted as president of the Congress [2].
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Winearls, Joan. "Allan Brooks, Naturalist and Artist (1869-1946)." Scientia Canadensis 31, no. 1-2 (2009): 131–54. http://dx.doi.org/10.7202/019758ar.
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Abstract British by birth Allan Cyril Brooks (1869-1946) emigrated to Canada in the 1880s, and became one of the most important North American bird illustrators during the first half of the twentieth century. Brooks was one of the leading ornithologists and wildlife collectors of the time; he corresponded extensively with other ornithologists and supplied specimens to many major North American museums. From the 1890s on he hoped to support himself by painting birds and mammals, but this was not possible in Canada at that time and he was forced to turn to American sources for illustration commissions. His work can be compared with that of his contemporary, the leading American bird painter Louis Agassiz Fuertes (1874–1927), and there are striking similarities and differences in their careers. This paper discusses the work of a talented, self-taught wildlife artist working in a North American milieu, his difficulties and successes in a newly developing field, and his quest for Canadian recognition.
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Calaresu, Melissa. "Thomas Jones’ Neapolitan Kitchen: The Material Cultures of Food on the Grand Tour." Journal of Early Modern History 24, no. 1 (2020): 84–102. http://dx.doi.org/10.1163/15700658-12342664.
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Abstract The Welsh painter, Thomas Jones, recorded in minute detail the prices, origin, and types of food and services for each day of his family’s stay in Naples from their arrival from Rome in 1780 to their departure for England in 1783. His “Italian account book” has not been studied before in any depth, except in relation to his activities as an artist. However, this “time-capsule” of a Grand Tour household provides an extraordinarily vivid entry into the material world of urban provisioning in one of the largest cities in eighteenth-century Europe, by linking the economy of the street to wider networks of provisioning from outside of the city. It also provides a better understanding of the extent of acculturation of British residents in Italy. Space, time, and the interconnectedness between the home and the street are central themes in this material culture analysis of food on the Grand Tour.
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Svendsen, Anna. "C. C. Martindale (1879–1963), the History of Religions, and the Theological Imagination of David Jones (1895–1974)." Journal of Jesuit Studies 8, no. 4 (2021): 565–84. http://dx.doi.org/10.1163/22141332-08040003.
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Abstract Although the work of his Jesuit contemporaries Ronald Knox and Martin D’Arcy is perhaps better known today, C. C. [Cyril Charlie] Martindale’s (1879–1963) thinking about “the relationship between paganism and Christianity” in the early twentieth-century theological debates surrounding the field of “History of Religions” would have a profound effect on the unique intersection of theological thinking and artistic form in the work of the British Catholic poet and painter David Jones (1895–1974). Jones’s reading of Martindale’s short story collection The Goddess of Ghosts (1915) in 1919 would help to resolve a “religious crisis” Jones experienced in his exposure to the arguments of the skeptical scholar of “History of Religions,” James Frazer. Martindale’s presentation of his ideas in a literary form not only provided Jones with a hermeneutic (derived from the church fathers) for thinking about the relationship between paganism and Christianity, but also suggested an artistic model for exploring theological ideas with literary language.
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Mudd, Gavin M. "The Legacy of Early Uranium Efforts in Australia, 1906 - 1945: From Radium Hill to the Atomic Bomb and Today." Historical Records of Australian Science 16, no. 2 (2005): 169. http://dx.doi.org/10.1071/hr05013.
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The existence of uranium minerals has been documented in Australia since the late nineteenth century, and uranium-bearing ores were discovered near Olary ('Radium Hill') and in the Gammon Ranges (Mount Painter) in north-eastern South Australia early in the twentieth century. This occurred shortly after the discovery of radioactivity and the isolation of radium, and a mining rush for radium quickly began. At Radium Hill, ore was mined and concentrated on site before being transported to Woolwich in Sydney, where the radium and uranium were extracted and refined. At Mount Painter, the richness of the ore allowed direct export overseas. The fledgling Australian radium industry encountered many difficulties, with the scale of operations generally much smaller than at overseas counterparts. Remoteness, difficulties in treating the ore, lack of reliable water supplies and labour shortages all characterized the various attempts at exploitation over a period of about 25 years to the early 1930s. Hope in the potential of the industry, however, was eternal. When the British were working with the Americans during the Second World War to develop the atomic bomb, they secretly requested Australia to undertake urgent and extensive studies into the potential supply of uranium. This led to no exports but it did lay the groundwork for Australia's post-war uranium industry that has dominated the nation's nuclear diplomacy ever since. Some three decades later, the modest quantity of radioactive waste remaining at Woolwich was rediscovered, creating a difficult urban radioactive waste dilemma. The history of both the pre-war radium–uranium industry and Australia's involvement in the war-time exploration work is reviewed, as well as the radioactive waste problems resulting from these efforts, which, despite their relatively small scale, persist and present challenges in more modern times.
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Cheney, Liana De Girolami. "Edward Burne-Jones’s The Planets: Luna, A Celestial Sphere." Culture and Cosmos 21, no. 1 and 2 (2017): 283–300. http://dx.doi.org/10.46472/cc.01221.0631.
