Art in Britain 1660-1815 by David Solkin | Bibliography & Index by Yale University Press, London

Select Bibliography The bibliography is divided into two parts: a schedule of selected readings for those who wish to explore the background of developments described in the book – both as a whole and chapter by chapter – followed by a much longer list that is intended to function as an introductory guide to research in the field of British two-dimensional art between the Restoration and the Battle of Waterloo. To facilitate usage of the more comprehensive bibliography, its materials have been organized under the following headings:

general texts: history (social and cultural) and the history of art the london art world: institutions, exhibitions and the art market artists and patrons on the continent art in the english regions, ireland, scotland and wales art theory contemporary art criticism and writing on the arts (including artists’ lives) thematics: consumption and politeness thematics: gender and sensibility thematics: empire and race media: drawings, watercolours and pastels media: miniatures media: prints and print culture media: prints and print culture ii: graphic satire genres: history-painting genres: portraiture genres: landscape and marine painting genres: sporting art genres: everyday life and still-life artists, patrons and other players (listed alphabetically by name)

general texts

2 the politics of portraiture c. 1660–75

arnold, dana and peters corbett, david , eds.,

barber, tabitha , Mary Beale (1632/3–1699): Portrait

A Companion to British Art: 1600 to the Present, Chichester, 2013. barrell, john , The Political Theory of Painting from Reynolds to Hazlitt: ‘The Body of the Public’, New Haven and London, 1986. bindman, david , ed., The History of British Art, Volume 2: 1600–1870, London, 2008. brewer, john , The Pleasures of the Imagination: English Culture in the Eighteenth Century, London, 1997. craske, matthew , Art in Europe, 1700–1830, Oxford, 1997. farington, joseph , The Diary of Joseph Farington, vols. 1–7 ed. Kenneth Garlick and Angus MacIntyre; vols. 8–16 ed. Kathryn Cave; index by Evelyn Newby, 16 vols., New Haven and London, 1978–98. hemingway, andrew and vaughan, william , eds., Art in Bourgeois Society, 1790–1850, Cambridge, 1998. hook, judith , The Baroque Age in England, London, 1976. paulson, ronald , Emblem and Expression: Meaning in English Art of the Eighteenth Century, Cambridge, MA, 1975. pears, iain , The Discovery of Painting: The Growth of Interest in the Arts in England, 1680–1768, New Haven and London, 1988. solkin, david h. , Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven and London, 1993. vertue, george , ‘Vertue Note Books: Volume I–VI’, Walpole Society, vols. 18, 20, 22, 24, 26 (index to Volumes I–V), 30 (1930–55). waterhouse, ellis , Painting in Britain 1530 to 1790, rev. edn, New Haven and London, 1994. whitley, william t. , Art in England 1800–1837, 2 vols., Cambridge, 1928–30. —— Artists and Their Friends in England 1700–1799, 2 vols., London and Boston, 1928.

1 restoration and representation Many texts appear in more than one place – though if the focus is exclusively on a single artist, patron or artworld player, then as a rule a book or article will feature under the name of the individual in question, and only occasionally elsewhere. Collections catalogues are listed under ‘General Texts’. Included in the bibliography are a small number of websites, some devoted to individual artists (e.g. William Blake, J. M. W. Turner), others to collections (The British Museum and the Yale Center for British Art) or to research resources (The Art World in Britain 1660–1735); all URLs were active at the time of going to press. For basic information about biographies and institutional histories, readers should consult the Oxford Dictionary of National Biography and Oxford Art Online (which incorporates Grove Art Online).

croft-murray, edward , Decorative Painting in

England 1537–1837. Vol. I: Early Tudor to Sir James Thornhill, London, 1962. geraghty, anthony , The Sheldonian Theatre: Architecture and Learning in Seventeenth-Century Oxford, New Haven and London, 2013. hearn, karen , ed., Van Dyck & Britain, exhibition catalogue, Tate Britain, London, 2009. sharpe, kevin , Rebranding Rule: The Restoration and Revolution: Monarchy, 1660–1714, New Haven and London, 2013. solkin, david h. , ‘Isaac Fuller’s Escape of Charles II: A Restoration Tragicomedy’, Journal of the Warburg and Courtauld Institutes, vol. 62 (1999), pp. 199–240. weber, harold m., Paper Bullets: Print and Kingship under Charles II, Lexington, KY, 1996.

of a Seventeenth-Century Painter, Her Family and Her Studio, exhibition catalogue, Geffrye Museum, London, 1999. coombs, katherine , The Portrait Miniature in England, London, 1998. macleod, catharine and marciari alexander , julia , eds., Painted Ladies: Women at the Court of Charles II, exhibition catalogue, National Portrait Gallery, London, 2001. marciari alexander, julia and macleod, catharine , eds., Politics, Transgression, and Representation at the Court of Charles II, Studies in British Art 18, New Haven and London, 2007. murdoch, john , ‘Painting: From Astraea to Augustus’, in Boris Ford, ed., The Cambridge Guide to the Arts in Britain, Vol. 4: The Seventeenth Century, Cambridge, 1989, pp. 235–65.

3 representing nature in later seventeenth-century britain bermingham, ann , Learning to Draw: Studies in

the Cultural History of a Polite and Useful Art, New Haven and London, 2000. borg, alan , The History of the Worshipful Company of Painters Otherwise Painter-Stainers, London, 2005. hunter, matthew c. , Wicked Intelligence: Visual Art and the Science of Experiment in Restoration London, Chicago and London, 2013. johns, richard , ‘Framing Robert Aggas: The PainterStainers’ Company and the “English School of Painters”’, Art History, vol. 31, no. 3 (June 2008), pp. 322–41. ogden, henry v. s. and ogden, margaret s. , English Taste in Landscape in the Seventeenth Century, Ann Arbor, 1955.

4 party, politics, portraiture and print: from the exclusion crisis to the ‘glorious revolution’ griffiths, antony , The Print in Stuart Britain

1603–1689, exhibition catalogue, British Museum, London, 1998. monteyne, joseph , The Printed Image in Early Modern London: Urban Space, Visual Representation, and Social Exchange, Aldershot and Burlington, VT, 2007. stewart, j. douglas , Sir Godfrey Kneller and the English Baroque Portrait, Oxford, 1983.

5 after the ‘glorious revolution’: remaking the image of a ruling class bignamini, ilaria , ‘Art Institutions in London, 1689–1768: A Study of Clubs and Academies’, Walpole Society, vol. 54 (1991), pp. 19–140.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4

336 • select bibliography brewer, john , The Sinews of Power: War, Money and

the English State 1688–1783, Cambridge, MA, 1988. bucholz, r. o. , The Augustan Court: Queen Anne and the Decline of Court Culture, Stanford, CA, 1993. maccubbin, robert and hamilton-phillips, martha , eds., The Age of William III & Mary II: Power, Politics, and Patronage, 1688–1702. A Reference Encyclopedia and Exhibition Catalogue, exhibition catalogue, The Grolier Club, New York, 1989. vertue, george , ‘Vertue Note Books: Volume I–VI’, Walpole Society, vols. 18, 20, 22, 24, 26, 29 (Index to Volumes I–V), 30 (1930–55).

6 making history after the ‘glorious revolution’ clayton, timothy , The English Print 1688–1802, New Haven and London, 1997.

gibson-wood, carol , Jonathan Richardson: Art

Theorist of the English Enlightenment, New Haven and London, 2000. johns, richard , ‘“An Air of Grandeur & Modesty”: James Thornhill’s Painting in the Dome of St. Paul’s Cathedral’, Eighteenth-Century Studies, vol. 42, no. 4 (Summer 2009), pp. 501–27. —— ‘“These wilder sorts of Painting”: The Painted Interior in the Age of Antonio Verrio’, in Dana Arnold and David Peters Corbett, eds., A Companion to British Art 1600 to the Present, Chichester, 2013, pp. 79–104. richardson, jonathan , An Essay on the Theory of Painting [1715], 2nd edn, London, 1725. shaftesbury, anthony ashley cooper , 3rd earl of , A Notion of the Historical Draught or Tablature of the Judgment of Hercules, According to Prodicus, Lib.II. Xen. de Mem. Soc., London, 1713. thornhill, james , An Explanation of the Painting in the Royal-Hospital at Greenwich, London, n.d. (c. 1726–30).

7 representing country life, c. 1695– 1725 barrell, john , ‘The Public Prospect and the Private

View: The Politics of Taste in Eighteenth-Century Britain’, in Salim Kemal and Ivan Gaskell, eds., Landscape, Natural Beauty and the Arts, Cambridge, 1993, pp. 81–102. deuchar, stephen , Sporting Art in Eighteenth-Century England: A Social and Political History, New Haven and London, 1988. meyer, arline , John Wootton 1682–1764: Landscapes and Sporting Art in Early Georgian England, exhibition catalogue, The Iveagh Bequest, Kenwood House, London, 1984. røstvig, maren-sofie , The Happy Man: Studies in the Metamorphosis of a Classical Ideal, 2 vols., Oslo, 1962. watt, ian , ‘Two Historical Aspects of the Augustan Tradition’, in R. F. Brissenden, ed., Studies in the Eighteenth Century: Papers Presented at the David Nichol Smith Memorial Seminar, Canberra 1966, Toronto, 1968, pp. 67–79.

8 curiosity, commerce and conversation barrell, john , ‘“The Dangerous Goddess”: Mascu-

linity, Prestige, and the Aesthetic in Early EighteenthCentury Britain’, Cultural Critique, vol. 12 (Spring 1989), pp. 101–31. benedict, barbara m. , Curiosity: A Cultural History of Early Modern Inquiry, Chicago and London, 2002. einberg, elizabeth , Manners & Morals: Hogarth and British Painting 1700–1760, exhibition catalogue, Tate Gallery, London, 1987. hirschman, albert o. , The Passions and the Interests: Political Arguments for Capitalism before its Triumph, Princeton, NJ, 1977. klein, lawrence e. , Shaftesbury and the Culture of Politeness: Moral Discourse and Cultural Politics in Early Eighteenth-Century England, New York, 1994. paulson, ronald , Hogarth, Volume 1: The ‘Modern Moral Subject’, 1697–1732, London, 1991. solkin, david, h. , ‘The English Revolution and the Revolution of History Painting: The Bowles Brothers’ Life of Charles I’, in Mark Hallett, Nigel Llewellyn and Martin Myrone, eds, ed., Court, Country, City: Essays on British Art and Architecture 1660–1735, Studies in British Art, 24, New Haven and London (forthcoming). —— Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven and London, 1993. staves, susan , ‘Pope’s Refinement’, The Eighteenth Century: Theory and Interpretation, vol. 29, no. 2 (Spring 1988), pp. 145–63.

9 the portraiture of politeness c. 1730–5 agnew, jean-christophe , Worlds Apart: The Market

and the Theater in Anglo-American Thought, 1550– 1750, Cambridge, 1986. goldsmith, m. m. , ‘Liberty, Luxury and the Pursuit of Happiness’, in Anthony Pagden, ed., The Languages of Political Theory in Early Modern Europe, Cambridge, 1987, pp. 225–51. leppert, richard , Music and Image: Domesticity, Ideology and Socio-Cultural Formation in EighteenthCentury England, Cambridge, 1988. mandeville, bernard , The Fable of the Bees: Or, Private Vices, Publick Benefits [1723–9], ed. F. B. Kaye, 2 vols., Oxford, 1924. meyer, arline , ‘Re-Dressing Classical Statuary: The Eighteenth-Century “Hand-in-Waistcoat” Portrait’, Art Bulletin, vol. 77, no. 1 (March 1995), pp. 45–63. retford, kate , Pictures in Little: The Conversation Piece in Georgian Britain, New Haven and London (forthcoming). rorschach, kimerly , ‘Frederick, Prince of Wales (1707–51) as Collector and Patron’, Walpole Society, vol. 55 (1993), pp. 1–76. sekora, john , Luxury: The Concept in Western Thought from Eden to Smollett, Baltimore, 1977. solkin, david h. , Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven and London, 1993.

10 painting and the public sphere c. 1730–50 allen, brian , Francis Hayman, exhibition catalogue,

Yale Center for British Art, New Haven, New Haven and London, 1987. andrew, donna t ., Philanthropy and Police: London Charity in the Eighteenth Century, Princeton, NJ, 1989. coke, david e. and borg, alan , Vauxhall Gardens: A History, New Haven and London, 2011. eagleton, terry , The Ideology of the Aesthetic, Oxford, 1990. edelstein, t. j ., Vauxhall Gardens, exhibition catalogue, Yale Center for British Art, New Haven, 1983. einberg, elizabeth and egerton, judy , The Age of Hogarth: British Painters Born 1675–1709. Tate Gallery Collections: Volume Two, London, 1988. habermas, jürgen , The Structural Transformation of the Public Sphere: An Inquiry Into a Category of Bourgeois Society [1962], trans. Thomas Burger with the assistance of Frederick Lawrence, Cambridge, MA, 1969. hallett, mark , Hogarth, London, 2000. —— The Spectacle of Difference: Graphic Satire in the Age of Hogarth, New Haven and London, 1999. —— and riding, christine , Hogarth, exhibition catalogue, Tate Britain, London, 2007. mullan, john , Sentiment and Sociability: The Language of Feeling in the Eighteenth Century, Oxford, 1988. paulson, ronald , Hogarth, Volume 2: High Art and Low, 1732–1750, Cambridge, 1992. —— Popular and Polite Art in the Age of Hogarth and Fielding, Notre Dame and London, 1979. solkin, david h. , Painting for Money: The Visual Arts and the Public Sphere in Eighteenth-Century England, New Haven and London, 1993. stallybrass, peter and white, allon , The Politics and Poetics of Transgression, London, 1986.

11 the classical and the modern: developments in landscape in the 1740s barrell, john , The Dark Side of the Landscape: The

Rural Poor in English Painting 1730–1840, Cambridge, 1980. bermingham, ann , Landscape and Ideology: The English Rustic Tradition, 1740–1860, Berkeley and Los Angeles, 1986. —— Learning to Draw: Studies in the Cultural History of a Polite and Useful Art, New Haven and London, 2000. de bolla, peter , The Education of the Eye: Painting, Landscape, and Architecture in Eighteenth-Century Britain, Stanford, CA, 2003. ellis, markman , ‘River and Labour in Samuel Scott’s Thames Views in the Mid-Eighteenth Century’, London Journal, vol. 37, no. 3 (November 2012), pp. 152–73. liversidge, michael and farington, jane , eds., Canaletto & England, exhibition catalogue, Birmingham Museums & Art Gallery, Birmingham, London, 1993. rosenthal, michael , The Art of Thomas Gainsborough: ‘a little business for the Eye’, New Haven and London, 1999.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4

select bibliography • 337 solkin, david h ., Richard Wilson: The Landscape of

Reaction, exhibition catalogue, Tate Gallery, London, 1982.

12 from island to empire: the cosmopolitan turn in british art, 1737–60 jacob, margaret c ., Strangers Nowhere in the World:

The Rise of Cosmopolitanism in Early Modern Europe, Philadelphia, 2006. myrone, martin , Bodybuilding: Reforming Masculinities in British Art 1750–1810, New Haven and London, 2005. newman, gerald , The Rise of English Nationalism: A Cultural History 1740–1830, London, 1987. postle, martin and simon, robin , eds., Richard Wilson and the Transformation of European Landscape Painting, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2014. redford, bruce , Dilettanti: The Antic and the Antique in Eighteenth-Century England, Malibu, 2008. rouquet, jean andré , The Present State of the Arts in England, London, 1755. solkin, david h. , ‘Great Pictures or Great Men? Reynolds, Male Portraiture, and the Power of Art’, Oxford Art Journal, vol. 9, no. 2 (1986), pp. 42–9. —— Richard Wilson: The Landscape of Reaction, exhibition catalogue, Tate Gallery, London, 1982. wilton, andrew and bignamini, ilaria , eds., Grand Tour: The Lure of Italy in the Eighteenth Century, exhibition catalogue, Tate Gallery, London, 1996.

