Journal articles: 'The Royal Art Academy'

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Bonehill, J. "British Art History and the Royal Academy." Oxford Art Journal 31, no. 2 (May 30, 2008): 292–94. http://dx.doi.org/10.1093/oxartj/kcn017.

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Stallabrass, Julian. "High Art Lite at the Royal Academy." Third Text 12, no. 42 (March 1998): 79–84. http://dx.doi.org/10.1080/09528829808576721.

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Chartres, Richard. "A sermon for the Royal Academy of Art." Contact 128, no. 1 (January 1999): 29–30. http://dx.doi.org/10.1080/13520806.1999.11758854.

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Tegel, S. "GERMAN ART IN THE TWENTIETH CENTURY AT THE ROYAL ACADEMY." German History 3, no. 1 (January 1, 1986): 38–39. http://dx.doi.org/10.1093/gh/3.1.38.

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Tegel, S. "GERMAN ART IN THE TWENTIETH CENTURY AT THE ROYAL ACADEMY." German History 4, no. 3 (January 1, 1986): 38–39. http://dx.doi.org/10.1093/gerhis/4.3.38.

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Turpin, John. "Researching Irish art in its educational context." Art Libraries Journal 43, no. 3 (June 18, 2018): 123–26. http://dx.doi.org/10.1017/alj.2018.16.

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Documentary sources for Irish art are widely scattered and vulnerable. The art library of the Royal Hibernian Academy of Arts was destroyed by bombardment during the Rising of 1916 against British rule. The absence of degree courses in art history delayed the development of art libraries until the 1960s when art history degrees were established at University College Dublin, and Trinity College Dublin. In the 1970s the state founded the Regional Technical Colleges all over Ireland with their art and design courses. Modern approaches to art education had transformed the education of artists and designers with a new emphasis on concept rather than skill acquisition. This led to theoretical teaching and the growth of art sections in the college libraries. Well qualified graduates and staff led the way in the universities and colleges to a greater emphasis on research. Archive centres of documentation on Irish art opened at the National Gallery of Ireland, Trinity College and the Irish Architectural Archive. At NCAD the National Irish Visual Arts Archive (NIVAL) became the main depository for documentation on 20th century Irish art and design. Many other libraries exist with holdings of relevance to the history of Irish art, notably the National Library of Ireland, the Royal Irish Academy, the Royal Dublin Society, the Royal Society of Antiquaries of Ireland and the National Archives.

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Smeenk, Chris. "Art libraries of educational and research institutions." Art Libraries Journal 12, no. 1 (1987): 5–7. http://dx.doi.org/10.1017/s030747220000496x.

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Art history in the Netherlands is supported by a number of art libraries in addition to museum libraries, among them the Royal Library at The Hague, the libraries of the Royal Academy of Fine Arts and the Central Research Laboratory for Objects of Art and Science, both at Amsterdam, university libraries, and libraries of Dutch establishments abroad. The combined art collections of these libraries are considerable; access, however, may be facilitated by the Project for Integrated Catalogue Automation (PICA) which aims to improve on the diversity of existing catalogues.

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Dodgson, Neil A. "Engineering Art and Telling Tales: Anish Kapoor at the Royal Academy." Interdisciplinary Science Reviews 41, no. 4 (October 2016): 281–96. http://dx.doi.org/10.1080/03080188.2016.1248672.

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Pomeroy, Mark. "The Archives of the Royal Academy of Arts, London." Art Libraries Journal 30, no. 1 (2005): 5–9. http://dx.doi.org/10.1017/s030747220001378x.

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The Academy is one of Britain’s foremost cultural institutions. It is a unique survival of the age of enlightenment, continuing to fulfil the purposes for which it was founded. The Academy is run by artists for the benefit of artists, while providing an elegant venue for ‘the promotion of the arts of design’. The Library of the Royal Academy of Arts is well known, as it is the oldest fine art library in the United Kingdom. The Archives has always lain in comparative shadow, even though it is close to the heart of the institution. This article attempts to place the Archives in context, to describe how the institution has regarded it over time and how it is now being revealed to a wide public.

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Picton, John. "africa95 and the Royal Academy." African Arts 29, no. 3 (1996): 22. http://dx.doi.org/10.2307/3337340.

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Rosenthal, Angela. "Art on the Line: The Royal Academy Exhibitions at Somerset House 1780-1836 [exhibition], and: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780-1836 (review)." Eighteenth-Century Studies 35, no. 4 (2002): 601–8. http://dx.doi.org/10.1353/ecs.2002.0045.

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Quesnay, F. "Introduction to Volume I of "Memoirs of Royal Surgical Academy" (1743)." Voprosy Ekonomiki, no. 12 (December 20, 2008): 99–111. http://dx.doi.org/10.32609/0042-8736-2008-12-99-111.