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Edward Burne-Jones (1833–98), a Pre-Raphaelite painter, was fascinated with astronomy as noted in his memorials and accounts. In 1879 he executed cartoon drawings for a cycle on the planets for the artisans of the William Morris firm, who would transform them into stained-glass windows. The commission was for the decoration of Woodlands, the Victorian home of Baron Angus Holden (1833–1912), a mayor of Bradford. Presently, seven of the cartoons – The Moon (Luna), Earth (Terra), Sol (Apollo), Venus, Jupiter, Saturn, and Evening Star) – are in the Torre Abbey Museum in Torquay, UK, while the cartoon for Mars is part of the collection of drawings at the Birmingham Museum of Art, UK, and the drawing Morning Star is located at Lady Margaret Hall in Oxford, UK. In the creation of the Planets cycle, Burne-Jones was inspired by cultural events of the time, such as British scientific astronomical discoveries and British and Italian humanistic sources in literature and visual arts portraying astronomy. This essay examines – art historically and iconographically – only one of the eight planets, the cartoon of Luna (The Moon) as an astral planetary formation and a celestial sphere. This study is composed of two sections. The first section discusses the history of the artistic commission and the second section explains some of Burne-Jones’s cultural sources for the Planets cycle and the Moon, both of which partake of heavenly and terrestrial realms.
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KEMPLEY, EILÍS. "Julian Trevelyan, Walter Maclay and Eric Guttmann: drawing the boundary between psychiatry and art at the Maudsley Hospital." British Journal for the History of Science 52, no. 4 (2019): 617–43. http://dx.doi.org/10.1017/s0007087419000463.
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AbstractIn 1938, doctors Eric Guttmann and Walter Maclay, two psychiatrists based at the Maudsley Hospital in London, administered the hallucinogenic drug mescaline to a group of artists, asking the participants to record their experiences visually. These artists included the painter Julian Trevelyan, who was associated with the British surrealist movement at this time. Published as ‘Mescaline hallucinations in artists’, the research took place at a crucial time for psychiatry, as the discipline was beginning to edge its way into the scientific arena. Newly established, the Maudsley Hospital received Jewish émigrés from Germany to join its ranks. Sponsored by the Rockefeller Foundation, this group of psychiatrists brought with them an enthusiasm for psychoactive drugs and visual media in the scientific study of psychopathological states. In this case, Guttmann and Maclay enlisted the help of surrealist artists, who were harnessing hallucinogens for their own revolutionary aims. Looking behind the images, particularly how they were produced and their legacy today, tells a story of how these groups cooperated, and how their overlapping ecologies of knowledge and experience coincided in these remarkable inscriptions.
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Goldman-Ida, Batsheva. "Jonathan Leaman: In Conversation." IMAGES 13, no. 1 (2020): 47–73. http://dx.doi.org/10.1163/18718000-12340130.
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Abstract Jonathan Leaman (b. 1954, London) is a British painter who is represented in the Tate Collection. This article, the result of 15 years of his correspondence with art historian and museum curator Batsheva Goldman-Ida, focuses on a group of works by the artist from the last two decades. Leaman’s familiarity with major Kabbalah scholarship, combined with his wide knowledge of poetry and philosophy, enable him to engage in concepts related to Kabbalah and art in a discursive manner that is unparalleled in modern scholarship. This article showcases Leaman’s remarks with source material for the benefit of the reader. Leaman is one of the most important contemporary artists in the area of mystical art. His introduction to the public is long overdue. His paintings are an authentic, creative expression of the considered material filtered through the artist’s own self-awareness. Leaman’s keen interest in haecceity, hypostatization, and reification is juxtaposed with Goldman-Ida’s interest in object history and linguistic mysticism, and with key Hasidic and kabbalistic concepts such as worship through corporeality, divine contraction, and rectification.
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Davenport, Nancy. "William Holman Hunt’s Holy War in the Church of the Holy Sepulchre in Jerusalem." Religion and the Arts 17, no. 4 (2013): 341–80. http://dx.doi.org/10.1163/15685292-12341284.
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Abstract This essay is concerned to interpret the background, meaning, and reception of a late painting by the British Pre-Raphaelite painter William Holman Hunt entitled The Miracle of the Sacred Fire in the Church of the Holy Sepulchre (1899). The painting illustrates and critiques an annual Easter Saturday miracle reported to have been experienced by believers and nonbelievers since the third century CE. During this miracle, fire descends from the oculus of the dome in the Church of the Holy Sepulchre in Jerusalem onto the site believed to be the tomb of Christ, and impassioned pilgrims by the hundreds seek to light their candles with its flame. The painting, not well received when first exhibited at the New Gallery in London, remained in Hunt’s studio until his death in 1910. The history of the church in Jerusalem, the conflicts between the different Christian sects who guarded it, the attitude of one Victorian ecumenical Protestant traveler to Jerusalem toward these conflicts, and their resolution in his painting are the subjects used to explore this strangely overwrought and little known image.
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Toillon. "Three Women Sharing a Mantle in 6th Century BCE Greek Vase-Painting: Plurality, Unity, Family, and Social Bond." Arts 8, no. 4 (2019): 144. http://dx.doi.org/10.3390/arts8040144.