13 dreams of grandeur and marketplace realities: history-painting in britain from vauxhall gardens to the shakespeare gallery abrams, ann uhry , The Valiant Hero: Benjamin West

and Grand-Style History Painting, Washington, DC, 1985. bonehill, john , ‘Exhibiting War: John Singleton Copley’s The Siege of Gibraltar and the Staging of History’, in John Bonehill and Geoff Quilley, eds., Conflicting Visions: War and Visual Culture in Britain and France c.1700–1830, Aldershot and Burlington, VT, 2005, pp. 139–67. dias, rosie , Exhibiting Englishness: John Boydell’s Shakespeare Gallery and the Formation of a National Aesthetic, New Haven and London, 2013. dunne, tom , ed., James Barry (1741–1806): ‘The Great Historical Painter’, exhibition catalogue, Crawford Art Gallery, Cork, 2005. fordham, douglas , British Art and the Seven Years’ War: Allegiance and Autonomy, Philadelphia, 2010. hargraves, matthew , Candidates for Fame: The Society of Artists of Great Britain 1760–1791, New Haven and London, 2006. hoock, holger , The King’s Artists: The Royal Academy of Arts and the Politics of British Culture 1760–1840, Oxford, 2003. monteyne, joseph , From Still Life to the Screen: Print Culture, Display, and the Materiality of the Image in Eighteenth-Century London, New Haven and London, 2013.

myrone, martin , Bodybuilding: Reforming Mascu-

linities in British Art 1750–1810, New Haven and London, 2005. —— ed., Gothic Nightmares: Fuseli, Blake and the Romantic Imagination, exhibition catalogue, Tate Britain, London, 2005. postle, martin , ed., Johann Zoffany RA: Society Observed, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2011. pressly, william l. , The Artist as Original Genius: Shakespeare’s ‘Fine Frenzy’, in Late Eighteenth-Century British Art, Newark, DE, 2007. —— The Life and Art of James Barry, New Haven and London, 1981. reynolds, joshua , Discourses on Art, ed. Robert R. Wark, New Haven and London, 1975. rosenthal, angela , Angelica Kauffman: Art and Sensibility, New Haven and London, 2006. solkin, david h. , ed., Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001.

14 portraiture takes the public stage hallett, mark , Reynolds: Portraiture in Action, New Haven and London, 2014.

perry, gill , Spectacular Flirtations: Viewing the Actress

in British Art and Theatre, 1768–1820, New Haven and London, 2007. —— and rossington, michael , eds., Femininity and Masculinity in Eighteenth-Century Art and Culture, Manchester, 1994. pointon, marcia , Hanging the Head: Portraiture and Social Formation in Eighteenth-Century England, New Haven and London, 1993. postle, martin , ed., Joshua Reynolds: The Creation of Celebrity, exhibition catalogue, Tate Britain, London, 2005. retford, kate , The Art of Domestic Life: Family Portraiture in Eighteenth-Century England, New Haven and London, 2006. rosenthal, michael and myrone, martin , eds., Gainsborough, exhibition catalogue, Tate Britain, London, 2002. sloman, susan , Gainsborough in Bath, New Haven and London, 2002. tscherny, nadia , ‘“Persons and Property”: Romney’s Society Portraiture’, in Alex Kidson, ed., Those Delightful Regions of Imagination: Essays on George Romney, Studies in British Art 9, New Haven and London, 2002, pp. 33–61.

15 landscape art and its audiences andrews, malcolm , The Search for the Picturesque:

Landscape Aesthetics and Tourism in Britain, 1760– 1800, Aldershot, 1989. barbier, carl paul , William Gilpin: His Drawings, Teaching, and Theory of the Picturesque, Oxford, 1963. barrell, john , The Dark Side of the Landscape: The Rural Poor in English Painting 1730–1840, Cambridge, 1980. bermingham, ann , Landscape and Ideology: The English Rustic Tradition, 1740–1860, London, 1987. —— ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005.

bonehill, john and daniels, stephen , eds., Paul

Sandby: Picturing Britain, exhibition catalogue, Royal Academy of Arts, London, 2009. copley, stephen and garside, peter , eds., The Politics of the Picturesque: Literature, Landscape and Aesthetics since 1770, Cambridge, 1994. gilpin, william , Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscape: To Which is Added a Poem, On Landscape Painting, London, 1792. guest, harriet , Empire, Barbarism, and Civilisation: Captain Cook, William Hodges and the Return to the Pacific, Cambridge, 2007. moir, esther , The Discovery of Britain: The English Tourists 1540–1840, London and New York, 1964 (reissued 2014). quilley, geoff and bonehill, john , eds., William Hodges 1744–1797: The Art of Exploration, exhibition catalogue, National Maritime Museum, Greenwich, New Haven and London, 2004. rosenthal, michael , The Art of Thomas Gainsborough: ‘a little business for the Eye’, New Haven and London, 1999. sanchez-jauregui, maria dolores and wilcox, scott , eds., The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2012. solkin, david h. , ‘The Battle of the Ciceros: Richard Wilson and the Politics of Landscape in the Age of John Wilkes’, Art History, vol. 6, no. 4 (December 1983), pp. 406–22. —— Richard Wilson: The Landscape of Reaction, exhibition catalogue, Tate Gallery, London, 1982.

16 the empire of sensibility barker-benfield, g. j ., The Culture of Sensibility: Sex

and Society in Eighteenth-Century Britain, Chicago, 1992. barrell, john , ‘The Private Comedy of Thomas Rowlandson’, Art History, vol. 6, no. 4 (December 1983), pp. 423–41. barringer, tim, quilley, geoff and fordham, douglas , eds., Art and the British Empire, Manchester, 2007. bermingham, ann , ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005. bonehill, john , ‘“The Eye of Delicacy”: Joseph Wright of Derby Reviewed’, in Sarah Monks, John Barrell and Mark Hallett, eds., Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848, Farnham and Burlington, VT, 2013, pp. 89–110. donald, diana , The Age of Caricature: Satirical Prints in the Reign of George III, New Haven and London, 1996. gamer, meredith , ‘George Morland’s Slave Trade and African Hospitality: Slavery, Sentiment and the Limits of the Abolitionist Image’, in Elizabeth McGrath and Jean Michel Massing, eds., The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, Warburg Institute Colloquia 20, London and Turin, 2012, pp. 297–319.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.co.uk isbn 078-0300-21556-4

338 • select bibliography gatrell, vic , City of Laughter: Sex and Satire in

Eighteenth-Century London, New York, 2006. guest, harriet , Empire, Barbarism, and Civilisation: Captain Cook, William Hodges, and the Return to the Pacific, Cambridge, 2007. kriz, kay dian , Slavery, Sugar, and the Culture of Refinement: Picturing the British West Indies, 1700–1840, New Haven and London, 2008. mullan, john , Sentiment and Sociability: The Language of Feeling in the Eighteenth Century, Oxford, 1988. postle, martin , ed., Johann Zoffany RA: Society Observed, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2011. quilley, geoff , Empire to Nation: Art, History and the Visualization of Maritime Britain 1768–1829, New Haven and London, 2011. retford, kate , The Art of Domestic Life: Family Portraiture in Eighteenth-Century England, New Haven and London, 2006. tobin, beth fowkes , Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, Durham, NC and London, 1999. todd, janet , Sensibility: An Introduction, London and New York, 1986. wahrman, dror , The Making of the Modern Self: Identity and Culture in Eighteenth-Century England, New Haven and London, 2004. wood, marcus , Blind Memory: Visual Representations of Slavery in England and America 1780–1865, Manchester, 2000.

17 revolution and reaction bindman, david , The Shadow of the Guillotine: Britain

and the French Revolution, exhibition catalogue, British Museum, London, 1989. burke, edmund , Reflections on the Revolution in France, London, 1790. calè, luisa , Fuseli’s Milton Gallery: ‘Turning Readers into Spectators’, Oxford, 2006. eaves, morris , The Counter-Arts Conspiracy: Art and Industry in the Age of Blake, Ithaca, NY and London, 1992. ellis, markman , ‘“Spectacles within doors”: Panoramas of London in the 1790s’, Romanticism, vol. 14, no. 2 (July 2008), pp. 133–48. everett, nigel , The Tory View of Landscape, New Haven and London, 1994. godfrey, richard t ., James Gillray: The Art of Caricature, exhibition catalogue, Tate Britain, London, 2001. myrone, martin , The Blake Book, London, 2007. pressly, william l ., The French Revolution as Blasphemy: Johan Zoffany’s Paintings of the Massacre at Paris, August 10, 1792, Berkeley, Los Angeles and London, 1999. simpson, david , Romanticism, Nationalism, and the Revolt Against Theory, Chicago and London, 1993. smith, greg , The Emergence of the Professional Watercolourist: Contentions and Alliances in the Artistic Domain, 1760–1824, Aldershot and Burlington, VT, 2002.

18 british genius and british nature: depicting the domestic landscape in the wartime years alison, archibald , Essays on the Nature and Principles of Taste, Edinburgh, 1790.

barrell, john, The Dark Side of the Landscape: The

Rural Poor in English Painting 1730–1840, Cambridge, 1980. bermingham, ann , Landscape and Ideology: The English Rustic Tradition, 1740–1860, London, 1987. —— ‘System, Order, and Abstraction: The Politics of English Landscape Drawing around 1795’, in W. J. T. Mitchell, ed., Landscape and Power, Chicago and London, 1994, pp. 77–101. gage, john , A Decade of English Naturalism 1810–1820, exhibition catalogue, Norwich Castle Museum, Norwich, 1969. —— J. M. W. Turner: ‘A Wonderful Range of Mind’, New Haven and London, 1987. hemingway, andrew , ‘Academic Theory versus Association Aesthetics: The Ideological Forms of a Conflict of Interests in the Early Nineteenth Century’, Ideas and Production, no. 5 (1986), pp. 18–42. —— Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain, Cambridge, 1992. —— ‘Meaning in Cotman’s Norfolk Subjects’, Art History, vol. 7, no. 2 (March 1984), pp. 57–77. klonk, charlotte , Science and the Perception of Nature: British Landscape Art in the Late Eighteenth and Early Nineteenth Centuries, New Haven and London, 1996. kriz, kay dian , The Idea of the English Landscape Painter: Genius as Alibi in the Early Nineteenth Century, New Haven and London, 1997. rosenthal, michael , Constable: The Painter and His Landscape, New Haven and London, 1983. shanes, eric , Turner’s Human Landscape, London, 1990. smiles, sam , The Turner Book, London, 2006. smith, greg, The Emergence of the Professional Watercolourist: Contentions and Alliances in the Artistic Domain, 1760–1824, Aldershot and Burlington, VT, 2002. —— Thomas Girtin: The Art of Watercolour, exhibition catalogue, Tate Britain, London, 2002. solkin, david h ., ed., Turner and the Masters, exhibition catalogue, Tate Britain, London, 2009. wilton, andrew , The Life and Work of J. M. W. Turner, London, 1979.

19 revolution, war and the painting of everyday life barrell, john , ‘Cottage Politics’, in The Spirit of

Despotism: Invasions of Privacy in the 1790s, Oxford, 2006, pp. 210–46. payne, christiana , Rustic Simplicity: Scenes of Cottage Life in Nineteenth-Century British Art, exhibition catalogue, Djanogly Art Gallery, University of Nottingham, Nottingham, 1998. pointon, marcia , Mulready, exhibition catalogue, Victoria and Albert Museum, London, 1986. solkin, david h ., ‘Crowds and Connoisseurs: Looking at Genre Painting at Somerset House’, in David H. Solkin, ed., Art on The Line: The Royal Academy Exhibitions at Somerset House, 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001, pp. 157–71.

—— Painting out of the Ordinary: Modernity and the Art of Everyday Life in Early Nineteenth-Century Britain, New Haven and London, 2008. tromans, nicholas , David Wilkie: Painter of Everyday Life, exhibition catalogue, Dulwich Picture Gallery, London, 2002. —— David Wilkie: The People’s Painter, Edinburgh, 2007.

20 divided likenesses: portraiture and the end of social consensus albinson, a. cassandra, funnell, peter and peltz, lucy , Thomas Lawrence: Regency Power &

Brilliance, exhibition catalogue, National Portrait Gallery, London, New Haven and London, 2010. bermingham, ann , ‘The Aesthetics of Ignorance: The Accomplished Woman in the Culture of Connoisseurship’, Oxford Art Journal, vol. 16, no. 2 (1993), pp. 3–20. cannadine, david , ‘The Making of the British Upper Classes’, in Aspects of Aristocracy: Grandeur and Decline in Modern Britain, New Haven and London, 1994, pp. 9–36. colley, linda , Britons: Forging the Nation 1707–1837, New Haven and London, 1992. coltman, viccy and lloyd, stephen , eds., Henry Raeburn: Context, Reception and Reputation, Edinburgh, 2012. levey, michael , Sir Thomas Lawrence: The Artist, New Haven and London, 2005. walker, richard , National Portrait Gallery: Regency Portraits, 2 vols., London, 1985.

21 painting history between trafalgar and waterloo costello, leo , J. M. W. Turner and the Subject of History, Farnham and Burlington, VT, 2012.

erffa, helmut von and staley, allen , The Paint-

ings of Benjamin West, New Haven and London, 1986.

fullerton, peter , ‘Patronage and Pedagogy: The

British Institution in the Early Nineteenth Century’, Art History, vol. 5, no. 1 (March 1982), pp. 59–72. hoock, holger , The King’s Artists: The Royal Academy of Arts and the Politics of British Culture 1760–1840, Oxford, 2003. kriz, k. dian , ‘Dido versus the Pirates: Turner’s Carthaginian Paintings and the Sublimation of Colonial Desire’, Oxford Art Journal, vol. 18, no. 1 (1995), pp. 116–32. myrone, martin , ed., John Martin: Apocalypse, exhibition catalogue, Tate Britain, London, 2011. —— William Blake. Seen in my Visions: A Descriptive Catalogue of Pictures, exhibition catalogue, Tate Britain, London, 2009. nicholson, kathleen , Turner’s Classical Landscapes: Myth and Meaning, Princeton, NJ, 1991. pullan, ann , ‘Public Goods or Private Interests? The British Institution in the Early Nineteenth Century’, in Andrew Hemingway and William Vaughan, eds., Art in Bourgeois Society, 1790–1850, Cambridge, 1998, pp. 27–44. simpson, philippa , ‘Facing up to the Past: The Old Masters and the British School in Turner’s London’, in David H. Solkin, ed., Turner and the Masters, Tate Britain, London, 2009, pp. 29–39.

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general texts

2 the politics of portraiture c. 1660–75

arnold, dana and peters corbett, david , eds.,

barber, tabitha , Mary Beale (1632/3–1699): Portrait

croft-murray, edward , Decorative Painting in

3 representing nature in later seventeenth-century britain bermingham, ann , Learning to Draw: Studies in

4 party, politics, portraiture and print: from the exclusion crisis to the ‘glorious revolution’ griffiths, antony , The Print in Stuart Britain

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

336 • select bibliography brewer, john , The Sinews of Power: War, Money and

6 making history after the ‘glorious revolution’ clayton, timothy , The English Print 1688–1802, New Haven and London, 1997.

gibson-wood, carol , Jonathan Richardson: Art

7 representing country life, c. 1695– 1725 barrell, john , ‘The Public Prospect and the Private

8 curiosity, commerce and conversation barrell, john , ‘“The Dangerous Goddess”: Mascu-

9 the portraiture of politeness c. 1730–5 agnew, jean-christophe , Worlds Apart: The Market

10 painting and the public sphere c. 1730–50 allen, brian , Francis Hayman, exhibition catalogue,

11 the classical and the modern: developments in landscape in the 1740s barrell, john , The Dark Side of the Landscape: The

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select bibliography • 337 solkin, david h ., Richard Wilson: The Landscape of

Reaction, exhibition catalogue, Tate Gallery, London, 1982.

12 from island to empire: the cosmopolitan turn in british art, 1737–60 jacob, margaret c ., Strangers Nowhere in the World:

13 dreams of grandeur and marketplace realities: history-painting in britain from vauxhall gardens to the shakespeare gallery abrams, ann uhry , The Valiant Hero: Benjamin West

myrone, martin , Bodybuilding: Reforming Mascu-

linities in British Art 1750–1810, New Haven and London, 2005. —— ed., Gothic Nightmares: Fuseli, Blake and the Romantic Imagination, exhibition catalogue, Tate Britain, London, 2005. postle, martin , ed., Johann Zoffany RA: Society Observed, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2011. pressly, william l. , The Artist as Original Genius: Shakespeare’s ‘Fine Frenzy’, in Late Eighteenth-Century British Art, Newark, DE, 2007. —— The Life and Art of James Barry, New Haven and London, 1981. reynolds, joshua , Discourses on Art, ed. Robert R. Wark, New Haven and London, 1975. rosenthal, angela , Angelica Kauffman: Art and Sensibility, New Haven and London, 2006. solkin, david h. , ed., Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001.