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The classical text, written by the founder of physiocracy in 1743, which is published in Russian for the first time, explicates his general scientific method in a wide perspective. Quesnay fruitfully applied his method that consisted of two interconnected elements (observation and physical experience) in metaphysics and political economy. Using this method in the "Introduction", Quesnay attempted to reveal the general scientific basis of surgery, or "art to cure", and therefore severely criticized many medical and philosophical techniques widely accepted among his contemporaries.

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Lau, George F. "Aztecs. Royal Academy of Arts, London." American Anthropologist 105, no. 3 (September 2003): 623–27. http://dx.doi.org/10.1525/aa.2003.105.3.623.

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Isaacs, Marie E. "Hebrews 13.9–16 Revisited." New Testament Studies 43, no. 2 (April 1997): 268–84. http://dx.doi.org/10.1017/s0028688500023262.

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Many years ago I watched a television programme on the art of acting. It was a ‘Masterclass’ conducted by Dame Flora Robson. She took a group of Royal Academy of Dramatic Arts’ students, divided them into four separate groups, and then asked each to act out a scene. Each separate cast was given the same script, but, unbeknown to the others, each group was given an entirely different background to the setting of the scene. We then saw the results; four readings, each with the same lines but understood completely differently.

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Harris, Wendell V. "Ruskin's Theoretic Practicality and the Royal Academy's Aesthetic Idealism." Nineteenth-Century Literature 52, no. 1 (June 1, 1997): 80–102. http://dx.doi.org/10.2307/2934030.

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While Ruskin's personal eccentricities and intellectual foibles are well known, the influence exerted by Modern Painters, The Seven Lamps of Architecture, and The Stones of Venice was in no small part a result of a kind of practicality and reasonableness not generally associated with Ruskin. He began writing at a fortunate time-seventy years of effort by the Royal Academy, seconded by the formation of other societies of British artists and the founding of the Dulwich Gallery and the National Gallery, had prepared a public eager for instruction about the values of art. This kind of instruction had not been available: Ruskin spoke to a public happy to be shown both the links between aesthetic, moral, and religious values and how to judge merit in painting and architecture. Although Ruskin could be acerbic about Royal Academicians, the volumes that appeared in the first two decades of his writing career were effective in no small part because they were modifications rather than repudiations of the principles that, thanks to the Royal Academy, had become cultural commonplaces. He was thus able to alter accepted perspectives sufficiently to justify art as a mode of expressing appreciation for God's creation, to shift the concept of the grand style away from an exclusive dedication to historical painting, to focus serious attention on landscape painting (in which British artists were more successful than in historical painting and which the British public more fully appreciated), and to give both moral and practical reasons for the Gothic architecture that was already returning to favor.

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Ray, William. "Talking About Art: the French Royal Academy Salons and the Formation of the Discursive Citizen." Eighteenth-Century Studies 37, no. 4 (2004): 527–52. http://dx.doi.org/10.1353/ecs.2004.0047.

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De Jong, Sigrid. "The Picturesque Prospect of Architecture: Thomas Sandby's Royal Academy Lectures." Architectural History 61 (2018): 73–104. http://dx.doi.org/10.1017/arh.2018.4.

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AbstractThomas Sandby (1721/3–98), who served as the Royal Academy's first professor of architecture from 1768 to 1798, shaped his students’ architectural thought. His lectures represent some of the crucial developments in viewing architecture that occurred during the period. They are vibrant expressions of how a viewer's experience of buildings informs architectural teaching and design, and demonstrate the importance of architectural experience for eighteenth-century architectural thought. This article explores Sandby's thinking, first in his own observations of buildings in his diary of a tour through Yorkshire and Derbyshire, and then in his teachings, which functioned as a kind of manual for future architects. It examines the diary and the lectures for his ideas on the effects of architecture — a building's situation, exterior, interior and decorations — in relation to the picturesque, one of the dominant concepts in his texts and drawings. Sandby's architectural thought is shown to be a relatively early statement of the picturesque applied to architecture and its setting.

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Julien, Isaac. "Curating at the Royal Academy Summer Exhibition 2020." Nka Journal of Contemporary African Art 2021, no. 48 (May 1, 2021): 142–45. http://dx.doi.org/10.1215/10757163-8971454.

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Quinn, Malcolm. "‘[T]he Royal Academy, and the effects produced by it’: accounting for art education in 1835." Journal of Visual Art Practice 13, no. 1 (January 2, 2014): 7–16. http://dx.doi.org/10.1080/14702029.2014.933022.

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Karydis, Nikolaos. "Discovering the Byzantine Art of Building: Lectures at the RIBA, the Royal Academy and the London Architectural Society, 1843–58." Architectural History 63 (2020): 171–90. http://dx.doi.org/10.1017/arh.2020.9.