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The motif of three women sharing the same mantle is pictured on about a dozen vases dating from the first half of the sixth century BCE. Among these vases, the so-called “François Vase” and a dinos signed by Sophilos (now in London, British Museum) are of particular interest. The wedding of Thetis and Peleus is pictured on both vases. This theme is well-adapted to the representation of a procession of deities in which the Charites, Horai, Moirai, and Muses take part. The main feature of these deities is a shared mantle, which covers and assembles them, emphasizing that these deities are plural by definition. The main study on this iconographical theme remains that by Buchholz, who documented most of the depictions of the “shared-mantle” in ancient Greek vase-painting and small terracottas. The shared-mantle motif has been interpreted successively as a reference to the sacred peplos (in relation to the wedding), a simplification from the painter to avoid painting all the mantles, a sign of emotional/sexual union, a religious gesture, and a depiction of choruses. The present study aims to consider in more detail the “shared-mantle” as an iconographic sign that involves the idea of community, shared identity, and emotional bond.
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Belsey, Alex. "Written Out of Life: The Death of Keith Vaughan and his Journal." European Journal of Life Writing 9 (July 6, 2020): LW&D223—LW&D241. http://dx.doi.org/10.21827/ejlw.9.36908.
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When the British painter Keith Vaughan (1912–77) ingested a lethal cocktail of barbiturates, having made the decision to end his life after a long struggle with cancer, there was only one thing left to do: write one final entry in his journal, the lifelong literary account he had commenced in 1939 and maintained ever since. Vaughan’s journal is an extraordinary document, its 61 volumes spanning 38 years of impassioned ideas and personal development from his difficult wartime years as a conscientious objector through his post-war life as a successful but troubled artist. This paper focuses on the final volume of Vaughan’s journal, commenced in August 1975 and ending on the morning of 4 November 1977. It considers how Vaughan used journal-writing at a time of great suffering to reflect upon his life and his reasons for leaving it. By revealing the crucial role that Vaughan’s final volume played in justifying that his life had ceased to have forward momentum or meaning, this paper argues for the close relationship between the practice of journal-writing and questions of futurity, positing Vaughan as an exemplary author-subject who uses diary or journal forms to postulate a potential future and their relationship to it.
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Pollini, John. "The “lost” Nollekens Relief of an imperial sacrifice from Domitian's Palace on the Palatine: its history, iconography, and date." Journal of Roman Archaeology 30 (2017): 97–126. http://dx.doi.org/10.1017/s1047759400074043.
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Mainstream classical scholarship has long considered as lost a Roman “historical” relief, excavated in the earlier part of the 18th c. in the Palace of Domitian on the Palatine hill. Showing an emperor sacrificing, it is known as the Nollekens Relief after Joseph Nollekens, an accomplished British sculptor who came to possess it in the 18th c. Besides being a sculptor and painter, he was a sculptural restorer and dealer active between 1761 and 1770 in Rome, where he worked in the workshop of the sculptural restorer Bartholomeo Cavaceppi and in his own studio. The relief has been known chiefly from two engravings and a pen-and-watercolor drawing, all produced in the 18th c., but, rather than being lost, the relief has been hiding in plain sight in the Gatchina Palace near St. Petersburg. Its dimensions are 88 cm high x 139 cm wide. A recent visit to St. Petersburg established that the relief has been continuously in the Gatchina Palace since the late 1770s and that it had been damaged not only in antiquity but also during and after World War II. I also discovered that a cast of it existed by 1870 and that a photograph of the relief itself had appeared in an obscure Russian publication of 1914.
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harskamp, jaap. "The Low Countries and the English Agricultural Revolution." Gastronomica 9, no. 3 (2009): 32–41. http://dx.doi.org/10.1525/gfc.2009.9.3.32.
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Throughout the seventeenth century the Dutch and Flemish enjoyed the reputation of being the best-fed population in Europe. Immigrants and refugees from the Low Countries brought their know-how and eating habits with them. Their arrival in the late-sixteenth and early-seventeenth centuries coincided with the beginning of commercial market gardening in England. Dutch and Flemish immigrants were the first to grow them on a commercial scale. The skill of Dutch and Flemish gardeners did much to alter the English landscape. Many varieties of flowers now considered native to England were brought over from the Low Countries, not to mention the cultivation of bulbs. The tulip became an object of insane speculation. Paintings were often cheaper than the flowers they depicted. Dutch flower painter Simon Pieterszoon Verelst (1644––1721?) became the best-paid artist in London after he settled there. Immigrants from the Low Countries also engineered some of the most fertile areas of Britain today. Cornelius Vermuyden (1590––1677) was responsible for the draining the Fens (Cambridgeshire) which gave an enormous boost to England's agricultural development. In summary: the English agricultural revolution coincided with an influx of immigrants from the Low Countries who enriched almost every aspect of British agriculture.
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Connor, John T. "Fanfrolico and After: The Lindsay Aesthetic in the Cultural Cold War." Modernist Cultures 15, no. 3 (2020): 276–94. http://dx.doi.org/10.3366/mod.2020.0297.