14 portraiture takes the public stage hallett, mark , Reynolds: Portraiture in Action, New Haven and London, 2014.

perry, gill , Spectacular Flirtations: Viewing the Actress

15 landscape art and its audiences andrews, malcolm , The Search for the Picturesque:

bonehill, john and daniels, stephen , eds., Paul

16 the empire of sensibility barker-benfield, g. j ., The Culture of Sensibility: Sex

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338 • select bibliography gatrell, vic , City of Laughter: Sex and Satire in

17 revolution and reaction bindman, david , The Shadow of the Guillotine: Britain

18 british genius and british nature: depicting the domestic landscape in the wartime years alison, archibald , Essays on the Nature and Principles of Taste, Edinburgh, 1790.

barrell, john, The Dark Side of the Landscape: The

19 revolution, war and the painting of everyday life barrell, john , ‘Cottage Politics’, in The Spirit of

20 divided likenesses: portraiture and the end of social consensus albinson, a. cassandra, funnell, peter and peltz, lucy , Thomas Lawrence: Regency Power &

21 painting history between trafalgar and waterloo costello, leo , J. M. W. Turner and the Subject of History, Farnham and Burlington, VT, 2012.

erffa, helmut von and staley, allen , The Paint-

ings of Benjamin West, New Haven and London, 1986.

fullerton, peter , ‘Patronage and Pedagogy: The

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Cultivation, Improvement and Encouragement of Painting, Sculpture, Architecture and the Arts of Design in General, London, 1755. hamilton, jean , The Sketching Society 1799–1851, exhibition catalogue, Victoria and Albert Museum, London, 1971. hargraves, matthew , ‘Candidates for Fame’: The Society of Artists of Great Britain 1760–1791, New Haven and London, 2005. hecht, peter , ‘Dutch Painters in England: Readings in Houbraken, Weyerman, and Van Gool’, in Simon Groenveld and Michael Wintle, eds., The Exchange of Ideas: Religion, Scholarship and Art in Anglo-Dutch Relations in the Seventeenth Century, Zutphen, 1994, pp. 150–62. hemingway, andrew , ‘Art Exhibitions as LeisureClass Rituals in Early Nineteenth-Century London’, in Brian Allen, ed., Towards a Modern Art World, Studies in British Art 1, New Haven and London, 1995, pp. 95–108. hoock, holger , The King’s Artists: The Royal Academy of Arts and the Politics of British Culture 1760–1840, Oxford, 2003. hutchison, sidney c. , The History of the Royal Academy, 1768–1986, 2nd edn, London, 1986. —— ‘The Royal Academy Schools, 1768–1830’, Walpole Society, vol. 38 (1962), pp. 123–91. hyde, ralph , Panoramania! The Art and Entertainment of the ‘All-Embracing’ View, exhibition catalogue, Barbican Art Gallery, London, 1988. johns, richard , ‘Framing Robert Aggas: The PainterStainers’ Company and the “English School of Painters”’, Art History, vol. 31, no. 3 (June 2008), pp. 322–41. kelly, jason m ., The Society of Dilettanti: Archaeology and Identity in the British Enlightenment, New Haven and London, 2009. kenworthy-browne, john , ‘The Duke of Richmond’s Gallery in Whitehall’, British Art Journal, vol. 10, no. 1 (Spring/Summer 2009), pp. 40–9. lippincott, louise , Selling Art in Georgian London: The Rise of Arthur Pond, New Haven and London, 1983. monks, sarah, barrell, john and hallett, mark , eds., Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848, Farnham and Burlington, VT, 2013. murdoch, john , ‘Architecture and Experience: The Visitor and the Spaces of Somerset House, 1780–1796’, in David H. Solkin, ed., Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001, pp. 9–22. nellis, anne elizabeth , ‘“The Shrine of Art”: Rhetorics of Collection and Display in Early Nineteenth-Century London’, Ph.D. dissertation, Brown University, 2003. nicolson, benedict and kerslake, john , The Treasures of the Foundling Hospital, Oxford, 1972. oleksijczuk, denise blake , The First Panoramas: Visions of British Imperialism, 1787–1820, Minneapolis, 2010. —— ‘Gender in Perspective: The King and Queen’s Visit to the Panorama in 1793’, in Steven Adams and

Anna Greutzner Robins, Gendering Landscape Art, Manchester, 2000, pp. 146–61. ormrod, david , ‘Cultural Production and Import Substitution: The Fine and Decorative Arts in London, 1660–1730’, in Patrick O’Brien, Derek Keene, Marjolein ’t Hart and Herman van der Wee, eds., Urban Achievement in Early Modern Europe: Golden Ages in Antwerp, Amsterdam and London, Cambridge, 2001, pp. 210–32. —— ‘The Origins of the London Art Market, 1660– 1730’, in Michael North and David Ormrod, eds., Art Markets in Europe, 1400–1800, Aldershot and Brookfield, VT, 1998, pp. 167–86. perry, gill and cunningham, colin , eds., Academies, Museums and Canons of Art, New Haven and London, 1999. pomeroy, jordana , ‘The Arbiters of Taste: Artists as Advisors in Early Nineteenth-Century England’, Gazette des Beaux-Arts, vol. 139 (February 2002), pp. 263–72. pullan, ann , ‘Public Goods or Private Interests? The British Institution in the Early Nineteenth Century’, in Andrew Hemingway and William Vaughan, eds., Art in Bourgeois Society, 1790–1850, Cambridge, 1998, pp. 27–44. pye, john , Patronage of British Art, An Historical Sketch, London, 1845. redford, bruce , Dilettanti: The Antic and the Antique in Eighteenth-Century England, Malibu, 2008. royal academy of arts , The First Hundred Years of the Royal Academy 1769–1868, exhibition catalogue, London, 1951. —— Royal Academy of Arts Bicentenary Exhibition 1768–1968, exhibition catalogue, London, 1968. saumarez smith, charles , The Company of Artists: The Origins of the Royal Academy of Arts in London, London, 2012. shanes, eric , ‘More Art on the Line: The Royal Academy’s Antique Room in the Exhibition of 1792’, Burlington Magazine, vol. 150, no. 1261 (April 2008), pp. 224–31. simpson, philippa , ‘Facing up to the Past: The Old Masters and the British School in Turner’s London’, in David H. Solkin, ed., Turner and the Masters, exhibition catalogue, Tate Britain, London, 2009, pp. 29–39. solkin, david h ., ed., Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001. taylor, brandon , Art for the Nation: Exhibitions and the London Public, 1747–2001, Manchester, 1999. waterfield, giles , ed., Palaces of Art: Art Galleries in Britain 1790–1990, exhibition catalogue, Dulwich Picture Gallery, London, 1991. waterhouse, ellis , ‘The First Royal Academy Exhibition, 1769’, The Listener, vol. 43, no. 1114 (1 June 1950), pp. 944–6. wedd, kit, peltz, lucy and ross , catherine , Artists’ London: Holbein to Hirst, London, 2001. whistler , catherine , ‘Venetian Painters in Britain (act. 1708–c. 1750)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, online edn October 2007, http://www.oxforddnb.com/view/ article/66558

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logues, Containing Some Choice Observations Upon the Art, London, 1685. alison, archibald , Essays on the Nature and Principles of Taste, Edinburgh, 1790. barrell, john , The Political Theory of Painting from Reynolds to Hazlitt: ‘The Body of the Public’, New Haven and London, 1986. —— ‘Sir Joshua Reynolds and the Englishness of English Art’, in Homi K. Bhabha, ed., Nation and Narration, Abingdon, 1990, pp. 154–76. barry, james , The Works of James Barry, ed. Edward Fryer, 2 vols., London, 1809. burke, edmund , A Philosophical Enquiry into the Origin of Our Ideas of the Sublime and Beautiful, London, 1757. charlesworth, michael , ‘Theories of the Picturesque’, in Dana Arnold and David Peters Corbett, eds., A Companion to British Art: 1600 to the Present, Chichester, 2013, pp. 351–72. checketts, richard , ‘Shaftesbury’s Theory of Art: Substance and Virtue’, Oxford Art Journal, vol. 37, no. 1 (2014), pp. 83–98. cheetham, mark a ., Artwriting, Nation, and Cosmopolitanism in Britain: The ‘Englishness’ of English Art Theory since the Eighteenth Century, Farnham and Burlington, VT, 2012. de bolla, peter , The Discourse of the Sublime: Readings in History, Aesthetics and the Subject, Oxford, 1989. du fresnoy, charles alphonse , De Arte Graphica: The Art of Painting, trans. John Dryden, London, 1695. eagleton, terry , The Ideology of the Aesthetic, Oxford, 1990. gibson-wood, carol , ‘Jonathan Richardson and the Rationalization of Connoisseurship’, Art History, vol. 7, no. 1 (March 1984), pp. 36–56. —— Jonathan Richardson: Art Theorist of the English Enlightenment, New Haven and London, 2000. gilpin, william , Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscape: To Which is Added a Poem, On Landscape Painting, London, 1792. hamlett, lydia , ‘The Longinian Sublime, Effect and Affect in “Baroque” British Visual Culture’, in Caroline van Eck, Stijn Bussels, Maarten Delbeke and Jürgen Pieters, eds., ‘Translations of the Sublime: The Early Modern Reception and Dissemination of Longinus’ Peri Hupsous in Rhetoric, the Visual Arts, Architecture and the Theatre’, Intersections: Interdisciplinary Studies in Early Modern Culture, vol. 24 (2012), pp. 187–220. haynes, clare , ‘In the Shadow of the Idol: Religion in British Art Theory, 1600–1800’, Art History, vol. 35, no. 1 (February 2012), pp. 62–85.

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Memoirs of His Late Father and Friends, London, 1828. barnett, maura , ‘The Contemporary Response to British Art Before Ruskin’s Modern Painters: An Examination of Exhibition Reviews Published in the British Periodical Press and the Journalist Art Critics Who Penned Them from the Late Eighteenth Century to 1843’, Ph.D. dissertation, Warwick University, 1993. barry, james , An Inquiry into the Real and Imaginary Obstructions to the Acquisition of the Arts in England, London, 1775. bennett, shelley m ., ‘Anthony Pasquin and the Function of Art Journalism in Late Eighteenth-Century England’, Journal for Eighteenth-Century Studies, vol. 8, no. 2 (September 1985), pp. 197–208. buckeridge, bainbrigge , An Essay Towards an English School of Painting [1706], appended to Roger de Piles, The Art of Painting, 3rd edn, London, 1754. butler, marilyn , ‘Doubting Visionaries: Thomson, Barry, and the Future of the Arts’, in Brian Allen, ed., Towards a Modern Art World, Studies in British Art 1, New Haven and London, 1995, pp. 67–78. cunningham, allan , The Lives of the Most Eminent British Painters, Sculptors, and Architects, 6 vols., London, 1829–33. edwards, edward , Anecdotes of Painters, London, 1808. farington, joseph , The Diary of Joseph Farington, vols. 1–7 ed. Kenneth Garlick and Angus MacIntyre; vols. 8–16 ed. Kathryn Cave; index by Evelyn Newby, 16 vols., New Haven and London, 1978–98. hallett, mark , ‘“The Business of Criticism”: The Press and the Royal Academy Exhibition in Eighteenth-Century London’, in David H. Solkin, ed., Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001, pp. 65–75. hazlitt, william , Conversations of James Northcote, Esq., R.A., London, 1830. hogarth, william , Apology for Painters, ed. Michael Kitson, Walpole Society, vol. 41 (1968), pp. 46–111. junod, karen , ‘Writing the Lives of Painters’: Biography and Artistic Identity in Britain 1760–1810, Oxford, 2011. mount, harry thomas , ‘The Reception of Dutch Genre Painting in England, 1695–1829’, Ph.D. dissertation, University of Cambridge, 1991. munsterberg, marjorie , ‘The Beginning of British Art Criticism in the 1760s’, British Art Journal, vol. 15, no. 1 (Autumn 2014), pp. 82–94.

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344 • bibliography pasquin, anthony [john williams ], A Critical

Guide to the Exhibition of the Royal Academy for 1796; in Which all the Works of Merit are Examined; the Portraits Correctly Named; and the Places of the Various Landscapes: Being an Attempt to Ascertain Truth, and Improve the Taste of the Realm, London, 1796. —— A Critical Guide to the Present Exhibition at the Royal Academy for 1797, London, 1797. —— A Liberal Critique on the Present Exhibition of the Royal Academy: Being an Attempt to Correct the National Taste, London, 1794. —— Memoirs of the Royal Academicians: Being an Attempt to Improve the National Taste, London, 1796. pilkington, matthew , A Dictionary of Painters from the Revival of the Art to the Present Period, rev. edn, ed. Henry Fuseli, London, 1810. postle, martin , ‘In Search of the “True Briton”: Reynolds, Hogarth, and the British School’, in Brian Allen, ed., Towards a Modern Art World, Studies in British Art 1, New Haven and London, 1995, pp. 121–43. ramsay, allan , ‘Dialogue on Taste’, The Investigator, no. 332 (1755). redgrave, richard and redgrave, samuel , A Century of Painters of the English School; with Critical Notices of Their Works and an Account of the Progress of Art in England, 2 vols., London, 1866. richardson, jonathan , Two Discourses: I. An Essay on the Whole Art of Criticism as it Relates to Painting … II. An Argument in Behalf of the Science of a Connoisseur, Wherin is Shewn the Dignity, Certainty, Pleasure and Advantage of it, 2 vols. in 1, London, 1719. rouquet, jean andré , The Present State of the Arts in England, London, 1755. smiles, sam , ‘“Splashers”, “Scrawlers” and “Plasterers”: British Landscape Painting and the Language of Criticism, 1800–1840’, Turner Studies, vol. 10, no. 1 (Summer 1990), pp. 5–11. smith, john thomas , A Book for a Rainy Day, London, 1845. —— Nollekens and His Times: Comprehending a Life of that Celebrated Sculptor; and Memoirs of Several Contemporary Artists, from the Time of Roubiliac, Hogarth, and Reynolds, to that of Fuseli, Flaxman, and Blake, 2 vols., London, 1828. vaughan, william , ‘The Englishness of British Art’, Oxford Art Journal, vol. 13, no. 2 (1990), pp. 11–23. vertue, george , ‘Vertue Note Books: Volume I–VI’, Walpole Society, vols. 18, 20, 22, 24, 26, 29 (Index to Volumes I–V), 30 (1930–55). walpole, horace , Anecdotes of Painting; With Some Account of the Principal Artists; and Incidental Notes on Other Arts; Collected by the Late Mr George Vertue; and Now Digested and Published from His Original MSS., 4 vols., Strawberry Hill, 1773.

thematics: consumption and politeness agnew, jean-christophe , Worlds Apart: The Market and the Theater in Anglo-American Thought, 1550– 1750, Cambridge, 1986. andrew, donna t ., Philanthropy and Police: London Charity in the Eighteenth Century, Princeton, 1989. batchelor, jennie and kaplan, cora , eds., Women and Material Culture, 1660–1830, London, 2007. berg, maxine , Luxury and Pleasure in Eighteenth-Century Britain, Oxford, 2005.