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ABSTRACTAlthough British architects played a major role in the rediscovery of the Byzantine monuments of Greece in the late nineteenth and early twentieth centuries, earlier interest in the subject has remained obscure. Four lectures, read at the Royal Institute of British Architects, the Royal Academy and the London Architectural Society from 1843 to 1857, reflect a lively interest in Byzantine church architecture in the mid-nineteenth century. Delivered by Charles Robert Cockerell (1843), Edwin Nash (1847), Thomas Leverton Donaldson (1853) and John Louis Petit (1858), these lectures constitute some of the earliest attempts in England to explore both well-known monuments such as Hagia Sophia and lesser-known churches in Greece, Turkey and elsewhere. The manuscript records of these lectures show that influential British architects were not only familiar with Byzantine monuments, but were also able to look at them from the viewpoint of the designer and the builder. Emphasising the potential of Byzantine architecture to inform new design, they paved the way for the Byzantine revival, half a century later, and for the systematic investigation of Byzantine architecture from the late nineteenth century onwards.

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Cronquist, Carol. "An Ohio librarian makes a ‘find’." Art Libraries Journal 18, no. 4 (1993): 24–27. http://dx.doi.org/10.1017/s030747220000852x.

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In the course of researching the life and work of a 19th century British artist, Henry Courtney Selous, several London museums and libraries were visited during 1993. The Royal Academy and the National Portrait Gallery yielded some information, but at the Guildhall Library the author’s attention was drawn to a diary held at the National Art Library which on perusal seemed undoubtedly to have been compiled by Selous. The Library has subsequently revised the diary’s catalogue entry to incorporate this attribution.

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Barringer, T. J. "Art in the Age of Queen Victoria: Treasures from the Royal Academy of Arts Permanent Collection (review)." Victorian Studies 43, no. 3 (2001): 495–97. http://dx.doi.org/10.1353/vic.2001.0043.

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Trodd, Colin. "The Authority of Art: Cultural criticism and the idea of the Royal Academy in mid‐Victorian Britain." Art History 20, no. 1 (March 1997): 3–22. http://dx.doi.org/10.1111/1467-8365.00044.

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Assarsson-Rizzi, Kerstin. "Cultural heritage: the art library cuts across borders in Sweden." Art Libraries Journal 33, no. 4 (2008): 39–41. http://dx.doi.org/10.1017/s0307472200015613.

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Vitterhetsakademiens Library (The Library of the Royal Swedish Academy of Letters, History and Antiquities) at the Swedish National Heritage Board is a partner in the development of new services in Sweden, both physically at the Library and digitally on the internet. An agreement signed by four partners in September 2007 aimed to strengthen and develop the Library’s services to the research community. In 2005 seven libraries in Stockholm formed a network with the specific aim of improving the quality of library services for research in the humanities. And in 2007 a new internet search service was launched which enables cross searching of major databases that cover various aspects of the Swedish cultural heritage; this includes two databases hosted by the Library. This process of cutting across institutional and sectoral borders has been facilitated by modern technology.

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Robinson, Anne. "Penelope Spencer (1901–93) Dancer and Choreographer: A Chronicle." Dance Research 28, no. 1 (May 2010): 36–89. http://dx.doi.org/10.3366/drs.2010.0004.

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The career of the English dancer, choreographer, teacher and dance writer, Penelope Spencer (1901–93), primarily spanned the twenty-year period between the First and Second World Wars (1919–39). Spencer's versatile dance training and career encompassed diverse British theatre genres of the period, including ballet, drama, mime, modern dance, musical comedy, opera, pantomime and revue. It was common practice during the inter-war period for English dancers to disguise their British origins by ‘Russianising’ their names. Spencer, however, maintained her English name throughout her career. She practised consecutively both as a freelance artiste and also under the auspices of important cultural institutions, including the British National Opera Company [BNOC], the Camargo Society, the Cremorne Company, the Dancer's Circle Dinners, the Glastonbury Festival, the Imperial Society for Teachers of Dancing [ISTD], the League of Arts, the London Opera Syndicate Limited, the Margaret Morris Movement, the One Hundred Club, the Royal Academy of Dancing [RAD], the Royal Academy of Dramatic Art [RADA], the Royal College of Music [RCM], and the Sunshine Matinées. Spencer's significant contribution to British theatre dance and wider cultural heritage, is largely forgotten. Since no major study of her work has been published, 1 and because not one of her creations survives in performance, the importance of her wide-ranging, and often pioneering achievements, is not fully recognised.

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Bovyn, Guy. "Hoger kunstonderwijs in vloeibare tijden? Do It Yourself!" Forum+ 25, no. 3 (November 1, 2018): 14–20. http://dx.doi.org/10.5117/forum2018.3.bovy.