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This article follows Jack Lindsay (1900–1990) in his transformation from an Australian anti-modernist to a British-based Communist and cultural Cold Warrior. Lindsay was the driving force behind a cluster of initiatives in 1920s Sydney and London to propagate the art and ideas of his father, the painter Norman Lindsay. These included the deluxe limited edition Fanfrolico Press and the little magazines Vision and The London Aphrodite. The article reconstructs the terms of Lindsay's anti-modernist polemics and the paradoxically modernist forms they took, but it also attends to his change of heart. In the two decades after the Second World War, Lindsay found himself defending modernism against both its Cold War co-optation as the in-house aesthetic of the capitalist ‘Free World’ and its reflex denigration within Soviet and international Communist aesthetics. Against the elevation of modernism in the Anglo-American academy and its cultural-diplomatic deployment by agencies of the state, against the uncritical celebration of realism and its Soviet-sphere derivatives, Lindsay proposed a subaltern tradition of experimental art characterised by its utopian symbolism and national-popular inflection. For Lindsay, this tradition reached back to Elizabethan times, but it included modernism as one of its moments. From the vantage of the Cold War, Lindsay now identified the Fanfrolico project as itself an ‘Australian modernism,’ elements of which might yet fuse to form a more perfect socialist realism.
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Anossova, Oksana. "FANNY BURNEY’S EPISTOLARY ROMANTICISM AND BLOGGING." SWS Journal of SOCIAL SCIENCES AND ART 1, no. 1 (2019): 35–44. http://dx.doi.org/10.35603/ssa2019/issue1.04.
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Fanny Burney at 15 wrote in her diary addressing her thoughts to ‘Nobody’, to her silent ‘self’ and interlocutor. Nobody learnt about this fact until her diaries were published. She became famous with her first epistolary novel about a young lady entering the world, though in the Preface to the novel the author pretended to be an editor of the letters. Her writing could be compared to contemporary blogs. Novelty and variety of subjects, personally coloured irony and wit, acute eyesight, ability to entertain a reader with an unusual insight of the ordinary event or situation (e.g., ‘Directions for Coughing, Sneezing, or Moving Before the King and Queen’), a dramatist talent to create dialogues and remember speaker’s intonation and other speech parameters, a lot of short fragments imprinting emotions and restoring the epoch in diaries and letters, - everything features her style and specifies her as a Romanticism writer. Some of the subjects could be accepted as obsolete though regarding different situations, circumstances and the performance the given descriptions of the royal household politely discussed by the Keeper of the Robe to Queen Charlotte, wife of George III, and a close acquaintance of British famous actor David Garrick (1717-1779) and even world-known painter Joshua Reynolds (1723-1792) some of the episodes described in diaries could be praised for their author’s dramatic playwright talent. Blogging in its well-written form, the one possessing style and distinguishing good literature characteristics, could be compared to diaries reflecting every instant of modern life and becoming immediately public. Freedom of female voice in Romantic era and freedom of mass-media writer and reader on the verge of Millennium are manifested in both epochs
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Orlando, Emily J. "Passionate Love-Letters to a Dead Girl: Elizabeth Siddall in Oscar Wilde's The Picture of Dorian Gray." Victoriographies 7, no. 2 (2017): 101–23. http://dx.doi.org/10.3366/vic.2017.0266.
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While Oscar Wilde's attraction to Pre-Raphaelite art has been well documented, surprisingly little attention has been paid to his career-long fascination with Elizabeth Siddall (1829–62). This essay will demonstrate that Wilde's deep and abiding interest in Siddall reverberates across his only novel, The Picture of Dorian Gray (1891), to an extent that has not been considered. I will specifically argue that the suicide of Dorian Gray's lover Sibyl Vane was inspired by Elizabeth Siddall's untimely overdose. The very name Sibyl echoes Siddall, who is best known as the model for John Everett Millais's Ophelia and Dante Gabriel Rossetti's Beata Beatrix. I want to suggest that Siddall, long dead by the 1890s, may have been coded as Celtic across turn-of-the-century Irish literature in ways not hitherto considered. Although Siddall was not born of Irish parents, she served ‘as a model for “a fair Celt with red hair”’ for the Pre-Raphaelite painter William Holman Hunt, perhaps owing to the fact that she was copper-haired, ivory-skinned, Welsh, and working class. As such, Siddall – who has not previously been read in a Celtic context – might serve as a signifier of the young, pale, passive, red-haired Irish maiden romanticised across popular culture as a symbol of the Irish nation. Indeed, it is plausible that the Dublin-born Wilde was attracted to Siddall because of her resemblance to the aisling figure derived from the eighteenth-century Gaelic tradition and popular in turn-of-the-century Irish culture. The essay will examine closely the nods to Elizabeth Siddall in The Picture of Dorian Gray and ultimately will propose that the Pre-Raphaelite musings in Wilde – whose engagement with feminism and with his native Ireland have always been complicated – effectively, if not intentionally, silence the figure of the fin-de-siècle New Woman as she appeared across the British and Irish Isles.
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Buchanan, Ruth, and Jeffery G. Hewitt. "Encountering settler colonialism through legal objects: a painted drum and handwritten treaty from Manitoulin Island." Northern Ireland Legal Quarterly 68, no. 3 (2017): 291–304. http://dx.doi.org/10.53386/nilq.v68i3.41.