—— and clifford, helen , eds., Consumers and

Luxury: Consumer Culture in Europe 1650–1850, Manchester, 1999. —— and eger, elizabeth , Luxury in the Eighteenth Century: Debates, Desires and Delectable Goods, Basingstoke, 2003. bermingham, ann and brewer, john, eds., The Consumption of Culture 1600–1800: Image, Object, Text, London, 1995. berry, christopher j ., The Idea of Luxury: A Conceptual and Historical Investigation, Cambridge, 1994. brewer, john , ‘Cultural Production, Consumption, and the Place of the Artist in Eighteenth-Century England’, in Brian Allen, ed., Towards a Modern Art World, Studies in British Art 1, New Haven and London, 1995, pp. 7–25. brewer, john and porter, roy , eds., Consumption and the World of Goods, London, 1993. campbell, colin , The Romantic Ethic and the Spirit of Modern Consumerism, Oxford, 1987. carter, philip , Men and the Emergence of Polite Society: Britain 1660–1800, Harlow, 2001. douglas, mary and isherwood, baron , The World of Goods: Towards an Anthropology of Consumption, London, 1978. goldsmith, m. m ., ‘Liberty, Luxury and the Pursuit of Happiness’, in Anthony Pagden, ed., The Languages of Political Theory in Early-Modern Europe, Cambridge, 1987, pp. 225–51. hirschman, albert o ., The Passions and the Interests: Political Arguments for Capitalism Before Its Triumph, Princeton, 1977. horne, thomas a ., The Social Thought of Bernard Mandeville: Virtue and Commerce in Early EighteenthCentury England, London, 1978. hutcheson, francis , An Inquiry into the Original of Our Ideas of Beauty and Virtue [1725], 4th edn, London, 1738. —— Thoughts on Laughter, and Observations on the Fable of the Bees, Glasgow, 1758. klein, lawrence e ., Shaftesbury and the Culture of Politeness: Moral Discourse and Cultural Politics in Early Eighteenth-Century England, New York, 1994. —— ‘The Third Earl of Shaftesbury and the Progress of Politeness’, Eighteenth-Century Studies, vol. 18, no. 2 (Winter 1984–5), pp. 186–214. kowaleski-wallace, elizabeth , Consuming Subjects: Women, Shopping, and Business in the Eighteenth Century, New York, 1997. mandeville, bernard , The Fable of the Bees: Or, Private Vices, Publick Benefits [1723–9], ed. F. B. Kaye, 2 vols., Oxford, 1924. matheson, c. s ., ‘“A Shilling Well Laid Out”: The Royal Academy’s Early Public’, in David H. Solkin, ed., Art on the Line: The Royal Academy Exhibitions at Somerset House, 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001, pp. 39–53. mckendrick, neil, brewer, john and plumb, j. h ., The Birth of a Consumer Society: The Commercialization of Eighteenth-Century England, London, 1982. peck, linda levy , Consuming Splendor: Society and Culture in Seventeenth-Century England, Cambridge, 2006. porter, roy and roberts, marie mulvey , eds., Pleasure in the Eighteenth Century, London, 1996.

sekora, john , Luxury: The Concept in Western Thought from Eden to Smollett, Baltimore, 1977.

shaftesbury, anthony ashley cooper, 3rd earl of , Characteristics of Men, Manners, Opinions,

Times [1711], ed. J. M. Robertson, Indianapolis and New York, 1964. staves, susan , ‘A Few Kind Words for the Fop’, Studies in English Literature, 1500–1900, vol. 22, no. 3 (Summer 1982), pp. 413–28. —— ‘Pope’s Refinement’, The Eighteenth Century: Theory and Interpretation, vol. 29, no. 2 (Spring 1988), pp. 145–63. weatherill, lorna , Consumer Behaviour and Material Culture in Britain 1660–1760, 2nd edn, London, 1996.

thematics: gender and sensibility barker, hannah and chalus, elaine , eds., Gender

in Eighteenth-Century England: Roles, Representations and Responsibilities, London, 1997. barker-benfield, g. j ., The Culture of Sensibility: Sex and Society in Eighteenth-Century Britain, Chicago, 1992. barrell, john , ‘“The Dangerous Goddess”: Masculinity, Prestige, and the Aesthetic in Early EighteenthCentury Britain’, Cultural Critique, vol. 12 (Spring 1989), pp. 101–31. battersby, christine , Gender and Genius: Towards a Feminist Aesthetics, London, 1989. bermingham, ann , ‘The Aesthetics of Ignorance: The Accomplished Woman in the Culture of Connoisseurship’, Oxford Art Journal, vol. 16, no. 2 (1993), pp. 3–20. —— ‘The Picturesque and Ready-to-Wear Femininity’, in Stephen Copley and Peter Garside, eds., The Politics of the Picturesque: Literature, Landscape and Aesthetics since 1770, Cambridge, 1994, pp. 81–119. chew, elizabeth vassa , ‘Female Art Patronage and Collecting in Seventeenth-Century Britain’, Ph.D. dissertation, University of North Carolina at Chapel Hill, 2000. eger, elizabeth, ed., Bluestockings Displayed: Portraiture, Performance and Patronage, 1730–1830, Cambridge, 2013. —— ‘Representing Culture: The Nine Living Muses of Great Britain (1779)’, in Elizabeth Eger, Charlotte Grant, Cliona Ó Gallchoir and Penny Warburton, eds., Women, Writing and the Public Sphere, 1700– 1830, Cambridge, 2001, pp. 104–32. —— and peltz, lucy , Brilliant Women: 18th-Century Bluestockings, exhibition catalogue, National Portrait Gallery, London, 2009. grant, charlotte , ‘Arts and Commerce Promoted: “female excellence” and the Society of Arts’ “patriotic and truly noble purposes”’, in Susan Bennett, ed., Cultivating the Human Faculties: James Barry (1741–1806) and the Society of Arts, Cranbury, NJ, 2008, pp. 64–75. hyde, melissa and milam, jennifer , eds., Women, Art and the Politics of Identity in Eighteenth-Century Europe, Aldershot and Burlington, VT, 2003. jones, robert w ., Gender and the Formation of Taste in Eighteenth-Century Britain: The Analysis of Beauty, Cambridge, 1998. kriz, kay dian , ‘“Stare Cases”: Engendering the Public’s Two Bodies at the Royal Academy of Arts’, in David H. Solkin, ed., Art on the Line: The Royal

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bibliography • 345 Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001, pp. 55–63. mellor, anne k ., ‘British Romanticism, Gender, and Three Women Artists’, in Ann Bermingham and John Brewer, eds., The Consumption of Culture 1600–1800: Image, Object, Text, London, 1995, pp. 121–42. mullan, john , Sentiment and Sociability: The Language of Feeling in the Eighteenth Century, Oxford, 1988. myrone, martin , Bodybuilding: Reforming Masculinities in British Art 1750–1810, New Haven and London, 2005. perry, gill , ed., Gender and Art, New Haven and London, 1999. —— and rossington, michael , eds., Femininity and Masculinity in Eighteenth-Century Art and Culture, Manchester, 1994. pointon, marcia , ‘The Case of the Dirty Beau: Symmetry, Disorder and the Politics of Masculinity’, in Kathleen Adler and Marcia Pointon, eds., The Body Imagined: The Human Form and Visual Culture Since the Renaissance, Cambridge, 1993. —— Strategies for Showing: Women, Possession, and Representation in English Visual Culture 1665–1800, Oxford, 1997. pullan, ann , ‘Fashioning a Public for Art: Ideology, Gender and the Fine Arts in the English Periodical c. 1800–1825’, Ph.D. dissertation, University of Cambridge, 1992. retford, kate , ‘“The Crown and Glory of a Woman”: Female Chastity in Eighteenth-Century British Art’, in Dana Arnold and David Peters Corbett, eds., A Companion to British Art: 1600 to the Present, Chichester, 2013, pp. 473–501. —— ‘Sensibility and Genealogy in the EighteenthCentury Family Portrait: The Collection at Kedleston Hall’, Historical Journal, vol. 46, no. 3 (September 2003), pp. 533–60. rosenthal, angela , ‘She’s Got the Look! Eighteenth-Century Female Portrait Painters and the Psychology of a Potentially “dangerous employment”’, in Joanna Woodall, ed., Portraiture: Facing the Subject, Manchester, 1997, pp. 147–66. styles, john and vickery, amanda , Gender, Taste, and Material Culture in Britain and North America, 1770–1830, New Haven and London, 2006. todd, janet , Sensibility: An Introduction, London and New York, 1986. tscherny, nadia , ‘An Un-Married Woman: Mary Edwards, William Hogarth, and a Case of EighteenthCentury British Patronage’, in Cynthia Lawrence, ed., Women and Art in Early Modern Europe: Patrons, Collectors, and Connoisseurs, University Park, PA, 1997.

thematics: empire and race archer, mildred , British Drawings in the India Office

Library, 2 vols., London, 1969. —— India and British Portraiture, 1770–1825, London, 1979. —— The India Office Collection of Paintings and Sculpture, London, 1986. —— and lightbown, r. w ., India Observed: India as Viewed by British Artists, 1760–1860, exhibition catalogue, Victoria and Albert Museum, London, 1982.

auerbach, jeffrey , ‘The Picturesque and the Ho-

mogenisation of Empire’, British Art Journal, vol. 5, no. 1 (Spring/Summer 2004), pp. 47–54. barringer, tim , quilley, geoff and fordham, douglas , eds., Art and the British Empire, Manchester, 2007. bayly, c. a ., ed., The Raj: India and the British 1600–1947, exhibition catalogue, National Portrait Gallery, London, 1990. bindman, david , Ape to Apollo: Aesthetics and the Idea of Race in the 18th Century, Ithaca, NY and London, 2002. —— ‘“A Voluptuous Alliance between Africa and Europe”: Hogarth’s Africans’, in Bernadette Fort and Angela Rosenthal, eds., The Other Hogarth: Aesthetics of Difference, Princeton, 2001, pp. 260–9. bohis, elizabeth a ., ‘The Gentleman Planter and the Metropole: Long’s History of Jamaica (1774)’, in Gerald MacLean, Donna Landry and Joseph P. Ward, eds., The Country and the City Revisited: England and the Politics of Culture, 1550–1850, Cambridge, 1999. brunt, peter william , ‘The Sublime and the “Civilized Subject”: History, Painting, and Cook’s Second Voyage’, Ph.D. dissertation, Cornell University, 2000. caffey, stephen mark , ‘An Heroics of Empire: Benjamin West and Anglophone History Painting 1764–1774’, Ph.D. dissertation, University of Texas at Austin, 2008. chadwick, esther and gamer, meredith , Figures of Empire: Slavery and Portraiture in Eighteenth-Century Atlantic Britain, exhibition catalogue, Yale Center for British Art, New Haven, 2014. codell, julie f . and macleod, dianne sachko , eds., Orientalism Transposed: The Impact of the Colonies on British Culture, Aldershot and Brookfield, VT, 1998. crowley, john e ., Imperial Landscapes: Britain’s Global Visual Culture, 1745–1820, New Haven and London, 2011. dabydeen, david , Hogarth’s Blacks: Images of Blacks in Eighteenth Century English Art, Manchester, 1987. de almeida, hermione and gilpin, george h. , Indian Renaissance: British Romantic Art and the Prospect of India, Aldershot and Burlington, VT, 2005. eaton, natasha , ‘Between Mimesis and Alterity: Art Gift and Diplomacy in Colonial India’, in Michael J. Franklin, ed., Romantic Representations of British India, London and New York, 2005, pp. 84–112. —— ‘Imaging Empire: The Trafficking of Art and Aesthetics in British India c. 1772 to c. 1795’, Ph.D. dissertation, University of Warwick, 2000. —— Mimesis Across Empires: Artworks and Networks in India, 1765–1860, Durham, NC, 2013. erickson, peter and hulse, clark , Early Modern Visual Culture: Representation, Race, and Empire in Renaissance England, Philadelphia, 2000. fordham, douglas , British Art and the Seven Years’ War: Allegiance and Autonomy, Philadelphia, 2010. —— ‘Costume Dramas: British Art at the Court of the Marathas’, Representations, vol. 10, no. 1 (Winter 2008), pp. 57–85. gollannek, eric frederick , ‘“Empire follows art”: Exchange and the Sensory Worlds of Empire in Britain and its Colonies, 1740–1775’, Ph.D. dissertation, University of Delaware, 2008.

guest, harriet , ‘Curiously Marked: Tattooing, Masculinity, and Nationality in Eighteenth-Century British Perceptions of the South Pacific’, in John Barrell, ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992, pp. 101–34. —— Empire, Barbarism, and Civilisation: Captain Cook, William Hodges and the Return to the Pacific, Cambridge, 2007.

hackforth-jones, jocelyn, bindman, david, pratt, stephanie and ray, romita , Between

Worlds: Voyagers to Britain 1700–1850, exhibition catalogue, National Portrait Gallery, London, 2007. hamilton, douglas and blyth, robert j. , eds., Representing Slavery: Art, Artefacts and Archives in the Collections of the National Maritime Museum, London, 2007. jacob, margaret c ., Strangers Nowhere in the World: The Rise of Cosmopolitanism in Early Modern Europe, Philadelphia, 2006. joppien, rudiger and smith, bernard , The Art of Captain Cook’s Voyages, 3 vols., New Haven and London, 1985–8. kattenhorn, patricia , British Drawings in the India Office Library, vol. 3, London, 1995. kriz, kay dian , Slavery, Sugar, and the Culture of Refinement: Picturing the British West Indies, 1700–1840, New Haven and London, 2008. mcaleer, john , Representing Africa: Landscape, Exploration and Empire in Southern Africa, 1780–1870, New Haven and London, 2010. mccrea, rosalie smith , ‘Antislavery and British Painting of the Black, 1760 to 1841’, Ph.D. dissertation, University of Manchester, 2001. olson, lester c ., ‘The American Colonies Portrayed as an Indian: Race and Gender in Eighteenth-Century British Caricatures’, Imprint: Journal of the American Historical Print Collectors Society, vol. 17, no. 2 (1992), pp. 2–13. postle, martin , ‘The Captive Slave by John Simpson (1782–1847): A Rediscovered Masterpiece’, British Art Journal, vol. 9, no. 3 (Spring 2009), pp. 18–26. pratt, stephanie , American Indians in British Art, 1700–1840, Norman, OK, 2005. quilley, geoff , Empire to Nation: Art, History and the Visualization of Maritime Britain 1768–1829, New Haven and London, 2011. —— ‘Pastoral Plantations: The Slave Trade and the Representation of British Colonial Landscape in the Late Eighteenth Century’, in Geoff Quilley and Kay Dian Kriz, eds., An Economy of Colour: Visual Culture and the Atlantic World, 1660–1830, Manchester, 2003, pp. 106–28. —— ‘Questions of Loyalty: The Representation of the British West Indian Colonies During the American Revolutionary War’, in John Bonehill and Geoff Quilley, eds., Conflicting Visions: War and Visual Culture in Britain and France c. 1700–1830, Aldershot and Burlington, VT, 2005. ray, romita , Under the Banyan Tree: Relocating the Picturesque in British India, New Haven and London, 2013. rosenthal, angela , ‘Visceral Culture: Blushing and the Legibility of Whiteness in Eighteenth-Century British Portraiture’, Art History, vol. 27, no. 4 (September 2004), pp. 563–92.