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Begin 2019 wordt in de Koninklijke Academie voor Schone Kunsten een onderwijsvernieuwend project opgestart dat het traditionele ateliermodel kritisch moet bevragen. Geïnspireerd door de D.I.Y.-attitude van de historische punkbeweging worden een aantal kunstenaarscollectieven uitgenodigd om met de studenten en docenten horizontaal georganiseerde leergemeenschappen te vormen. Met dit initiatief wil de academie inzicht verwerven in de manier waarop een bijsturing van haar werking (1) kan bijdragen tot een verdere emancipatie van de student en (2) de autonomie en zelfredzaamheid van de jonge kunstenaar bij het uitbouwen en beoefenen van een artistieke praktijk kan versterken.An innovative educational project aimed at interrogating the traditional studio model is due to start in the Royal Academy for Fine Arts in early 2019. Inspired by the DIY ethos of the punk movement a number of art collectives were invited to set up learning communities together with students and teachers. The Academy hopes this initiative will give it insights into the way its functioning can a) contribute to the further emancipation of the student and b) foster the independence and self-sufficiency of the young artist when developing and carrying on an artistic practice.

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Mathews, Timothy. "Extracts from healing without." CounterText 6, no. 3 (December 2020): 423–36. http://dx.doi.org/10.3366/count.2020.0203.

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In a fine example of how critique can cast itself as lyrical essay (see also, on this, the interview with David Shields in this number of CounterText) – and, thereby too, of evolving forms of what is now recognised through the term ‘creative criticism’ – Tim Mathews reflects in this piece on Antony Gormley's exhibition at the Royal Academy of Art in the autumn of 2019. The focus is on how Gormley's sculptures invite and stage awareness of individual and community reflection on, and participation in, art. Both wide-ranging and intimate, it valuably reflects on the relatability of Gormley's work and on the responsibilities distinct in the gaze (both one's own and others’) upon art's dimensioning of the human – and the experientiality of that.

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MERTENS, JOOST. "CHARLES BOURGEOIS (1759-1832), HIS ANTINEWTONIAN COLOUR THEORY AND THE RECONCILEMENT OF ART AND SCIENCE." Nuncius 22, no. 1 (2007): 15–48. http://dx.doi.org/10.1163/182539107x00022.

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Abstracttitle ABSTRACT /title Between 1810 and 1825, Charles Bourgeois (1759-1832), miniaturist, pigment manufacturer and physicist, developed a colour optics that defied both the Newtonian view of the composite nature of white light and the widely accepted strict separation between science and the arts. In this paper four themes are discussed: the general rules of colour mixing and the resulting three-dimensional colour space CEI (Couleur, Excdent, Intensit); Bourgeois' theory of light as a vehicle for non-luminous colours; His attempt at disproving Newton's central principle of the unequal refrangibility of different colours; and his relation, or rather non-relation, with the Royal Academy of Sciences which considered Bourgeois' theory of light a piece of nonsense.

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Rogers-Hayden, Tee, and Nick Pidgeon. "Moving engagement “upstream”? Nanotechnologies and the Royal Society and Royal Academy of Engineering's inquiry." Public Understanding of Science 16, no. 3 (July 2007): 345–64. http://dx.doi.org/10.1177/0963662506076141.

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Hulme, Charles. "John Cassidy, Manchester Sculptor, and his Patrons: Their Contribution to Manchester Life and Landscape." Bulletin of the John Rylands Library 89, no. 1 (March 2012): 207–45. http://dx.doi.org/10.7227/bjrl.89.1.9.

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John Cassidy, born in Ireland and trained as a sculptor at the Manchester School of Art, was a popular figure in the Manchester area during his long career. From 1887, when he spent the summer modelling for visitors at the Royal Jubilee Exhibition, to the 1930s he was a frequent choice for portrait busts, statues and relief medallions. Elected to the Manchester Academy of Fine Arts, he also created imaginative works in all sorts of materials, many of which appeared at the Academys annual exhibitions. He gained public commissions from other towns and cities around Britain, and after World War I created several war memorials. This essay examines his life and work in Manchester, with particular reference to two major patrons, Mrs Enriqueta Rylands and James Gresham. A list of public works still to be seen in Greater Manchester is included.

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Goldhill, Simon. "The Art of Reception: J.W. Waterhouse and the Painting of Desire in Victorian Britain." Ramus 36, no. 2 (2007): 143–86. http://dx.doi.org/10.1017/s0048671x00000722.