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Anishinaabe of the Great Lakes region and the British. Two such objects, a drum painted with Anishinaabe imagery and a treaty, handwritten by a British treaty commissioner, were created in close proximity in both time and location. This paper explores the encounter between the Anishinaabe and the British through a parallel engagement with both drum and treaty; placing them in conversation with each other. We consider the divergent paths taken by these objects by comparing the material, legal and sensory landscapes in which they were produced with their current contexts. In dialogue, the objects reveal their performative contributions to the British imperial project; one as an authorised claim to (indigenous) property, the other as (British Museum) property, displayed as artefact. Read in parallel, the treaty’s assertions of authority and the drum’s mute resistance interrogate the form of law itself, and the agency of law’s objects.
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Mayer, Lance, and Gay Myers. "American painters and varnishing: British, French and German connections." Journal of the Institute of Conservation 33, no. 2 (2010): 117–27. http://dx.doi.org/10.1080/19455224.2010.500192.
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Stone, Ian R. "The Arctic portraits of Stephen Pearce." Polar Record 24, no. 148 (1988): 55–58. http://dx.doi.org/10.1017/s003224740002235x.
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AbstractBetween 1851 and 1877 Stephen Pearce (1819–1904) painted, among many other subjects, portraits of most of the distinguished 19th century British Arctic explorers. This article outlines Pearce's life, presents his most celebrated painting ‘The Arctic Council discussing a plan ofsearch for John Franklin’, and catalogues the 25 Arctic portraits held by the National Portrait Gallery. A selection of four portraits spanning the artist's working life is illustrated.
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Warden, Claire. "John Piper's Modernist Scenography." Modernist Cultures 11, no. 2 (2016): 225–42. http://dx.doi.org/10.3366/mod.2016.0136.
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As one of the pre-eminent British painters of the twentieth century, John Piper secured his legacy with his depictions of swirling seas, grand country houses, and secluded churches. However his contribution to the theatre is less well known. This paper aims to address this lacuna, focusing on his scenographic contribution to two modernist performances: Stephen Spender's Trial of a Judge (1938) and Edith Sitwell's Façade (1942). I aim to present Piper as a vital force in a British avant-garde theatre scene and to reimagine his canon of work as inherently theatrical. This theatrical element unites his diverse oeuvre, from his most abstract geometric collages to his most quintessentially English landscapes. This paper resurrects two often overlooked performances, and sheds new light on the cross-disciplinary nature of British modernist art and the importance of theatrical motifs for a thorough understanding of Piper's work.
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Taplin, Oliver. "A disguised Pentheus hiding in the British Museum?" Letras Clássicas, no. 8 (November 1, 2004): 27. http://dx.doi.org/10.11606/issn.2358-3150.v0i8p27-35.
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During the last twenty-five years, two opposing trends have dominated over the debate about the relationship between mythological narratives in vase-painting and those in tragedy. On the one hand, there are those who regard the paintings as dependent upon works of literature; on the other hand, there are those who argue that the artistic tradition is fully self-explanatory with no need of any reference to any literature. This paper analyzes some cases, in which the whole phenomenon seems to be more complex, and to be inextricable from the part played both by painted pottery and by the theatre in the whole lives of those who were the public for these pots and these plays.
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Townsend, Joyce H. "The materials used by British oil painters throughout the nineteenth century." Studies in Conservation 47, Supplement-1 (2002): 46–55. http://dx.doi.org/10.1179/sic.2002.47.supplement-1.46.
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Dawson, Ruth P. "Actress Images, Written and Painted, Famed and Defamed, British and German." Eighteenth-Century Studies 47, no. 2 (2014): 233–35. http://dx.doi.org/10.1353/ecs.2014.0003.
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Smout, Caroline. "Allegorische Diagrammatik und diagrammatische Allegorisierung. Erkenntnisprozesse in einem allegorischen Ikonotext der ‚Regia Carmina‘ des Convenevole da Prato." Das Mittelalter 22, no. 2 (2017): 392–405. http://dx.doi.org/10.1515/mial-2017-0023.
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AbstactSubject of this essay is the question of how the invisibility of God can be visualized. The ‘Regia Carmina’ of Convenevole da Prato (London, British Library, Royal 6 E IX) serves as an example. They are designed through allegorical iconotexts. Convenevole’s reflection consists basically of a mental image and a painted picture. This essay deals with two questions: 1) How are the mental image and the painted picture arranged to initiate a thought process regarding the relation of the painted picture to God in a diagrammatic transfer? The thought process aims to gain knowledge about the figurative representation of God. 2) Is the iconotext only modelled as a medium of insight or can it also be seen as a figure of reflection of a diagrammatic way of thinking, in which the possibilities and limits of pictorial and verbal signs are defined? In this example the fundamental and productive connection of allegorical and diagrammatic method becomes apparent. On the one hand the diagrammatic way of thinking is influenced by allegory. On the other hand the process of allegorisation that is based on a diagrammatic point of view becomes evident.
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Ying-Ling Huang, Michelle. "Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c.1930–1980." Journal of the History of Collections 31, no. 2 (2018): 383–401. http://dx.doi.org/10.1093/jhc/fhy017.