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346 • bibliography smith, bernard , ‘Captain Cook’s Artists and the

Portrayal of Pacific Peoples’, Art History, vol. 7 no. 3 (September 1984), pp. 295–312. —— European Vision and the South Pacific, 2nd edn, New Haven and London, 1985. —— Imagining the Pacific: In the Wake of the Cook Voyages, New Haven and London, 1992. tobin, beth fowkes , Colonizing Nature: The Tropics in British Arts and Letters, 1760–1820, Philadelphia, 2005. —— Picturing Imperial Power: Colonial Subjects in Eighteenth-Century British Painting, Durham, NC and London, 1999. thomas, nicholas and losche, diane , eds., Double Vision: Art Histories and Colonial Histories in the Pacific, Cambridge, 1999. tromans, nicholas , ed., The Lure of the East: British Orientalist Painting, exhibition catalogue, Tate Britain, London, 2008. wilson, kathleen , The Island Race: Englishness, Empire and Gender in the Eighteenth Century, London and New York, 2003. —— ed., A New Imperial History: Culture, Identity and Modernity in Britain and the Empire, 1660–1840, Cambridge, 2004. wood, marcus , Blind Memory: Visual Representations of Slavery in England and America 1780–1865, Manchester, 2000. —— ‘John Gabriel Stedman, William Blake, Francesco Bartolozzi and Empathetic Pornography in the Narrative of a Five Years Expedition against the Revolted Negroes of Surinam’, in Geoff Quilley and Kay Dian Kriz, eds., An Economy of Colour: Visual Culture and the Atlantic World, 1660–1830, Manchester, 2003, pp. 129–51.

media: drawings, watercolours and pastels baker, christopher , English Drawings and Waterco-

lours 1600–1900, Scottish National Gallery, Edinburgh, 2011. bayard, jane , ‘From Drawing to Painting: The Exhibition Watercolor 1770–1870’, Ph.D. dissertation, 2 vols., Yale University, 1982. —— Works of Splendor and Imagination: The Exhibition Watercolor, 1770–1870, exhibition catalogue, Yale Center for British Art, New Haven, 1981. bermingham, ann , ‘“An Exquisite Practice”: The Institution of Drawing as a Polite Art in Britain’, in Brian Allen, ed., Towards a Modern Art World, Studies in British Art 1, New Haven and London, 1995, pp. 47–66. —— Learning to Draw: Studies in the Cultural History of a Polite and Useful Art, New Haven and London, 2000. bicknell, peter and munro, jane , Gilpin to Ruskin: Drawing Masters and Their Manuals, 1800–1860, exhibition catalogue, Fitzwilliam Museum, Cambridge, 1987. bower, peter , ‘The Evolution and Development of “Drawing Paper” and the Effect of This Development on Watercolour Artists, 1750–1850’, in Peter Bower, ed., The Oxford Papers: Proceedings of the British Association of Paper Historians Fourth Annual Conference, London, 1996, pp. 61–74.

brown, david blayney , Catalogue of the Collection of

Drawings in the Ashmolean Museum, Vol. 4: The Earlier British Drawings: British Artists and Foreigners Working in Britain Born Before 1775, Oxford, 1982. clarke, michael , The Tempting Prospect: A Social History of English Watercolours, London, 1981. cohn, marjorie b ., Wash and Gouache: A Study of the Development of the Materials of Watercolor, exhibition catalogue, Fogg Art Museum, Harvard University, Cambridge, MA, 1977. croft-murray, edward and hulton, paul , The British Museum: Catalogue of British Drawings, Vol. 1: XVI & XVII Centuries, 2 vols., London, 1960. feather, jessica , British Watercolours and Drawings: Lord Leverhulme’s Collection in the Lady Lever Art Gallery, Liverpool, 2010. hardie, martin , Water-Colour Painting in Britain, 3 vols., London, 1966–8. hargraves, matthew , Great British Watercolors: From the Paul Mellon Collection at the Yale Center for British Art, exhibition catalogue, Virginia Museum of Fine Arts, Richmond, VA, 2007. harris, theresa fairbanks and wilcox, scott , Papermaking and the Art of Watercolor in EighteenthCentury Britain: Paul Sandby and the Whatman Paper Mill, New Haven and London, 2006. hearn, richard paul joseph , ‘The Production of Paintings in Watercolours in Early 19th-Century Britain: The Shift from Oil-Supremacy to Watercolour-Ascendancy’, Ph.D. dissertation, University of Sussex, 1994. jeffares, neil , Dictionary of Pastellists Before 1800, London, 2006, also available at http://www.pastellists.com joll, evelyn , Cecil Higgins Art Gallery: Watercolours and Drawings, Bedford, 2002. lambourne, lionel and hamilton, jean , British Watercolours in the Victoria and Albert Museum, London, 1980. lloyd, stephen and sloan, kim , The Intimate Portrait: Drawings, Miniatures and Pastels from Ramsay to Lawrence, exhibition catalogue, Scottish National Portrait Gallery and British Museum, Edinburgh and London, 2008. lyles, anne and hamlyn, robin , British Watercolours from the Oppé Collection, exhibition catalogue, Tate Gallery, London, 1997. mallalieu, h. l ., The Dictionary of British Watercolour Artists up to 1920, 2 vols., Woodbridge, 1979. mason, pippa , ‘The Framing and Display of Watercolours’, in Watercolours from Leeds City Art Gallery, exhibition catalogue, Leeds City Art Gallery, Leeds, 1995, pp. 28–38. murdoch, john , ‘Connoisseurship of Watercolour’, in The Spooner Collection of British Watercolours at the Courtauld Institute Gallery, exhibition catalogue, Courtauld Institute Gallery, London, 2005, pp. 37–50. noon, patrick j ., English Portrait Drawings & Miniatures, exhibition catalogue, Yale Center for British Art, New Haven, 1979. nugent, charles , British Watercolours in The Whitworth Art Gallery, Manchester, London, 2002. —— From View to Vision: British Watercolours from Sandby to Turner in the Whitworth Art Gallery, exhibition catalogue, Whitworth Art Gallery, Manchester, 1993.

oppé, a. p ., English Drawings of the Stuart and Georgian

Periods in the Royal Library at Windsor Castle, London, 1950. pointon, marcia , The Bonington Circle: English Watercolour and Anglo-French Landscape 1790–1855, Brighton, 1985. quarm, roger and wilcox, scott , Masters of the Sea: British Marine Watercolours, exhibition catalogue, Yale Center for British Art, New Haven, 1987. roget, john lewis , A History of the ‘Old Water-Colour Society’ … Preceded by an Account of English WaterColour Art and Artists in the 18th Century, 2 vols., London, 1891. sloan, kim , ‘Drawing: A “Polite Recreation” in Eighteenth-Century England’, in Harry C. Payne, ed., Studies in Eighteenth-Century Culture, vol. 2, Madison, WI, 1982, pp. 217–40. —— ‘A Noble Art’: Amateur Artists and Drawing Masters c. 1600–1800, exhibition catalogue, British Museum, London, 2000. —— ‘The Teaching of Non-Professional Artists in Eighteenth-Century England’, Ph.D. dissertation, Westfield College, University of London, 1986. smith, greg , The Emergence of the Professional Watercolourist: Contentions and Alliances in the Artistic Domain, 1760–1824, Aldershot and Burlington, VT, 2002. —— ‘Turning “his back to the scene”: The Watercolourist and the Ambiguities of the Landscape Sketch, 1770–1860’, in The Spooner Collection of British Watercolours at the Courtauld Institute Gallery, exhibition catalogue, Courtauld Institute Gallery, London, 2005, pp. 17–36. —— ‘Watercolour: Purpose and Practice’, in Simon Fenwick and Greg Smith, The Business of Watercolour: A Guide to the Archives of the Royal Watercolour Society, Aldershot and Brookfield, VT, 1997. —— ‘Watercolourists and Watercolours at the Royal Academy, 1780–1836’, in David H. Solkin, ed., Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836, exhibition catalogue, Courtauld Institute Gallery, London, New Haven and London, 2001, pp. 189–200. stainton, lindsay , British Landscape Watercolours 1600–1860, exhibition catalogue, British Museum, London, 1985. —— and white, christopher , Drawing in England from Hilliard to Hogarth, exhibition catalogue, British Museum, London, 1987. standring, timothy j ., ‘Watercolor Landscape Sketching During the Popular Picturesque Era in Britain’, in Katharine Baetjer, ed., Glorious Nature: British Landscape Painting 1750–1850, exhibition catalogue, Denver Art Museum, Denver, 1993, pp. 73–84. wilcox, timothy , The Triumph of Watercolour: The Early Years of the Royal Watercolour Society 1805–55, exhibition catalogue, Dulwich Picture Gallery, London, 2005. williams, iolo a ., Early English Watercolours and Some Cognate Drawings by Artists Born Not Later Than 1785, London, 1952. wilton, andrew , British Watercolours 1750 to 1850, Oxford, 1977. —— and lyles, anne , The Great Age of British Watercolours 1750–1880, exhibition catalogue, Royal Academy of Arts, London, 1993.

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bibliography • 347 winter, david , ‘Girtin’s Sketching Club’, Huntington

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media: miniatures bayne-powell, r. l ., Catalogue of Portrait Miniatures

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media: prints and print culture alexander, david , Affecting Moments: Prints of English

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Richard and Maria Cosway lloyd, stephen , ‘Fashioning the Image of the Prince:

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Francis Cotes johnson, edward mead , Francis Cotes: Complete

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John Sell Cotman hemingway, andrew , ‘The Constituents of Romantic

Genius: John Sell Cotman’s Greta Drawings’, in Michael Rosenthal, Christiana Payne and Scott Wilcox, eds., Prospects for the Nation: Recent Essays in British Landscape, 1750–1880, Studies in British Art 4, New Haven and London, 1997, pp. 183–203. —— ‘Cotman’s Architectural Antiquities of Normandy: Some Amendments to Kitson’s Account’, Walpole Society, vol. 46 (1978), pp. 164–85. —— ‘Meaning in Cotman’s Norfolk Subjects’, Art History, vol. 7, no. 1 (March 1984), pp. 57–77. hill, david , Cotman in the North: Watercolours of Durham and Yorkshire, New Haven and London, 2005. holcomb, adele m. , British Museum Prints and Drawings Series: John Sell Cotman, London, 1978. kitson, sydney d. , The Life of John Sell Cotman, London, 1937. moore, andrew w ., John Sell Cotman 1782–1842, exhibition catalogue, Norwich Castle Museum, Norwich, 1982. rajnai, miklos , ed., John Sell Cotman 1782–1842: A Touring Exhibition Arranged by the Arts Council of Great Britain, exhibition catalogue, Victoria and Albert Museum, London, 1982.

David Cox wilcox, scott , Sun, Wind, and Rain: The Art of David Cox, exhibition catalogue, Yale Center for British Art, New Haven and London, 2007.

Alexander and John Robert Cozens bell, c. f . and girtin, thomas , ‘The Drawings and

Sketches of John Robert Cozens: A Catalogue with an Historical Introduction’, Walpole Society, vol. 23 (1935), pp. 1–87. cozens, alexander , A New Method of Assisting the Invention in Drawing Original Compositions of Landscape, London, 1786. cramer, charles a ., ‘Alexander Cozens’s New Method: The Blot and General Nature’, Art Bulletin, vol. 79, no. 1 (March 1997), pp. 112–29. hawcroft, francis , Watercolours by John Robert Cozens, exhibition catalogue, Whitworth Art Gallery, Manchester, 1971. joyner, paul and sloan, kim , ‘A Cozens Album in the National Library of Wales, Aberystwyth’, Walpole Society, vol. 57 (1994), pp. 79–136. marschall, isabelle von , Zwischen Skizze und Gemalde: John Robert Cozens (1752–1797) und das Englische Landschaftsaquarelle, Munich, 2005. sloan, kim , Alexander and John Robert Cozens: The Poetry of Landscape, New Haven and London, 1986. wilton, andrew , The Art of Alexander and John Robert Cozens, exhibition catalogue, Yale Center for British Art, New Haven, 1980.

Joshua Cristall taylor, basil , Joshua Cristall 1768–1847, exhibition catalogue, Victoria and Albert Museum, London, 1975.

Michael Dahl nisser, wilhelm , Michael Dahl and the Contemporary

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Nathaniel Dance goodreau, david , Nathaniel Dance 1735–1811, exhibi-

tion catalogue, Iveagh Bequest, Kenwood House, London, 1977. —— ‘Nathaniel Dance: An Unpublished Letter’, Burlington Magazine, vol. 114, no. 835 (October 1972), pp. 712, 715, 717. —— ‘Nathaniel Dance, R.A. (1735–1811)’, Ph.D. dissertation, University of California, Los Angeles, 1973.

Hendrick Danckerts gibson, katharine , ‘Danckerts, Hendrick (c.

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Thomas and William Daniell archer, mildred , Early Views of India: The Picturesque Journeys of Thomas and William Daniell 1786–1794, London, 1980.

Edward Dayes brown, david blayney , ‘Edward Dayes: Historical

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Arthur Devis d’oench, ellen g ., ‘Arthur Devis (1712–1787):

Master of the Georgian Conversation Piece’, Ph.D. dissertation, 2 vols., Yale University, 1979. —— The Conversation Piece: Arthur Devis and His Contemporaries, exhibition catalogue, Yale Center for British Art, New Haven, 1980. harris museum and art gallery , Polite Society by Arthur Devis 1712–1787: Portraits of the English Country Gentleman, exhibition catalogue, Preston, 1983.

John Downman munro, jane , John Downman 1750–1824: Landscape,

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Anthony Van Dyck barnes, susan j ., ‘Van Dyck and George Gage’, in

David Howarth, ed., Art and Patronage in the Caroline Courts: Essays in Honour of Sir Oliver Millar, Cambridge, 1993, pp. 1–11.

—— and wheelock, arthur k ., jr , eds., Van Dyck 350: Studies in the History of Art, no. 46, National Gallery of Art, Washington, DC, 1994. ——, poorter, nora de, millar, oliver and vey, horst , Van Dyck: A Complete Catalogue of the Paintings, New Haven and London, 2004. brown, christopher and vlieghe, hans , eds., Van Dyck 1599–1641, exhibition catalogue, Royal Academy of Arts, London, 1999. gordenker, emilie e. s ., Anthony Van Dyck (1599– 1641) and the Representation of Dress in SeventeenthCentury Portraiture, Turnhout, 2001. hearn, karen , ed., Van Dyck & Britain, exhibition catalogue, Tate Britain, London, 2009. millar, oliver , Van Dyck in England, exhibition catalogue, National Portrait Gallery, London, 1982. peacock, john , The Look of Van Dyck: The SelfPortrait with a Sunflower and the Vision of the Painter, Aldershot, 2006. royalton-kisch, martin , The Light of Nature: Landscape Drawings and Watercolours by Van Dyck and His Contemporaries, exhibition catalogue, British Museum, London, 1999. strong, roy , Van Dyck: Charles I on Horseback, London, 1972. wheelock, arthur k. jr., barnes, susan j. and held, julius s. , Van Dyck Paintings, exhibition catalogue, National Gallery of Art, Washington, DC, 1990. wood, jeremy , ‘Dyck, Sir Anthony Van (1599–1641)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, online edn May 2010, http:// www.oxforddnb.com/view/article/28081

Joseph Farington bolton museum and art gallery , Joseph Faring-

ton: Watercolours and Drawings, exhibition catalogue, Bolton, 1977. farington, joseph , The Diary of Joseph Farington, vols. 1–7 ed. Kenneth Garlick and Angus MacIntyre; vols. 8–16 ed. Kathryn Cave; index by Evelyn Newby, 16 vols., New Haven and London, 1978–98.

John Flaxman bindman, david , ed., John Flaxman 1755–1826: Master

of the Purest Line, exhibition catalogue, Sir John Soane’s Museum and the Strang Print Room, University College, London, 2003. —— ed., John Flaxman, R.A., exhibition catalogue, Royal Academy of Arts, London, 1979. petherbridge, deanna , ‘Constructing the Language of Line’, in David Bindman, ed., John Flaxman 1755–1826: Master of the Purest Line, exhibition catalogue, Sir John Soane’s Museum and the Strang Print Room, London, 2003, pp. 7–13. —— ‘Some Thoughts on Flaxman and the Engraved Outlines’, Print Quarterly, vol. 28, no. 4 (2011), pp. 385–91.

Frederick, Prince of Wales rorschach, kimerly , ‘Frederick, Prince of Wales

(1707–51) as Collector and Patron’, Walpole Society, vol. 55 (1993), pp. 1–76. tite, catherine , ‘“The Choice of Paris”: Representing Frederick, Prince of Wales: A Brief Reconsideration’, British Art Journal, vol. 9, no. 2 (Autumn 2008), pp. 22–7.

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bibliography • 357 vivian, frances , A Life of Frederick, Prince of Wales,

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Isaac Fuller solkin, david h ., ‘Isaac Fuller’s Escape of Charles II: A Restoration Tragicomedy’, Journal of the Warburg and Courtauld Institutes, vol. 62 (1999), pp. 199–240.

Henry Fuseli brenneman, david a ., ‘Self-Promotion and the Sub-

lime: Fuseli’s Dido on the Funeral Pyre’, Huntington Library Quarterly, vol. 62, no. 1/2 (1999), pp. 68–87. bungarten, gisela , J. H. Fusslis (1741–1825) “Lectures on Painting”: Das Modell der Antike und die Moderne Nachahmung, 2 vols., Berlin, 2005. calè, luisa , Fuseli’s Milton Gallery: ‘Turning Readers into Spectators’, Oxford, 2006. frayling, christopher , ‘Fuseli’s The Nightmare: Somewhere between the Sublime and the Ridiculous’, in Martin Myrone, ed., Gothic Nightmares: Fuseli, Blake and the Romantic Imagination, exhibition catalogue, Tate Britain, London, 2006, pp. 12–19. knowles, john , ed., The Life and Writings of Henry Fuseli, Esq. M.A. R.A., 3 vols., London, 1831. myrone, martin , Henry Fuseli, London, 2001. —— ‘Henry Fuseli and Gothic Spectacle’, Huntington Library Quarterly, vol. 70, no. 2 (June 2007), pp. 289–310. pop, andrei , ‘Henry Fuseli: Greek Tragedy and Cultural Pluralism’, Art Bulletin, vol. 94, no. 1 (March 2012), pp. 78–98. schiff, gert , Henry Fuseli 1741–1825, exhibition catalogue, Tate Gallery, London, 1975. —— Johann Heinrich Füssli, 1741–1825, 2 vols., Zurich and Munich, 1973. smith, camilla, ‘Between Fantasy and Angst: Assessing the Subject and Meaning of Henry Fuseli’s Late Pornographic Drawings, 1800–25’, Art History, vol. 33, no. 3 (June 2010), pp. 420–47. tomory, peter , The Life and Art of Henry Fuseli, London, 1972. weinglass, david h ., ed., The Collected English Letters of Henry Fuseli, Millwood, NY and London, 1982. —— Prints and Engraved Illustrations by and after Fuseli: A Catalogue Raisonné, Aldershot, 1994.