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Victorian art, particularly in the latter decades of the 19th century, turned to classical subjects obsessively. Alma-Tadema, Poynter, Leighton, Watts, and a host of less celebrated figures, produced a string of canvasses especially for the Royal Academy but also for other galleries in London and for exhibition around the country, which drew on the passion for the classical world so much in evidence in the broader cultural milieu of nineteenth-century Europe. Classics was an integral part of the furniture of the Victorian mind, through the education system, through popular culture, through architecture, through opera, through literature. The high art of the Royal Academy, viewed by thousands and extensively discussed in the press, is a fundamental aspect of this classicising discourse. This era was self-consciously a great age of progress, but it is striking to what degree the rapidly changing culture of Britain expressed its concerns, projected its ideals and explored its sense of self through images of the past—medieval, and early Christian, as much as classical. In this article, I want to look at one artist, J.W. Waterhouse, who was at the centre of this artistic moment—a discussion which will also involve us in investigating the Victorian perception of less familiar classical authors such as Josephus and Prudentius (as well as Homer and Ovid), and less familiar classical figures—St Eulalia, Mariamne—as well as the most recognisable classical icons such as the Sirens and Circe. My first aim is to show how sophisticated and interesting the art of Waterhouse is, a figure who has suffered markedly from the shifts of taste in the twentieth century. His classical pictures in particular show a fascinating engagement with the position of the male subject of desire, which has been largely ignored in the scant discussions of his work, and is strikingly absent from the most influential attempts to see Waterhouse's art in its Victorian context. Waterhouse's visualisation of classical subjects goes to the heart of Victorian anxieties about sexuality.

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O’Neill, Ciarán Rua. "Column bodies: the caryatid and Frederic Leighton’s Royal Academy sketchbooks." Sculpture Journal 25, no. 3 (December 20, 2016): 421–32. http://dx.doi.org/10.3828/sj.2016.25.3.9.

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Smith, Charles Saumarez. "THE INSTITUTIONALISATION OF ART IN EARLY VICTORIAN ENGLAND." Transactions of the Royal Historical Society 20 (November 5, 2010): 113–25. http://dx.doi.org/10.1017/s0080440110000071.

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ABSTRACTThis article explores the political and intellectual circumstances which led to the efflorescence of cultural institutions between the foundation of the National Gallery in 1824 and the National Portrait Gallery in 1856: the transformation of institutions of public culture from haphazard and rather amateurish institutions to ones which were well organised, with a strong sense of social mission, and professionally managed. This transformation was in part owing to a group of exceptionally talented individuals, including Charles Eastlake, Henry Cole and George Scharf, accepting appointment in institutions to foster the public understanding of art. But it was not simply a matter of individual agency, but also of coordinated action by parliament, led by a group of MPs, including the Philosophical Radicals. It was much influenced by the example of Germany, filtered through extensive translation of German art historical writings and visits by writers and politicians to Berlin and Munich. It was also closely related to the philosophy of the utilitarians, who had a strong belief in the political and social benefits of the study of art. Only the Royal Academy refused the embrace of state control.

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Almelek İşman, Sibel. "Portrait historié: Ladies as goddesses in the 18th century European art." Journal of Human Sciences 14, no. 1 (February 15, 2017): 396. http://dx.doi.org/10.14687/jhs.v14i1.4198.

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Portrait historié is a term that describes portrayals of known individuals in different roles such as characters taken from the bible, mythology or literature. These portraits were especially widespread in the 18th century French and English art. In the hierarchy of genres established by the Academy, history painting was at the top and portraiture came next. Artists aspired to elevate the importance of portraits by combining it with history. This article will focus on goddesses selected by history portrait artists. Ladies of the nobility and female members of the royal families have been depicted as goddesses in many paintings. French artists Nicolas de Largillière, Jean Marc Nattier and Louise Élisabeth Vigée Le Brun; English artists George Romney and Sir Joshua Reynolds can be counted among the artists working in this genre. Mythological figures such as Diana, Minerva, Venus, Hebe, Iris, Ariadne, Circe, Medea, Cassandra, Muses, Graces, Nymphs and Bacchantes inspired the artists and their sitters. Ladies were picturised with the attributes of these divine beings.

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Jakobsen, Lise Skytte. "Holding Your Scream in Your Hand. 3D Printing as Inter-Dimensional Experience in Contemporary Artworks by Alicia Framis, Martin Erik Andersen and Hito Steyerl." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 25–45. http://dx.doi.org/10.1515/ausfm-2015-0024.

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Abstract During the last couple of years, 3D printing has been widely discussed as a technology with the potential to revolutionize production methods as we used to know them. However, hitherto not much has been written about the aesthetic| aspects of this new possibility of transferring bits to atoms. What kinds of (3D) images are awaiting us? This article focuses on how three contemporary artists are including 3D prints and the process of 3D printing in their work. The article offers a short introduction to the characteristics of 3D printing followed by indebt analysis of art works by Spanish installation artist Alicia Framis. Danish sculptor and professor at The Royal Danish Art Academy Martin Erik Andersen and German filmmaker and writer Hito Steyerl. The article points out how these, very different, works of art use 3D printing to offer the viewer a sense of inter-dimensionality. The central experience here lies somewhere between 2D and 3D.