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Abstract By 1930, the British public took a stronger interest in early Chinese art than in works produced in the pre-modern and modern periods. However, China’s cultural diplomacy in Britain during war-time, as well as the interactions between collectors, scholars and artists of both countries, helped refresh Occidental understanding of the tradition and recent achievements of Chinese art. This article examines the ways in which modern Chinese painting was perceived, collected and displayed in Britain from 1930 to 1980 – the formative period for the collecting and connoisseurship of modern Chinese art in the West. It analyses exhibitions of twentieth-century Chinese painting held in museums and galleries in order to map trends and identify the major parties who introduced the British public to a new aspect of Chinese pictorial art. It also discusses prominent Chinese painters’ connections with British curators, scholars and dealers, who helped establish their reputation in Britain.
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Gryzunova, Anna. "Portraits of the representatives of Vorontsov family painted by Sir Thomas Lawrence." Человек и культура, no. 1 (January 2020): 132–40. http://dx.doi.org/10.25136/2409-8744.2020.1.30688.
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The subject of this article is the portraits of the members of Vorontsov family – a Russian family of diplomats inseparably connected with Great Britain and Russia. These works were painted by the British artist Sir Thomas Lawrence (1769-1830) in the early XIX century, featuring the portraits of S. R. Vorontsov (in 1805-1806), Y. S. Pembroke (in 1808), M. S. Vorontsov and graphic painting of E. K. Vorontsova (in 1821). The method of research consists in a detailed comprehensive examination of the depiction of the members of Vorontsov family. Main emphasis is made on the comparative analysis of reminiscences of the contemporaries on the model and artistic style of T. Lawrence’s works. The scientific novelty consists in viewing these portraits from one of the perspective of Russian-British artistic ties of the early XIX century – the connection between Lawrence and Russia, and broadening of catalogue descriptions with new records. The comparison of graphic and painting works of T. Lawrence with written reminiscences on the presented models proves that portraits of his authorship minutely reflect the inner world of the models and the impression they created on their contemporaries.
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Johnson, Matthew. "Overlooking British experiences: a reply to Evershed." Global Discourse 9, no. 3 (2019): 557–59. http://dx.doi.org/10.1332/204378919x15646709278039.
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Jonathan Evershed presents a compelling account of the clear dangers that lie in forms of state-led remembrance. The danger is, of course, that, in commemorating, actual experience is lost. While I do not wish to challenge any of the core claims in the piece, I do think that there is one element that requires greater examination: Evershed’s claim that contemporary Irish conceptions of the First World War as ‘A war that stopped a war’ ‘contributes to a (post)colonial and militaristic nostalgia in British political culture’. While the dangers of that for Northern Ireland are clear, perhaps the greatest risks lie in England, since any such benign account of the conflict serves radically to distort the experience of those soldiers commonly regarded as identifying as British and painted as being motivated by patriotism. Drawing on experience from Tyneside, I argue that, in considering the nature of that conflict, we must remember the many diverse, and often banal, reasons for working class engagement in conflict.
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Schofield, L., and R. B. Parkinson. "Of helmets and heretics: a possible Egyptian representation of Mycenaean warriors on a papyrus from el-Amarna." Annual of the British School at Athens 89 (November 1994): 157–70. http://dx.doi.org/10.1017/s0068245400015343.
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This paper examines the representation of soldiers on a painted papyrus from el-Amarna, recently acquired by the British Museum (EA 74100). Features include helmets and short-cropped oxhide tunics; these can be paralleled in representations from the Aegean, suggesting that the painting may show figures wearing boar's tusk helmets and Mycenaean-style tunics. This interpretation of the battle scene argues that the Egyptian iconographic repertoire included depictions of Mycenean features. This adds to the evidence for direct, rather than indirect, contacts between the two cultures.
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Nelson, E. Charles. "WALPOLE, J. A history and dictionary of British flower painters 1650–1950." Archives of Natural History 34, no. 1 (2007): 204. http://dx.doi.org/10.3366/anh.2007.34.1.204b.
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ROBB, PETER. "Children, Emotion, Identity and Empire: Views from the Blechyndens' Calcutta Diaries (1790–1822)." Modern Asian Studies 40, no. 1 (2006): 175–201. http://dx.doi.org/10.1017/s0026749x06001946.
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The voluminous Blechynden diaries, in the British Library, offer incomparable opportunities for studying (among other things) domestic life among middle-level British residents of Calcutta around the start of the nineteenth century. This paper is concerned with a small part of the history of the Blechynden household, focusing on Arthur Blechynden, son of Richard and his successor as superintendent of roads. Richard's diary runs to more than 70 volumes and Arthur's to seven. These sources permit none of the structural analysis that was made the basis of family history by Peter Laslett and others; but they touch several points of the richer canvas painted by Laurence Stone, and those genres that are concerned with individual lives, with emotion, with relationships, and with identity, the kinds of subject approached by the contributors to Roy Porter's collection Rewriting the Self. In this paper some of these issues will be taken up, with particular reference to ideas of individuality and of race. That discussion will then lead on to another, on the construction of British imperial identity outside Britain and in the context of the formation of empire, an aspect that seems worthy of more attention than it has received.
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Elkin, Daniel, Gerhard Bruyns, and Peter Hasdell. "Appropriate construction technologies for design activism: Material research practices in response to globalisation." Architectural Research Quarterly 22, no. 4 (2018): 290–309. http://dx.doi.org/10.1017/s1359135518000507.