Thomas Gainsborough asfour, amal and williamson, paul , Gainsborough’s Vision, Liverpool, 1999.

belsey, hugh , Gainsborough’s Cottage Doors: An Insight

into the Artist’s Last Decade, London, 2013. —— Love’s Prospect: Gainsborough’s ‘Byam Family’ and the Eighteenth Century Marriage Portrait, exhibition catalogue, Holburne Museum of Art, Bath, 2001. —— ‘A Second Supplement to John Hayes’s The Drawings of Thomas Gainsborough’, Master Drawings, vol. 46, no. 4 (Winter 2008), pp. 427–541. —— Thomas Gainsborough: A Country Life, London and Munich, 2002. bermingham, ann , ‘Daubings, Moppings, and Sploshings: Gainsborough and the Drawing Masters’, in Jay A. Clark, ed., Landscape, Innovation, and Nostalgia: The Manton Collection of British Art, Williamstown, MA, 2012, pp. 52–71.

—— ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005. —— ‘The Simple Life: Cottages and Gainsborough’s Cottage Doors’, in Peter de Bolla, Nigel Leask and David Simpson, eds., Land, Nation and Culture, 1740–1840: Thinking the Republic of Taste, Basingstoke and New York, 2005, pp. 37–62. brenneman, david a ., ‘The Critical Response to Thomas Gainsborough’s Painting: A Study of the Contemporary Perception and Materiality of Gainsborough’s Art’, Ph.D. dissertation, Brown University, 1995. —— ‘Thomas Gainsborough and the “thin brilliant Style of Pencilling of Vandyke”’, Huntington Library Quarterly, vol. 66, no. 1/2 (2003), pp. 80–95. cherry, deborah and harris, jennifer , ‘Eighteenth-Century Portraiture and the Seventeenth-Century Past: Gainsborough and Van Dyck’, Art History, vol. 5, no. 3 (September 1982), pp. 287–309. christensen, carol and luciano, eleonora , ‘The Evolution of Gainsborough’s Portrait of Elizabeth Sheridan’, Burlington Magazine, vol. 155, no. 321 (April 2013), pp. 238–42. clifford, timothy, griffiths, antony and royalton-kisch, martin , Gainsborough and Reynolds in the British Museum: The Drawings of Gainsborough and Reynolds with a Survey of Mezzotints After Their Paintings and a Study of Reynolds’ Collection of Old Master Drawings, exhibition catalogue, British Museum, London, 1978. derow, jonathan p ., ‘Gainsborough’s Varnished Watercolour Technique’, Master Drawings, vol. 26, no. 3 (Autumn 1988), pp. 259–71 and 301–8. foister, susan, jones, rica and meslay, olivier , Young Gainsborough, exhibition catalogue, National Gallery, London, 1997. french, anne , ed., ‘The Earl and Countess of Howe’ by Gainsborough: A Bicentenary Exhibition, exhibition catalogue, Iveagh Bequest, Kenwood House, London, 1988. hayes, john , The Drawings of Thomas Gainsborough, 2 vols., London, 1970. —— Gainsborough as Printmaker, London, 1971. —— ‘Gainsborough Drawings: A Supplement to the Catalogue Raisonné’, Master Drawings, vol. 21, no. 4 (Winter 1983), pp. 367–91. —— ‘Gainsborough’s Richmond Water-Walk’, Burlington Magazine, vol. 111, no. 790 (January 1989), pp. 28–31. —— The Landscape Paintings of Thomas Gainsborough: A Critical Text and Catalogue Raisonné, 2 vols., London, 1982. ——Thomas Gainsborough, exhibition catalogue, Tate Gallery, London, 1980. —— ed., The Letters of Thomas Gainsborough, New Haven and London, 2001. leca, benedict , ed., Thomas Gainsborough and the Modern Woman, exhibition catalogue, Cincinnati Art Museum, Cincinnati and London, 2010. queen’s gallery, buckingham palace , Gainsborough & Reynolds: Contrasts in Royal Patronage, exhibition catalogue, London, 1994. rempel, lora , ‘The Matter of Style: Thomas Gainsborough, the Portrait in a Landscape, and the Mark of the Modern Painter’, Ph.D. dissertation, City University of New York, 1997. rosenthal, michael , The Art of Thomas Gainsborough: ‘a little business for the Eye’, New Haven and London, 1999.

—— ‘Gainsborough’s Cottage Doors: A Matter of Modernity’, in Ann Bermingham, ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005, pp. 77–95. —— ‘Gainsborough’s Diana and Actaeon’, in John Barrell, ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992, pp. 167–94. —— ‘Gainsborough, Thomas’, in Grove Art Online, Oxford University Press, http://oxfordindex.oup.com/ view/10.1093/gao/9781884446054.article.T030414. —— ‘Thomas Gainsborough’s Ann Ford’, Art Bulletin, vol. 80, no. 4 (December 1998), pp. 649–65. —— and myrone, martin , eds., Gainsborough, exhibition catalogue, Tate Britain, London, 2002. sloman, susan , ‘“A Divine Countenance”: Gainsborough’s Portrait of His Nephew Rediscovered’, Burlington Magazine, vol. 146, no. 1214 (May 2004), pp. 319–22. —— Gainsborough in Bath, New Haven and London, 2002. —— ‘Gainsborough’s Blue Boy’, Burlington Magazine, vol. 155, no. 1321 (April 2013), pp. 231–7. —— Gainsborough’s Landscapes: Themes and Variations, exhibition catalogue, Holburne Museum, Bath, 2011. —— ‘“Innocence and health”: Nursing Women in Gainsborough’s Cottage-Door Paintings’, in Ann Bermingham, ed., Sensation & Sensibility: Viewing Gainsborough’s ‘Cottage Door’, New Haven and London, 2005, pp. 37–51. spencer-longhurst, paul and brooke, janet m ., Thomas Gainsborough: ‘The Harvest Wagon’, exhibition catalogue, Birmingham Museum and Art Gallery, Birmingham, 1995. waterhouse, ellis , Gainsborough, London, 1958. whitley, william t ., Thomas Gainsborough, London, 1915. woodall, mary , ed., The Letters of Thomas Gainsborough, London, 1963.

Joseph Michael Gandy lukacher, brian , Joseph Gandy: An Architectural Visionary in Georgian England, London, 2006.

Daniel Gardner forrester, gillian , ‘The Art of Daniel Gardner’,

Transactions of the Romney Society, vol. 10 (2005), pp. 32–43. kapp, helen , Daniel Gardner, 1750–1805, exhibition catalogue, Iveagh Bequest, Kenwood House, London, 1972. williamson, george charles , Daniel Gardner: Painter in Pastel and Gouache, London, 1921.

Benedetto Gennari bagni, prisco , Benedetto Gennari e la bottega del Guercino, Bologna, 1986.

miller, dwight c ., ‘Benedetto Gennari’s Career at

the Courts of Charles II and James II and a Newly Discovered Portrait of James II’, Apollo, vol. 117, no. 251 (January 1983), pp. 24–9.

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358 • bibliography shawe-taylor, desmond , ed., The First Georgians:

Art & Monarchy, 1714–1760, exhibition catalogue, Queen’s Gallery, Buckingham Palace, London, 2014.

George III and Queen Charlotte baker, kenneth , George III: A Life in Caricature, London, 2004.

marsden, jonathan, ed., The Wisdom of George the

Third: Papers from a Symposium at The Queen’s Gallery, Buckingham Palace, June 2004, London, 2005. roberts, jane , ed., George III and Queen Charlotte: Patronage, Collecting and Court Taste, exhibition catalogue, Queen’s Gallery, Buckingham Palace, London, 2004. strobel, heidi a ., The Artistic Matronage of Queen Charlotte (1744–1818): How a Queen Promoted Both Art and Female Artists in English Society, Lewiston, NY, 2011.

George IV arnold, dana , ed., ‘Squanderous and Lavish Profu-

sion’: George IV, His Image and Patronage of the Arts, London, 1995. queen’s gallery , buckingham palace, ‘Carlton House: The Past Glories of George IV’s Palace’, exhibition catalogue, London, 1991.

James Gillray banerji, christiane and donald, diana , Gillray

Observed: The Earliest Account of His Caricatures in ‘London und Paris’, Cambridge, 1999. godfrey, richard t ., James Gillray: The Art of Caricature, exhibition catalogue, Tate Britain, London, 2001. hill, draper , Fashionable Contrasts: Caricatures by James Gillray, Oxford, 1966.

Sawrey Gilpin ferguson, sharon h ., ‘Sawrey Gilpin (1733–1807): British Animal Painting in the Age of Sentiment’, Ph.D. dissertation, New York University, 2005.

William Gilpin barbier, carl paul , William Gilpin: His Drawings,

Teaching, and Theory of the Picturesque, Oxford, 1963. gilpin, william , An Essay on Prints [1768], 5th edn, London, 1802. —— Observations on the River Wye and Several Parts of South Wales, &c. Relative Chiefly to Picturesque Beauty; Made in the Summer of the Year 1770, London, 1782. —— Three Essays: On Picturesque Beauty; On Picturesque Travel; and On Sketching Landscape: To Which is Added a Poem, On Landscape Painting, London, 1792.

Thomas Girtin girtin, thomas and loshak, david , The Art of

Thomas Girtin, London, 1954. hawcroft, francis , Watercolours by Thomas Girtin, exhibition catalogue, Whitworth Art Gallery, Manchester, 1975. hill, david , Thomas Girtin: Genius in the North, exhibition catalogue, Harewood House, Yorkshire, Leeds, 1999.

morris, susan , Thomas Girtin 1775–1802, exhibition catalogue, Yale Center for British Art, New Haven, 1986. smith, greg , Thomas Girtin: The Art of Watercolour, exhibition catalogue, Tate Britain, London, 2002.

John Glover hansen, david , John Glover and the Colonial Pictur-

esque, exhibition catalogue, Tasmanian Museum and Art Gallery, Hobart, 2003.

William Green burkett, m. e . and sloss, j. d. g ., William Green of Ambleside: A Lake District Artist (1760–1823), Kendal, 1984.

Samuel Hieronymus Grimm clay, rotha mary , Samuel Hieronymus Grimm of Burgdorf in Switzerland, London, 1949.

hauptman, william , Samuel Hieronymus Grimm

(1733–1794): A Very English Swiss, exhibition catalogue, Kunstmuseum, Bern, 2014. joyner, paul , Samuel Hieronymus Grimm: Views in Wales, exhibition catalogue, National Library of Wales, Aberystwyth, 1983.

Gavin Hamilton cassidy, brendan , The Life & Letters of Gavin Ham-

ilton (1723–1798), Artist & Art Dealer in EighteenthCentury Rome, 2 vols., London, 2012. errington, lindsay , ‘Gavin Hamilton’s Sentimental Iliad’, Burlington Magazine, vol. 120, no. 898 (January 1978), pp. 10–13. lewis, jayne elizabeth , ‘Hamilton’s “Abdication”, Boswell’s Jacobitism and the Myth of Mary Queen of Scots’, ELH, vol. 64, no. 4 (Winter 1997), pp. 1069–90. macmillan, duncan , ‘The Iconography of Moral Sense: Gavin Hamilton’s Sentimental Heroines’, British Art Journal, vol. 1, no. 1 (Autumn 2000), pp. 46–55. —— ‘Woman as Hero: Gavin Hamilton’s Radical Alternative’, in Gill Perry and Michael Rossington, eds., Femininity and Masculinity in Eighteenth-Century Art and Culture, Manchester, 1994, pp. 78–98. williams, julia lloyd , ‘Hamilton, Gavin (1723– 1798)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, online edn January 2008, http://www.oxforddnb.com/view/article/12066

Hugh Douglas Hamilton cullen, fintan , ‘The Oil Paintings of Hugh Douglas

Hamilton’, Walpole Society, vol. 50 (1984), pp. 165–208. hodge, anne , ed., Hugh Douglas Hamilton 1740–1808: A Life in Pictures, exhibition catalogue, National Gallery of Ireland, Dublin, 2008.

Sir William Hamilton jenkins, ian and sloan, kim , Vases & Volcanoes:

Sir William Hamilton and His Collection, exhibition catalogue, British Museum, London, 1996.

William Havell owen, felicity and stanford, e ., William Havell 1782–1857: Paintings, Watercolours, Drawings and Prints, exhibition catalogue, Spink and Son Ltd, London, 1981.

Benjamin Robert Haydon barrell, john , ‘Benjamin Robert Haydon: The Curtius

of the Khyber Pass’, in John Barrell, ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992, pp. 253–90. brown, david blayney, woof, robert and hebron, stephen , Benjamin Robert Haydon 1786– 1846: Painter and Writer, Friend of Wordsworth and Keats, exhibition catalogue, Dove Cottage, Grasmere, 1996. george, eric and george, mary dorothy , The Life and Death of Benjamin Robert Haydon: Historical Painter, 1786–1846, 2nd edn, Oxford, 1967. haydon, benjamin robert , The Diary of Benjamin Robert Haydon, ed. W. B. Pope, 5 vols., Cambridge, MA, 1960–3. —— The Life of Benjamin Robert Haydon, Historical Painter from His Autobiography and Journals, ed. Tom Taylor, 2nd edn, 3 vols., London, 1853. sarafianos, aris , ‘B. R. Haydon and Racial Science: the Politics of the Human Figure and the Art Profession in the Early Nineteenth Century’, Visual Culture in Britain, vol. 7, no. 1 (Spring 2006), pp. 79–106.

William Hayley chan, victor , Leader of My Angels: William Hayley

and His Circle, exhibition catalogue, Edmonton Art Gallery, Edmonton, AB, 1982.

Francis Hayman allen, brian , Francis Hayman, exhibition catalogue,

Yale Center for British Art, New Haven, New Haven and London, 1987. —— ‘Francis Hayman and the English Rococo’, Ph.D. dissertation, Courtauld Institute of Art, University of London, 1984.

Edward Haytley griffiths, rodney , ‘The Life and Works of Edward Haytley’, Walpole Society, vol. 74 (2012), pp. 1–60.

Thomas Heaphy solkin, david h . ‘The Other Half of the Landscape:

Thomas Heaphy’s Watercolour Nasties’, in Peter de Bolla, Nigel Leask and David Simpson, eds., Land, Nation and Culture, 1740–1840: Thinking the Republic of Taste, Basingstoke and New York, 2005, pp. 63–96.

Thomas Hearne morris, david , Thomas Hearne 1744–1817: Water-

colours and Drawings, exhibition catalogue, Bolton Museum and Art Gallery, Bolton, 1985. —— Thomas Hearne and His Landscape, London, 1989.

Egbert van Heemskerck raines, robert , ‘Notes on Egbert van Heemskerck and the English Taste for Genre’, Walpole Society, vol. 53 (1989), pp. 119–42.

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William Hoare newby, evelyn , William Hoare of Bath, R.A.,

1707–1792, exhibition catalogue, Victoria Art Gallery, Bath, 1990.

William Hodges brunt, peter , ‘Savagery and the Sublime: Two Paint-

ings by William Hodges Based on an Encounter with Maori in Dusky Bay, New Zealand’, The Eighteenth Century: Theory and Interpretation, vol. 38, no. 3 (1997), pp. 266–86. —— ‘The Sublime and the “Civilized” Subject: History, Painting, and Cook’s Second Voyage’, Ph.D. dissertation, Cornell University, 2000. guest, harriet , Empire, Barbarism, and Civilisation: Captain Cook, William Hodges and the Return to the Pacific, Cambridge, 2007. —— ‘The Great Distinction: Figures of the Exotic in the Work of William Hodges’, Oxford Art Journal, vol. 12, no. 2 (1989), pp. 36–58. macdonald, simon , ‘To “shew virtue its own image”: William Hodges’s The Effects of Peace and The Consequences of War, 1794–1795’, British Art Journal, vol. 9, no. 1 (Spring 2008), pp. 57–66. quilley, geoff and bonehill, john , eds., William Hodges 1744–1797: The Art of Exploration, exhibition catalogue, National Maritime Museum, Greenwich, New Haven and London, 2004. smith, bernard , ‘William Hodges and English PleinAir Painting’, Art History, vol. 6, no. 2 (June 1983), pp. 143–52. stuebe, isabel combs , ‘The Life and Works of William Hodges’, Ph.D. dissertation, 2 vols., New York University, 1978. tillotson, giles , The Artificial Empire: The Indian Landscapes of William Hodges, London, 2000.