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Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts." European Review 8, no. 2 (May 2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.

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The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open-air painting as part of the tuition at the Royal Academy of Copenhagen and was, in this respect, a pioneer in a European context. During the 1820s and 30s almost all the young Danish painters were pupils of Eckersberg, and he also influenced the Norwegian J. C. Dahl. The subjects of the Danish paintings are very down-to-earth – they are first and foremost taken from everyday life. In the first decades of nineteenth century, Copenhagen had the status as the most important art centre in Northern Europe, and the art academy attracted many German artists. However, around 1840, a growing nationalism separated the Danish and German artists, and many Danish landscape painters devoted their art to the praise of Denmark. The nationalist artists, however, still stuck to the reality they had actually seen.

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Casteras, Susan P. "John Everett Millais' “Secret-Looking Garden Wall” and the Courtship Barrier in Victorian Art." Browning Institute Studies 13 (1985): 71–98. http://dx.doi.org/10.1017/s009247250000537x.

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The Victorians Were obsessed with themes of love and courtship, which dominated the walls of the Royal Academy in increasing numbers from the middle of the century to its end. While in the early 1800s a canvas with such a subject was often entitled something like The Marriage of Bacchus and Ariadne, Cupid and Psyche, or Scipio Restoring the Captive Princess to her Lover, by the 1840s the pictorial interest had shifted to essentially bourgeois portrayals. With each year thetally of courtship themes escalated, vignettes of lovelorn maidens appearing on exhibition walls alongside canvases with ludicrous titles and themes like The Leper's Bride. Within this wide scope of amorousness, however, love was firmly fixed in the Victorian consciousness as transpiring in the sovereign domain of the earthly paradise, and more precisely, in the middle-class garden or its perimeters in nature.

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Scott, T. "GERMAN ART IN THE TWENTIETH CENTURY: PAINTING AND SCULPTURE 1905-1985 Royal Academy of Arts, London, October-December 1985." German History 4, no. 1 (January 1, 1987): 51–54. http://dx.doi.org/10.1093/gh/4.1.51.

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Scott, T. "GERMAN ART IN THE TWENTIETH CENTURY: PAINTING AND SCULPTURE 1905-1985, Royal Academy of Arts, London, October-December 1985." German History 5, no. 4 (January 1, 1987): 51–54. http://dx.doi.org/10.1093/gerhis/5.4.51.

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Thorne, Gary, and Marcel Freydefont. "Le th��tre au c�ur de l�enseignement de la sc�nographie � la Royal Academy of Dramatic Art." �tudes th��trales N�54-55, no. 2 (2012): 250. http://dx.doi.org/10.3917/etth.054.0250.

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Tari Solymosi, Emőke. "“Bartók always called me Latin”: The Influence of Béla Bartók on László Lajtha's life and art." Studia Musicologica 48, no. 1-2 (March 1, 2007): 215–23. http://dx.doi.org/10.1556/smus.48.2007.1-2.14.

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Abstract Bartók's influence on his outstanding Hungarian contemporary, László Lajtha (1892–1963) remains as yet largely unresearched. Lajtha studied with Bartók at the Royal Hungarian Academy of Music and went on to become a composer, folk music researcher, versatile teacher, international cultural ambassador, and member of the French Academy. The two men's friendship and mutual respect lasted throughout Bartók's life. Among the leading musicians of the time, it was Bartók who first expressed his high opinion of the younger composer's talent. Bartók's influence can be observed in almost every field of Lajtha's work. For example, it was Bartók who recommended that Lajtha choose Paris as the place to complete his studies, which fostered in turn Lajtha's orientation toward Latin culture. Following in Bartók's footsteps, Lajtha became one of the greatest folk music collectors and researchers in Hungary, and this music also exerted a significant effect on his compositional style. Bartók recommended that the director Georg Hoellering commission Lajtha to write film music, which became an important new genre for the latter. A large number of documents — especially the unpublished letters from László Lajtha to John S. Weissmann, one of his former students — offer proof that Bartók's inspiration and practical assistance were of paramount importance to the development of Lajtha's career, oeuvre, and aesthetics.

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Lenaghan, Julia. "The cast collection of John Sanders, architect, at the Royal Academy." Journal of the History of Collections 26, no. 2 (September 4, 2013): 193–205. http://dx.doi.org/10.1093/jhc/fht031.