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Workers in Hong Kong made plastic flowers, incense before that, and consumer goods throughout the city's provincial, Imperial, and colonial periods. Kowloon Peninsula's deep harbour and proximity to shipping lanes gave rise to exportoriented industries long before imperialistic conflicts changed their ownership from Chinese to British, and back again. Making things in this context served to define self-motivated enterprise. Hong Kong Chinese people made most of their export goods following a low material investment, labour-intensive model. Workers hand-painted ceramics and toys more often than their employers invested in better plant to replace their work.
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Curtis, Gerard. "Book Review: Charles Brooking 1723–1759 and the Eighteenth Century British Marine Painters." International Journal of Maritime History 13, no. 2 (2001): 340–41. http://dx.doi.org/10.1177/084387140101300251.
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ARNOLD, MARION. "A HISTORY AND DICTIONARY OF BRITISH FLOWER PAINTERS 1650–1950 BY JOSEPHINE WALPOLE." Art Book 14, no. 4 (2007): 40–41. http://dx.doi.org/10.1111/j.1467-8357.2007.00868.x.
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Wiemann, Dirk. "Layer after layer: Aerial roots and routes of translation." Thesis Eleven 162, no. 1 (2021): 33–45. http://dx.doi.org/10.1177/0725513621990772.
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When the Royal Botanic Gardens at Kew in South London were opened to the general public in the 1840s, they were presented as a ‘world text’: a collection of flora from all over the world, with the spectacular tropical (read: colonial) specimens taking centre stage as indexes of Britain’s imperial supremacy. However, the one exotic plant species that preoccupied the British cultural imagination more than any other remained conspicuously absent from the collection: the banyan tree, whose non-transferability left a significant gap in the ‘text’ of the garden, thereby effectively puncturing the illusion of comprehensive global command that underpins the biopolitical designs of what Richard Grove has aptly dubbed ‘green imperialism’. This article demonstrates how, in the 19th and early 20th centuries, the banyan tree became an object of fascination and admiration for British scientists, painters, writers and photographers precisely because of its obstinate non-availability to colonial control and visual or even conceptual representability.
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Троицкая, Анна Алексеевна. "MODELING HISTORY: RETROSPECTION AS AN ARTISTIC DEVICE IN WILLIAM ESSEX’S MINIATURES." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(26) (November 22, 2020): 160–71. http://dx.doi.org/10.23951/2312-7899-2020-4-160-171.
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Статья посвящена одной из сторон творчества английского миниатюриста-эмальера Уильяма Эссекса, выполнившего серию исторических портретов представителей тюдоровской династии. В контексте общего интереса к английской истории, а также определенной ретроспективной тенденции, свойственной викторианской эпохе, работы Эссекса демонстрируют восприятие портретной миниатюры как воплощение образов прошлого и как характерную «вещицу из прошлого». Традиция создавать небольшие изображения, предназначенные для приватного созерцания, довольно стара, и англичане, преуспевшие в развитии портретного жанра, на протяжении нескольких столетий были долгое время увлечены ею. В данной статье произведения Уильяма Эссекса рассматриваются с точки зрения стилистических и технических аспектов создания миниатюры, что позволяет осветить вопросы, связанные со сменой восприятия этой малой формы портретного искусства. Парадоксальность ситуации воспроизведения в миниатюре портретов английских монархов c миниатюрных же оригиналов, написанных в XVI – начале XVII вв., исследуется в статье с позиций теории и практики коллекционирования как способа взаимодействия с историей. Интерес к прошлому, разнообразно проявившийся в культуре викторианской Англии, здесь усиливается необходимостью представления фамильной истории английской короны. Выбор формы для ее визуализации определен предпочтением личного, приватного искусства миниатюры, которое придает обращению к истории сентиментальный характер. В контексте зарождения и распространения фотографических портретов той эпохи эмалевые миниатюры выступают как носители образов прошлого, как воплощение угасающего рукотворного искусства, вытесняемого новыми техническими средствами. Наконец, работа Эссекса над историческими портретами тюдоровской Англии, с его стремлением к формально-стилистическому подобию, становится частью сложного ретроспективного механизма, подобного двойной цитате, поскольку оригиналы воспроизводимых миниатюр также не являлись исходными изображениями. Анализ художественно-образных средств, характерных для серии портретов-миниатюр, и исторических обстоятельств возникновения интереса заказчика к конкретным образам прошлого позволяет выявить тонкую грань между воспроизведением и стилизацией, следованием традиции и идеализацией. Исследование специфического художественного опыта создания этих миниатюр обнаруживает особый способ обращения к культурной памяти, а также характер семейных и национальных ценностей, воплощенных через формирование коллекции. Практика коллекционирования – одно из проявлений викторианской визуальной культуры – в данном случае оказывает определенное влияние и на моделирование английской истории, и на формирование художественного вкуса эпохи. The article addresses the artworks of William Essex, an English enamel-painter, who created a series of the Tudors’ historical portraits. In the context of general interest in English history, as well as a certain retrospective trend peculiar for the Victorian era, William Essex`s works exemplify the miniature portraits as the embodiment of images from the past and as something characteristic to the past. The tradition of small-size portraits intended for private contemplation is quite old, and the British, who have succeeded in the development of the portrait genre, have been rather keen on it for several centuries. The article considers William Essex’s miniatures from the point of view of the stylistic and technical aspects of the genre, which allows casting some light on the issues related to the change of perception of this minor art form. The paradox of duplication by Essex of original sixteenth- and early-seventeenth-century miniatures is investigated in the article from the standpoint of the theory and practice of collecting as a way of interaction with history. The reason why the miniatures were commissioned by the Queen is both in necessity to create a gallery of family history of the English crown and in the Victorians` taste for reconstruction of the past. The choice of form for its embodiment is determined by the preference for personal, private miniature art, which gives a sentimental character to the appeal to history. In the context of the origin and spread of daguerreotypes at the time, enamel miniatures act as representatives of images of the past and the phenomenon of the fading handmade art, displaced by new technical means. In addition, Essex’s work on the Tudors’ historical portraits, with his aim for formal and stylistic resemblance, is included in a complex retrospective mechanism, like a double quote, since the sources of the reproduced miniatures were also not painted from the life and had their own originals. The analysis of artistic and imagery methods, characteristic for this series of miniatures, as well as the description of the historical circumstances in which the customer took interest in the specific images from the past, allows exposing a fine line between imitation and stylization, between tradition and idealization. In conclusion, it is stated that the specific artistic experience of the creation of these miniatures reveals a peculiar way to refer to the cultural memory, to assert some family and national values evoked in the process of the formation of the collection. Here the practice of collecting (one of the manifestations of the Victorian visual culture) is closely connected with the modeling of English history and the artistic taste of the era.