William Hogarth antal, frederick , Hogarth and His Place in European

Art, London, 1962. barlow, jeremy , The Enraged Musician: Hogarth’s Musical Imagery, Aldershot and Burlington, VT, 2005. bindman, david , Hogarth, London, 1981. —— Hogarth and His Times: Serious Comedy, exhibition catalogue, British Museum, London, 1997. —— and wilcox, scott , eds., “Among the Whores and Thieves”: William Hogarth and ‘The Beggar’s Opera’, exhibition catalogue, Yale Center for British Art, New Haven, 1997. ——, ogée, frédéric and wagner, peter , eds., Hogarth: Representing Nature’s Machines, Manchester, 2001. craske, matthew , Hogarth, London, 2000. crown, patricia , ‘Clothing the Modern Venus: Hogarth and Women’s Dress’, in Elise Goodman, ed., Art and Culture in the Eighteenth Century: New Dimensions and Multiple Perspectives, Newark, DE, 2001, pp. 90–105.

dabydeen, david , Hogarth, Walpole and Commercial

Britain, London, 1987. fordham, douglas , ‘William Hogarth’s The March to Finchley and the Fate of Comic History Painting’, Art History, vol. 27, no. 1 (February 2004), pp. 95–128. fort, bernadette and rosenthal, angela , eds., The Other Hogarth: Aesthetics of Difference, Princeton, 2001. gibson, william , ‘The Significance of the Iconography of Bishop Benjamin Hoadly (1676–1761), British Art Journal, vol. 7, no. 2 (Autumn 2006), pp. 3–10. godby, michael , ‘The First Steps of Hogarth’s Harlot’s Progress’, Art History, vol. 10, no. 1 (March 1987), pp. 23–37. hallett, mark , Hogarth, London, 2000. —— and riding, christine , Hogarth, exhibition catalogue, Tate Britain, London, 2007. hogarth, william , The Analysis of Beauty [1752], ed. Ronald Paulson, New Haven and London, 1997. —— Apology for Painters, ed. Michael Kitson, Walpole Society, vol. 41 (1968), pp. 46–111. marks, arthur s ., ‘Hogarth’s Mackinen Children’, British Art Journal, vol. 9, no. 1 (Spring 2008), pp. 38–56. ogée, frédéric , ed., The Dumb Show: Image and Society in the Works of William Hogarth, Oxford, 1997. paulson, ronald , ‘Hogarth and the Distribution of Visual Images’, in Brian Allen, ed., Towards a Modern Art World, Studies in British Art 1, New Haven and London, 1995, pp. 27–46. —— Hogarth: His Life, Art, and Times, 2 vols., New Haven and London, 1971. —— Hogarth. Volume 1: The ‘Modern Moral Subject’, 1697–1732, London, 1991. —— Hogarth. Volume 2: High Art and Low, 1732–1750, Cambridge, 1992. —— Hogarth. Volume 3: Art and Politics, 1750–1764, Cambridge, 1993. —— Hogarth’s Graphic Works, 3rd rev. edn, London, 1989. —— Hogarth’s Harlot: Sacred Parody in Enlightenment England, Baltimore, 2003. pointon, marcia , William Hogarth’s ‘Sigismunda’, in Focus, exhibition catalogue, Tate Britain, London, 2000. shesgreen, sean , Hogarth and the Times-of-the-Day Tradition, Ithaca, NY and London, 1983. simon, robin , Hogarth, France and British Art: The Rise of the Arts in 18th-Century Britain, London, 2007. solkin, david h ., ‘The Fetish over the Fireplace: Disease as Genius Loci in Hogarth’s Marriage Ala-Mode’, British Art Journal, vol. 2, no. 1 (Autumn 2000), pp. 26–34.

Wenceslaus Hollar godfrey, richard t ., Wenceslaus Hollar: A Bohemian

Artist in England, exhibition catalogue, Yale Center for British Art, New Haven and London, 1994. griffiths, antony and kesnerova, gabriela , Wenceslaus Hollar, Prints and Drawings, from the Collections of the National Gallery, Prague and the British Museum, London, exhibition catalogue, British Museum, London, 1983. parry, graham , Hollar’s England: A Mid-SeventeenthCentury View, Salisbury, 1980.

pennington, richard , A Descriptive Catalogue of

the Etched Work of Wenceslaus Hollar 1607–1677, Cambridge, 1982. turner, simon , ‘Hollar’s Prospects and Maps of London’, in Michael Hunter, ed., Printed Images in Early Modern Britain: Essays in Interpretation, Farnham and Burlington, VT, 2010, pp. 145–66.

Nathaniel Hone butler, nesta , ‘Nathaniel Hone the Elder and William

Baillie: Irish Artists in Late 18th-Century London and Their Shared Admiration for Rembrandt’, British Art Journal, vol. 8, no. 2 (Autumn 2007), pp. 39–52. newman, john , ‘Reynolds and Hone: The Conjuror Unmasked’, in Nicholas Penny, ed., Reynolds, exhibition catalogue, Royal Academy of Arts, London, 1986, pp. 344–54. rooney, brendan , ‘Hone, Nathaniel (1718–1784)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, online edn January 2008, http:// www.oxforddnb.com/view/article/13658 stefanis, konstantinos , ‘Nathaniel Hone’s 1775 Exhibition: The First Single-Artist Retrospective’, Visual Culture in Britain, vol. 14, no. 2 (2013), pp. 131–53. thom, danielle , ‘Kitty Fisher & the Fishing Kitty’, in The Droll Hackabout: Visual Culture and Social History in the Long Eighteenth-Century, http://thedrollhackabout.wordpress.com/2013/05/12/kittyfisher-the-fishing-kitty/.

John Hoppner mckay, william and roberts, william , John Hoppner, R.A., 2 vols., London, 1909–14.

wilson, john human , ‘The Life and Work of John

Hoppner (1758–1810)’, Ph.D. dissertation, Courtauld Institute of Art, University of London, 1992.

Thomas Hudson iveagh bequest, kenwood house , Thomas Hudson

1701–1779: Portrait Painter and Collector. A Bicentenary Exhibition, exhibition catalogue, London, 1979. miles, ellen gross , ‘Thomas Hudson (1701–1779): Portraitist to the British Establishment’, Ph.D. dissertation, 2 vols., Yale University, 1976.

Ozias Humphry williamson, george charles , Ozias Humphry, London, 1918.

Jacob Huysmans braverman, richard , ‘Monmouth, the Baptist, and

the Succession: Three Portraits by Jacob Huysmans’, Journal for Eighteenth-Century Studies, vol. 17, no. 2 (September 1994), pp. 139–47.

Julius Caesar Ibbetson clay, rotha mary , Julius Caesar Ibbetson 1759–1817, London, 1948.

mitchell, james , Julius Caesar Ibbetson (1759–1817): ‘The Berchem of England’, London, 1999.

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Charles Jervas pegum, caroline , ‘The Artistic and Literary Career

of Charles Jervas (c. 1675–1739), M.Phil. dissertation, University of Birmingham, 2009.

Thomas Jones gowing, lawrence , The Originality of Thomas Jones, London, 1985.

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Angelica Kauffman manners, victoria and williamson, george charles , Angelica Kauffmann, R.A.: Her Life and Her Works, London, 1924.

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George Knapton redford, bruce , ‘“Seria Ludo”: George Knapton’s Portraits of the Society of Dilettanti’, British Art Journal, vol. 3 no. 1 (Autumn 2001), pp. 56–68.

Godfrey Kneller stewart, j. douglas , Sir Godfrey Kneller, exhibition

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George Lambert einberg, elizabeth , ‘Catalogue Raisonné of the

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Thomas Lawrence albinson, a. cassandra , ‘The Hidden Stratum of

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Sir John Leicester cannon-brookes, peter , Paintings from Tabley

House, exhibition catalogue, Heim Gallery, London, 1989. chun, dongho , ‘Public Display, Private Glory: Sir John Fleming Leicester’s Gallery of British Art in Early Nineteenth-Century England’, Journal of the History of Collections, vol. 13, no. 2 (2001), pp. 175–89.

Peter Lely baker, c. h. collins , Lely and the Stuart Portrait

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Jean-Étienne Liotard hauptman, william , ‘Liotard at the Royal Academy, 1773: The Enigmatic “Dr Thomson”’, British Art Journal, vol. 12, no. 2 (Autumn 2011), pp. 34–43. jeffares, neil , ‘Liotard, Jean-Étienne’, in Dictionary of Pastellists Before 1800, online edn, http://www. pastellists.com/articles/liotard.pdf

Philippe Jacques de Loutherbourg allen, ralph g ., ‘The Stage Spectacles of Philip

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Philip Mercier ingamells, john, ‘A Catalogue of the Paintings,

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Thomas Monro victoria and albert museum, Dr. Thomas Monro (1759–1833) and the Monro Academy, exhibition catalogue, London, 1976.

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George Morland barrell, john , ‘George Morland’, in John Barrell, The Dark Side of the Landscape: The Rural Poor in English Painting 1730–1840, Cambridge, 1980, pp. 89–129. blagdon, f. w ., Authentic Memoirs of the Late George Morland, with Remarks on His Abilities and Progress as an Artist, London, 1806. collins, william , Memoirs of a Picture … Including a Genuine Biographical Sketch of That Celebrated Original and Eccentric Genius, the Late Mr. George Morland, 3 vols., London, 1805. dawe, george , The Life of George Morland: With Remarks on His Works, London, 1807. gamer, meredith , ‘George Morland’s Slave Trade and African Hospitality: Slavery, Sentiment and the Limits of the Abolitionist Image’, in Elizabeth McGrath and Jean Michel Massing, eds., The Slave in European Art: From Renaissance Trophy to Abolitionist Emblem, Warburg Institute Colloquia 20, London and Turin, 2012, pp. 297–319.

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John Opie arts council of great britain , John Opie 1761– 1807, exhibition catalogue, London, 1962.

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Thomas Patch watson, f. j. b ., ‘Thomas Patch (1725–1782): Notes

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Papermaking and the Art of Watercolor in EighteenthCentury Britain: Paul Sandby and the Whatman Paper Mill, New Haven and London, 2006. herrmann, luke , Paul and Thomas Sandby, London, 1986. hughes, peter , ‘Paul Sandby and Sir Watkin WilliamsWynn’, Burlington Magazine, vol. 114, no. 832 (July 1972), pp. 459–66. —— ‘Paul Sandby’s Tour of Wales with Joseph Banks’, Burlington Magazine, vol. 117, no. 868 (July 1975), pp. 452–7. oppé, a. p ., The Drawings of Paul and Thomas Sandby in the Collection of His Majesty the King at Windsor Castle, London, 1947. roberts, jane , Views of Windsor: Watercolours by Thomas and Paul Sandby from the Collection of Her Majesty Queen Elizabeth II, London, 1995. robertson, bruce , The Art of Paul Sandby, exhibition catalogue, Yale Center for British Art, New Haven, 1985.

—— ‘In at the Birth of British Historical Landscape Painting’, Turner Studies, vol. 4, no. 1 (Summer 1984), pp. 44–6. —— ‘Paul Sandby and the Early Development of English Watercolor’, Ph.D. dissertation, Yale University, 1987.

Samuel Scott ellis, markman , ‘River and Labour in Samuel Scott’s

Thames Views in the Mid-Eighteenth Century’, London Journal, vol. 37, no. 3 (November 2012), pp. 152–73. kingzett, richard , ‘A Catalogue of the Works of Samuel Scott’, Walpole Society, vol. 48 (1982), pp. 1–134.

Dominic Serres monks, sarah , ‘“Un Peu Gascon”’: Dominic Serres

and the Spectre of Alienation’, in Sarah Monks, John Barrell and Mark Hallett, eds., Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848, Farnham and Burlington, VT, 2013, pp. 53–74. russett, alan , Dominic Serres R.A., 1719–1793: War Artist to the Navy, London, 2000.

Anthony Ashley Cooper, 3rd Earl of Shaftesbury o’connell, sheila , ‘Lord Shaftesbury in Naples:

1711–1713’, Walpole Society, vol. 54 (1991), pp. 149–219. shaftesbury, anthony ashley cooper, 3rd earl of, Characteristics of Men, Manners, Opinions, Times [1711], ed. Lawrence E. Klein, Cambridge, 1999. —— A Notion of the Historical Draught or Tablature of the Judgment of Hercules, According to Prodicus, Lib.II. Xen. de Mem. Soc., London, 1713.

Jan Siberechts grindle, nick , ‘Big Houses and Little People: How

Formal Patterns in Landscape Relate to Social Composition in Jan Siberechts’ Later Works’, Object, no. 2 (1999–2000), pp. 89–109. hearn, karen , ‘Merchant Clients for the Painter Jan Siberechts’, in Mireille Galinou, ed., City Merchants and the Arts 1670–1720, London, 2004, pp. 83–92. wortley, laura , ‘City Merchants’ Landownership around Henley-on-Thames and the Paintings of Jan Siberechts’, in Mireille Galinou, ed., City Merchants and the Arts 1670–1720, London, 2004, pp. 93–102. —— ‘Jan Siberechts in Henley-on-Thames’, Burlington Magazine, vol. 149, no. 1248 (March 2007), pp. 148–57.

Jonathan Skelton ford, brinsley , ‘The Letters of Jonathan Skelton

Written from Rome and Tivoli in 1758’, Walpole Society, vol. 36 (1960), pp. 23–84. pierce, s. rowland , ‘Jonathan Skelton and His Water Colours: A Check List’, Walpole Society, vol. 36 (1960), pp. 10–22.

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hibition catalogue, Pallant House Gallery, Chichester, 1986.

John ‘Warwick’ Smith powell, celia and hebron, stephen , A Cumbrian

Artist Rediscovered: John Smith (1749–1831), exhibition catalogue, Dove Cottage, Grasmere, 2011.

Andrea Soldi ingamells, john , ‘Andrea Soldi: A Check-List of His Work’, Walpole Society, vol. 47 (1980), pp. 1–20.

Maria Spilsbury yeldham, charlotte , Maria Spilsbury (1776–1820): Artist and Evangelical, Aldershot and Burlington, VT, 2010.

Thomas Stothard bennett, shelley m. , ‘Thomas Stothard, R.A.’,

Ph.D. dissertation, University of California, Los Angeles, 1977. —— Thomas Stothard: The Mechanisms of Art Patronage in England circa 1800, Columbia, MO, 1988. bray, anna eliza , Life of Thomas Stothard, R.A. with Personal Reminiscences, 3 vols., London, 1851.

Gilbert Stuart pressly, william l . ‘Gilbert Stuart’s The Skater: An Essay in Romantic Melancholy’, American Art Journal, vol. 18, no. 1 (Winter 1986), pp. 42–51.

James ‘Athenian’ Stuart soros, susan weber , ed., James ‘Athenian’ Stuart:

The Rediscovery of Antiquity, exhibition catalogue, Bard Graduate Center, New York, New Haven and London, 2006.

George Stubbs daniels, stephen , ‘Miniature Matlock: Creswell

Crags, George Stubbs and 18th-Century Landscape Taste’, British Art Journal, vol. 9, no. 2 (Autumn 2008), pp. 79–85. doherty, terence , The Anatomical Works of George Stubbs, London, 1974. egerton, judy , George Stubbs 1724–1806, exhibition catalogue, Tate Gallery, London, 1984. —— George Stubbs, Painter: Catalogue Raisonné, New Haven and London, 2007. fordham, douglas , ‘George Stubbs’s Zoon Politikon’, Oxford Art Journal, vol. 33, no. 1 (2010), pp. 1–23. hall, nicholas h. j ., ed., Fearful Symmetry: George Stubbs, Painter of the English Enlightenment, New York, 2000. lennox-boyd, christopher, dixon, rob and clayton, timothy , George Stubbs: The Complete Engraved Works, Abingdon, 1989. myrone, martin , George Stubbs, London, 2002. rott, herbert w ., ed., George Stubbs 1724–1806: Science into Art, exhibition catalogue, Neue Pinakothek, Munich, 2012.

sarafianos, aris , ‘Stubbs, Walpole and Burke: Con-

vulsive Imitation and “Truth Extorted”’, in Nigel Llewellyn and Christine Riding, eds., The Art of the Sublime, January 2013, https://www.tate.org.uk/art/ research-publications/the-sublime/aris-sarafianosstubbs-walpole-and-burke-convulsive-imitation-andtruth-extorted-r1138672 taylor, basil , Stubbs, London, 1971. warner, malcolm and blake, robin , Stubbs & the Horse, exhibition catalogue, Kimbell Art Museum, Fort Worth, New Haven and London, 2005.