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Chambers, Eddie. "New Directions in Black British Art History." Nka Journal of Contemporary African Art 2019, no. 45 (November 1, 2019): 8–17. http://dx.doi.org/10.1215/10757163-7916820.

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This article discusses the changing nature of art history when it comes to black British artists and suggests that such history has perhaps moved away from existing to instead correcting or addressing the systemic absences of such artists from British art. This is typified by Rasheed Araeen’s 1989 exhibition The Other Story, the first major attempt to create a broad black British art history, and several other not dissimilar, exhibitions. The article also considers what changes to the fortunes of a small number of black British artists might be deduced from the awarding of honors by the queen and the extension of membership in the Royal Academy to a handful. The article draws attention to the ways in which major London galleries such as the Institute of Contemporary Arts, the Serpentine, and the Whitechapel have, over the course of the past two decades, hosted the first main-space solo shows of black British artists’ work. With so much having happened to limited numbers of black British artists, this introduction suggests that burgeoning scholarship on these and other artists is timely, and that the articles assembled for this issue of Nka are a reflection of this increased attention. Among its concluding considerations are the ways in which much of this new scholarship emanates from US rather than from British universities. Finally, the article urges a “rescuing from obscurity” of important pioneering texts on black British artists.

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Sobieraj, Leonard. "IN MEMORY OF MARIAN SOŁTYSIAK." Muzealnictwo 58, no. 1 (July 3, 2017): 0. http://dx.doi.org/10.5604/01.3001.0010.1578.

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Marian Sołtysiak, PhD, director of the Mazovian Museum in Płock (MMP) from 1961 to 1977, passed away on 20 November 2016. During his office, the museum was transformed into a supraregional institution, extended its collections, expanded its scientific and popularising activity, established contacts with academic and artistic circles, and acquired a new building in the Castle of the Mazovian Dukes. The most significant decision which set the institution’s further course was to start collecting Art Nouveau works, which now form the largest collection of Art Nouveau in Poland and is a showpiece of the museum. They also contributed to the network of museums in the Mazovian region, which led to the development of cultural life in our region. Marian Sołtysiak wrote publications devoted to our museum, one based on his PhD thesis The Mazovian Museum in Płock. Its history and social functions, as well as a memoir The Secesja with petrochemistry in the background. Once he left the MMP, he held important positions in various institutions in Warsaw; for example he was the organiser and first director of the Board of Historical Garden and Palace Conservation of the National Museum, Deputy Director of the Royal Castle in Warsaw, Director of the National Museum, Curator of the Arx Regia Publishing House of the Royal Castle in Warsaw, and Managing Director of the Patrimonum Foreign Enterprise. Sołtysiak was also an academic lecturer at the Pawel Wlodkowic University College in Płock and at the Pultusk Academy of Humanities, and a member of numerous Polish and international associations, museum boards, and scientific societies devoted to culture, protection of monuments and museology. For his indefatigable work for the protection of cultural heritage, he was given the award “For the guardianship of monuments” and the Annual Award from the Minister of Culture and National Heritage.

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Kuehn, Julia. "ELISABETH JERICHAU-BAUMANN, “EGYPT 1870”." Victorian Literature and Culture 38, no. 1 (February 23, 2010): 257–66. http://dx.doi.org/10.1017/s106015030999043x.

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Elisabeth Baumann was born in Warsaw in 1819 to a German mapmaker, Philip Adolph Baumann, and his German wife, Johanne Frederikke Reyer. Her early training took her to Berlin and, from 1838, to the Düsseldorf Academy of Art, a leading one in its day. According to Hans Christian Andersen, who would later write a biography of his friend Elisabeth, the famous German painter Peter von Cornelius much admired Baumann's paintings, and speaking of them he declared, “She is the only real man in the Düsseldorf school,” which was doubtlessly meant as a compliment (see Andersen, qtd. in Von Folsach 83). In Düsseldorf, Baumann was influenced by the prevailing realist trend of the Academy but added to it an idealistic and sensuous quality that would become her distinctive mark. After the completion of her training in 1845, Baumann went to Rome where she met the Danish sculptor Jens Adolf Jerichau, one of the outstanding talents of his time, whom she married a year later. The couple settled in Denmark in 1849 (although Jerichau-Baumann kept a studio in Rome) as Jens Adolf became a professor at, and later President of, the Royal Danish Academy of Fine Arts.

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Rhi, Mikyung. "From Broadway to Royal Academy of Arts : A Study on the Accepting Process of English Art by Edwin Austin Abbey." Art History 34 (August 31, 2017): 119–41. http://dx.doi.org/10.14769/jkaahe.2017.08.34.119.

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Milligan, Barry. "LUKE FILDES'STHE DOCTOR, NARRATIVE PAINTING, AND THE SELFLESS PROFESSIONAL IDEAL." Victorian Literature and Culture 44, no. 3 (August 30, 2016): 641–68. http://dx.doi.org/10.1017/s1060150316000097.