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Emmerson, Richard K. "The Apocalypse Cycle in the Bedford Hours." Traditio 50 (1995): 173–98. http://dx.doi.org/10.1017/s0362152900013210.
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The Bedford Hours (British Library MS Additional 18850) has been called one of “the very finest examples of French art of the earlier half of the fifteenth century….” Its lavish use of gold and bright colors, its beautifully conceived calendar pages and large miniatures, its connection with the marriage of John of Lancaster, the duke of Bedford, to Anne of Burgundy, and its fascinating history as a manuscript have received much attention. Scholars, however, have virtually ignored the almost 1,250 marginal illustrations that decorate the manuscript's 289 folios. These tiny pictures are generally woven into the ivy-leaf border, painted within roundels of approximately one inch in diameter. Thematically related, they are usually placed two to a folio side, one within the left or right border, and one within the lower border. The roundels, furthermore, are accompanied by one-line Old French texts. These are always placed together below the lower border and are arranged so that the first text, written in blue, identifies the roundel within the side border, whereas the second text, written in gold, explains the roundel painted within the lower border.
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Duncan, Adam. "The Colour of Country." Journal of Childhood Studies 40, no. 2 (2015): 32. http://dx.doi.org/10.18357/jcs.v40i2.15177.
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This article explores my relations to Country through colour. It is accompanied by three art pieces I have recently painted. It has a particular focus on my changing relationship to Biripi and Ngunnawal countries in Australia and the ways this relationship was impacted by my travelling to the “Learning How to Inherit in Colonized and Ecologically Challenged Lifeworlds” symposium in Victoria, British Columbia. As depicted in the paintings, my understandings of Country are coloured by the heritage-‐based connections to land that continue to shape my contemporary Aboriginal identity, my growing engagement with and understanding of the contemporary common worlds I inhabit, and the discussions of place and identity that took place at the symposium.
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Pearson, David. "What is the First English Bookplate?" Library 20, no. 4 (2019): 527–32. http://dx.doi.org/10.1093/library/20.4.527.
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Abstract Bookplates constitute one of the most regularly encountered kinds of provenance evidence in books. Their history is traced back to a late fifteenth-century gift label used at Buxheim and standard sources usually identify the earliest British bookplate as a similar kind of woodcut armorial pasted into books given to Cambridge University in 1574. This note describes a number of hand-painted armorial labels used in the middle of the sixteenth century (and certainly before 1574) by Thomas Andrews of Bury St Edmunds, which were clearly used as ownership markings. These, alongside some other similar examples, make it clear that the practice has a longer history in English usage than we have previously thought.
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Kölbl-Ebert, Martina. "British Geology in the Early Nineteenth Century: A Conglomerate with a Female Matrix." Earth Sciences History 21, no. 1 (2002): 3–25. http://dx.doi.org/10.17704/eshi.21.1.b612040xg7316614.
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During the first half of the nineteenth century—in addition to mining engineers or land surveyors, who used geological knowledge for their profession—a large group of non-professional scientists still existed in British geology. For these people with enough money, time, and leisure to study, travel, and publish, geology was more or less a private interest. In scientific circles such as the Geological Society of London serious workers and dilettantes were found together. The establishment of geology at British universities was at its beginning or still ahead in the future. Because of the informal character of this important part of early British geology, women were not excluded from participation. They were not yet opponents in the competition for jobs, but were welcomed as fellow-enthusiasts. More so, wives, daughters, and sisters or even non-related female acquaintances at that time were an integral part of the infrastructure of scientific work. As a result, there have been many female contributors to geology in the early nineteenth-century in the United Kingdom, forming a framework of assistants, secretaries, collectors, painters, and field geologists to the leading figures in the geological sciences, thereby adding to, and shaping their work.… some of the ladies were very blue1and well-informed, reading Mrs. Somerville, and frequenting the Royal Institution.2W. M. Thackeray: Vanity Fair, 1847