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Since its introductionat the Royal Academy exhibition of 1891, Luke Fildes's paintingThe Doctorhas earned that often hyperbolic adjective “iconic.” Immediately hailed as “the picture of the year” (“The Royal Academy,” “The Doctor,” “Fine Arts”), it soon toured the nation as part of a travelling exhibition, in which it “attracted most attention” (“Liverpool Autumn Exhibition”) and so affected spectators that one was even struck dead on the spot (“Sudden Death”). Over the following decades it spawned a school of imitations, supposed companion pictures, poems, parodies, tableaux vivants, an early Edison film, and a mass-produced engraving that graced middle-class homes and doctors' offices in Britain and abroad for generations to come and was reputedly the highest-grossing issue ever for the prominent printmaking firm of Agnew & Sons (Dakers 265–66). When Fildes died in 1927 after a career spanning seven decades and marked by many commercial successes and even several royal portraits, hisTimesobituary nonetheless bore “The Doctor” as its sub-headline (“Sir Luke Fildes”) and sparked a lively discussion of the painting in the letters column for several issues thereafter (“Points From Letters” 2, 4, 5 Mar. 1927). Although the animus against things Victorian in the early twentieth century shadowedThe Doctorit never eclipsed it; by the middle of the century the painting was still being held up as the quasi-Platonic ideal of medical practice (“Bedside Manner,” “98.4”), gracing postage stamps, and serving ironically as the logo for both a celebration of Britain's National Health Service and a campaign against its equivalent in the United States. Appreciation of the painting in mid-century art historical circles was echoed in the popular press (“Victorian Art”), andThe Doctorwas singled out as a highlight of the reorganized Tate Gallery in 1957 (“Tate Gallery”), after which it settled into a sort of dowager status as a cornerstone of that eminent collection, where it is still in the regular rotation for public display. Since the mid-1990s it has been a recurring focus of discussion in both Medical Humanities journals and prominent medical professional organs such as theLancetand theBritish Medical Journal, where a steady stream of articles still cite it as a sort of prelapsarian benchmark for the role and demeanor of the ideal medical practitioner.

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Wier, Claudia Rene. "A NEST OF NIGHTINGALES: CUZZONI AND SENESINO AT HANDEL'S ROYAL ACADEMY OF MUSIC." Theatre Survey 51, no. 2 (October 18, 2010): 247–73. http://dx.doi.org/10.1017/s0040557410000323.

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Italian prima donna Francesca Cuzzoni (ca. 1698–1770) was the first internationally recognized virtuosa to sing high soprano women's roles. Although her work served as a model to the female performers who followed, no in-depth critical study has been written about her groundbreaking career on the opera stage of the Royal Academy of Music in London, where she was the celebrated prima donna from 1723 to 1728. During her tenure, the Royal Academy became one of the most important opera companies in Europe, rivaling those of the Viennese court, the Paris Opera, and the Italian opera houses of Naples and Venice. Her arrival on the London stage signaled a shift in the ways composers set roles in relationship to vocal categories and gender. In particular, Cuzzoni's superior virtuosic vocal abilities influenced and inspired German George Friedrich Handel's (1685–1759) compositional style and his musical treatment of dramatic elements.

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Kurzer, Frederick. "Arthur Herbert Church FRS and the Palace of Westminster frescoes." Notes and Records of the Royal Society 60, no. 2 (April 19, 2006): 139–59. http://dx.doi.org/10.1098/rsnr.2006.0145.

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In a long and distinguished career, A. H. Church FRS, professor of chemistry successively at the Royal Agricultural College in Cirencester and the Royal Academy of Arts in London, contributed original work to a wide range of chemical topics. As a talented painter he became an expert in the chemistry of paints and painting and was the obvious person, in 1894, to be entrusted with the conservation of the important frescoes in the Palace of Westminster, which had deteriorated with the passage of time and suffered severely in the unfavourable atmospheric conditions of Victorian London. Church identified airborne sulphuric acid as the chief destructive agent, and succeeded in halting further decay of the murals by judicious procedures, some of them of his own devising, and ensured at a critical juncture the eventual survival of these threatened art treasures. Church's 12 years’ activities in this area, being published exclusively as Parliamentary Papers, remained largely unknown except to the officials and Commissions directly concerned with the problem, but as a significant achievement in his life's work they merit due attention and credit.

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Hallett, Mark. "Reading the Walls: Pictorial Dialogue at the Eighteenth-Century Royal Academy." Eighteenth-Century Studies 37, no. 4 (2004): 581–604. http://dx.doi.org/10.1353/ecs.2004.0042.

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Journal articles on the topic 'The Royal Art Academy'

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