James Thornhill gibson-wood, carol , ‘The Political Background to

Thornhill’s Paintings in St Paul’s Cathedral’, Journal of the Warburg and Courtauld Institutes, vol. 56 (1993), pp. 229–37. hudson, t. p ., ‘Moor Park, Leoni and Sir James Thornhill, Burlington Magazine, vol. 113, no. 824 (November 1971), pp. 657–61. johns, richard , ‘“An Air of Grandeur & Modesty”: James Thornhill’s Painting in the Dome of St. Paul’s Cathedral’, Eighteenth-Century Studies, vol. 42, no. 4 (Summer 2009), pp. 501–27. —— ‘James Thornhill and Decorative History Painting in England after 1688’, Ph.D. dissertation, University of York, 2004. melville, jennifer , ‘A Journal of a Trip Through Part of Flanders in 1726 by John Thornhill’, Walpole Society, vol. 69 (2007), pp. 185–209. meyer, arline , Apostles in England: Sir James Thornhill & the Legacy of Raphael’s Tapestry Cartoons, exhibition catalogue, Miriam & Ira Wallach Art Gallery, New York, 1996. thornhill, james , An Explanation of the Painting in the Royal-Hospital at Greenwich, London, n.d. (c. 1726–30). walczak, gerrit , ‘“The man that workt for Sr. J. Thornhill”: Dietrich Ernst Andreae (c1695–1734) in England’, British Art Journal, vol. 3, no. 2 (Spring 2002), pp. 8–19.

Peter Tillemans raines, robert , ‘Peter Tillemans, Life and Work, with a List of Representative Paintings’ Walpole Society, vol. 47 (1980), pp. 21–59.

Francis Towne oppé, a. p ., ‘Francis Towne, Landscape Painter’, Walpole Society, vol. 8 (1920), pp. 95–126.

stephens, richard , ‘A Catalogue Raisonné of the

Works of Francis Towne (1739–1816)’, Ph.D. dissertation, 4 vols., Birkbeck College, University of London, 2005. —— ‘Francis Towne’s Views of Rome: Time-Telling and Ideology in Provincial England’, British Art Journal, vol. 10, no. 3 (Winter/Spring 2009/10), pp. 46–55. —— ‘New Material for Francis Towne’s Biography’, Burlington Magazine, vol. 138, no. 1121 (August 1996), pp. 500–5. wilcox, timothy , Francis Towne, exhibition catalogue, Tate Gallery, London, 1997. —— Francis Towne and His Friends: An Exhibition of Watercolours, exhibition catalogue, John Spink at P. & D. Colnaghi, London, 2005.

John Trumbull burnham, patricia m ., ‘John Trumbull, Historian:

The Case of the Battle of Bunker’s Hill’, in Patricia M. Burnham and Lucretia Hoover Giese, eds., Redefining American History Painting, Cambridge, 1995, pp. 37–53. cooper, helen a ., John Trumbull: The Hand and Spirit of a Painter, exhibition catalogue, Yale University Art Gallery, New Haven, 1982.

Joseph Mallord William Turner berg, maxine , ‘Representations of Early Industrial

Towns: Turner and His Contemporaries’, in Michael Rosenthal, Christiana Payne and Scott Wilcox, eds., Prospects for the Nation: Recent Essays in British Landscape, 1750–1880, Studies in British Art 4, New Haven and London, 1997, pp. 115–31. bonehill, john and daniels, stephen , ‘Projecting London: Turner and Greenwich’, Oxford Art Journal, vol. 35, no. 2 (2012), pp. 171–94. brown, david blayney , ed., ‘J.M.W. Turner: Sketchbooks, Drawings and Watercolours’, Tate, http:// www.tate.org.uk/art/research-publications/jmwturner —— ‘Rule, Britannia? Patriotism, Progress and the Picturesque in Turner’s Britain’, in Michael Lloyd, ed., Turner, exhibition catalogue, National Gallery of Australia, Canberra 1996, pp. 48–72. butlin, martin and joll, evelyn , The Paintings of J. M. W. Turner, rev. edn, 2 vols., New Haven and London, 1984. costello, leo , J. M. W. Turner and the Subject of History, Farnham and Burlington, VT, 2012. —— ‘“This cross-fire of colours”: JMW Turner (1775–1851) and the Varnishing Days Reconsidered’, British Art Journal, vol. 10, no. 3 (Winter/Spring 2009/10), pp. 56–68. forrester, gillian , Turner’s ‘Drawing Book’: The Liber Studiorum, exhibition catalogue, Tate Gallery, London, 1996. gage, john , Colour in Turner: Poetry and Truth, London, 1969. —— J. M. W. Turner: ‘A Wonderful Range of Mind’, New Haven and London, 1987. herrmann, luke , Turner Prints: The Engraved Work of J. M. W. Turner, Oxford, 1990. hill, david , Turner in the Alps: The Journey Through France & Switzerland in 1802, London, 1992. howkins, alun , ‘J. M. W. Turner at Petworth: Agricultural Improvement and the Politics of Landscape’, in John Barrell, ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992, pp. 231–51. kriz, k. dian , ‘Dido versus the Pirates: Turner’s Carthaginian Paintings and the Sublimation of Colonial Desire’, Oxford Art Journal, vol. 18, no. 1 (1995), pp. 116–32. miller, michele l ., ‘J. M. W. Turner’s Ploughing up Turnips, near Slough: The Cultivation of Cultural Dissent’, Art Bulletin, vol. 77, no. 4 (December 1995), pp. 572–83. nicholson, kathleen , ‘Naturalizing Time / Temporalizing Nature: Turner’s Transformation of Landscape Painting’, in Katharine Baetjer, ed., Glorious Nature: British Landscape Painting 1750–1850, exhibition catalogue, Denver Art Museum, Denver, 1993, pp. 31–46.

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William Turner of Oxford wilcox, timothy and titterington, christopher , William Turner of Oxford (1789–1862),

exhibition catalogue, Oxfordshire County Museum, Woodstock, 1984.

John Vanderbank burton, elizabeth a ., ‘John Vanderbank’s Don Quix-

ote’, M.A. dissertation, Courtauld Institute of Art, University of London, 1994. hammelmann, h. a ., ‘John Vanderbank’s “Don Quixote”’, Master Drawings, vol. 7, no. 1 (Spring 1969), pp. 3–15.

Cornelius Varley lowell libson , Cornelius Varley: The Art of Observation, exhibition catalogue, London, 2005.

p. & d. colnaghi , Exhibition of Drawings and Wa-

tercolours by Cornelius Varley, exhibition catalogue, London, 1973. pidgley, michael , ‘Cornelius Varley, Cotman, and the Graphic Telescope’, Burlington Magazine, vol. 114, no. 836 (November 1972), pp. 781–6. wilcox, timothy , ‘English Watercolors of the River Thames by David Cox and Cornelius Varley’, Record of the Princeton Museum, vol. 66 (2007), pp. 21–9.

John Varley kauffmann, michael , John Varley 1778–1842, London, 1984.

lyles, anne , ‘John Varley’s Early Work’, Old WaterColour Society’s Club, vol. 59 (1984), pp. 1–22.

Willem van de Velde the Elder and Younger national maritime museum , The Art of the Van de

Veldes: Paintings and Drawings by the Great Dutch Marine Artists and Their English Followers, exhibition catalogue, Greenwich, 1982.

robinson, michael s ., Van de Velde: A Catalogue of

the Paintings of the Elder and the Younger Willem van de Velde, 2 vols., Greenwich, 1990.

Simon Verelst lewis, frank , Simon Pietersz Verelst 1644–1721, Leighon-Sea, 1979. taylor, paul , ‘Verelst, Simon Pieterszoon (bap. 1644, d. 1710×17)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, online edn January 2008, http://www.oxforddnb.com/view/ article/28222

Antonio Verrio brett, cécile , ‘Antonio Verrio (c1636–1707): His

Career and Surviving Work’, British Art Journal, vol. 10, no. 3 (Winter/Spring 2009), pp. 4–17. dolman, brett , ‘Antonio Verrio (c1636–1707) and the Royal Image at Hampton Court’, British Art Journal, vol. 10, no. 3 (Winter/Spring 2009/10), pp. 18–28. gibson, katharine , ‘The Decoration of St George’s Hall, Windsor, for Charles II: “Too resplendent bright for subjects’ eyes”’, Apollo, vol. 147, no. 435 (May 1998), pp. 30–40. hemery, axel , ed., Antonio Verrio: chroniques d’un peintre italien voyageur (1636–1707), exhibition catalogue, Musée des Augustins, Toulouse, 2010.

George Vertue alexander, david , ‘George Vertue as an Engraver’, Walpole Society, vol. 70 (2008), pp. 207–517.

bignamini, ilaria , ‘George Vertue: Art Historian’, Walpole Society, vol. 54 (1991), pp. 2–18.

vertue, george , ‘Vertue Note Books: Volume I–VI’,

Walpole Society, vols. 18, 20, 22, 24, 26, 29 (Index to Volumes I–V), 30 (1930–55).

Horace Walpole adams, c. kingsley and lewis, w. s ., ‘The Portraits

of Horace Walpole’, Walpole Society, vol. 42 (1970), pp. 1–34. snodin, michael , ed., Horace Walpole’s Strawberry Hill, exhibition catalogue, Yale Center for British Art, New Haven and London, 2009. walpole, horace , Anecdotes of Painting in England; With Some Account of the Principal Artists; and Incidental Notes on Other Arts; Collected by the late Mr. George Vertue; And now Digested and Published from His Original MSS., 4 vols., Strawberry Hill, 1762–80. —— Anecdotes of Painting in England, vol. 5, ed. Frederick W. Hilles and Philip B. Daghlian, New Haven and London, 1937. —— ‘Notes by Horace Walpole, Fourth Earl of Orford, on the Exhibitions of the Society of Artists and the Free Society of Artists, 1760–1791’, ed. Hugh Gatty, Walpole Society, vol. 27 (1939), pp. 55–88. —— The Yale Edition of Horace Walpole’s Correspondence, ed. W. S. Lewis, 43 vols., New Haven, 1937–83; online edn 2011, http://images.library.yale.edu/ hwcorrespondence/.

Sir Robert Walpole morel, thierry, moore, andrew, harris, john and dukelskaya, larissa , Houghton Revisited: The

mitage, exhibition catalogue, Houghton Hall, Norfolk, London, 2013.

James Ward fussell, g. e ., James Ward R.A.: Animal Painter, 1769–1859, and His England, London, 1974.

munro, jane , James Ward R.A. 1769–1859, exhibition catalogue, Fitzwilliam Museum, Cambridge, 1992.

nygren, edward j ., ‘The Art of James Ward, R.A.

(1769–1859)’, Ph.D. dissertation, 2 vols., Yale University, 1976. —— ‘James Ward RA (1769–1859): Papers and Patrons’, Walpole Society, vol. 75 (2013), pp. 1–346. —— James Ward’s Gordale Scar: An Essay in the Sublime, exhibition catalogue, Tate Gallery, London, 1982.

John Webber hauptman, william , ed., John Webber 1751–1793:

Landschaftsmaler und Südseefahrer mit Captain Cook / Captain Cook’s Painter: John Webber 1751–1793 Pacific Voyager and Landscape Artist, exhibition catalogue, Kunstmuseum, Bern, 1996. jordan, sandra johnson , ‘The Life and Art of John Webber, R.A.; and His Relationship to the Watercolor and Picturesque Movements in Eighteenth-Century England’, Ph.D. dissertation, University of Georgia, 1991.

Benjamin West abrams, ann uhry , The Valiant Hero: Benjamin West

and Grand-Style History Painting, Washington, DC, 1985. bermingham, ann , ‘Apocalypse at the Academy: Death on the Pale Horse and the Revelation of Benjamin West’, in Sarah Monks, John Barrell and Mark Hallett, eds., Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848, Farnham and Burlington, VT, 2013, pp. 153–70. carson, jenny mayfield , ‘Art Theory and Production in the Studio of Benjamin West’, Ph.D. dissertation, City University of New York, 2000. conlin, jonathan , ‘Benjamin West’s General Johnson and Representations of British Imperial Identity, 1759–1770: An Empire of Mercy?’, Journal for Eighteenth-Century Studies, vol. 27, no. 1 (March 2004), pp. 37–59. dias, rosie , ‘Venetian Secrets: Benjamin West and the Contexts of Colour at the Royal Academy’, in Sarah Monks, John Barrell and Mark Hallett, eds., Living with the Royal Academy: Artistic Ideals and Experiences in England, 1768–1848, Farnham and Burlington, VT, 2013, pp. 111–30. erffa, helmut von and staley, allen , The Paintings of Benjamin West, New Haven and London, 1986. galt, john , The Life, Studies, and Works of Benjamin West, Esq., 2 vols., London, 1820. greenhouse, wendy , ‘Benjamin West and Edward III: A Neoclassical Painter and Medieval History’, Art History, vol. 8, no. 2 (June 1985), pp. 178–91. monks, sarah , ‘The Wolfe Man: Benjamin West’s Anglo-American Accent’, Art History, vol. 34, no. 4 (September 2011), pp. 652–73. neff, emily ballew and weber, kaylin h ., eds., American Adversaries: West and Copley in a Transat-

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366 • bibliography lantic World, exhibition catalogue, Museum of Fine Arts, Houston, New Haven and London, 2013. noble, courtney , ‘Rescuing Difference: Ambiguous Heroism in Benjamin West’s General Johnson Saving a Wounded French Officer from the Tomahawk of a North American Indian’, Immediations: The Research Journal of the Courtauld Institute of Art, vol. 1, no. 1 (Spring 2004), pp. 60–75. prown, jules d ., ‘The Expedition Against the Ohio Indians in 1764 under Colonel Bouquet: Two Early Drawings by Benjamin West’, in Guilland Sutherland, ed., British Art 1740–1820: Essays in Honor of Robert R. Wark, San Marino, CA, 1992, pp. 205–33. staley, allen , Benjamin West, American Painter at the English Court, exhibition catalogue, Baltimore Museum of Art, Baltimore, 1989. —— ‘Benjamin West, Raphael West and the Floating Batteries’, Burlington Magazine, vol. 155, no. 1321 (April 2013), pp. 243–6. trumble, angus and aronson, mark , Benjamin West and the Venetian Secret, exhibition catalogue, Yale Center for British Art, New Haven, 2008.

Richard Westall westall, richard j ., ‘The Westall Brothers’, Turner

Studies, vol. 4, no. 1 (Summer 1984), pp. 23–38. —— ‘Westall, Richard (1765–1836)’, Oxford Dictionary of National Biography, Oxford University Press, 2004, http://www.oxforddnb.com/view/article/29106

Francis Wheatley webster, mary , Francis Wheatley, London, 1970. Samuel Whitbread II deuchar, stephen , Painting, Politics & Porter: Samuel Whitbread II (1764–1815) and British Art, exhibition catalogue, Museum of London, London, 1984.

Henry Wigstead payne, m. t. w . and payne, j. e ., ‘Henry Wigstead,

Rowlandson’s Fellow-Traveller’, British Art Journal, vol. 4, no. 3 (Autumn 2003), pp. 27–38.

David Wilkie chiego, william, miles, h. a. d. and brown, david blayney , Sir David Wilkie of Scotland (1785–

1841), exhibition catalogue, North Carolina Museum of Art, Raleigh, NC, 1987. cunningham, allan , The Life of Sir David Wilkie; with His Journals, Tours, and Critical Remarks on Works of Art; and a Selection from His Correspondence, 3 vols., London, 1843. errington, lindsay , Tribute to Wilkie, exhibition catalogue, National Gallery of Scotland, Edinburgh, 1985. mount, harry , ‘“The Pan-and-Spoon Style”: The Role of the Accessories in David Wilkie’s Academy Pictures 1806–9’, British Art Journal, vol. 4, no. 3 (Autumn 2003), pp. 17–26. tromans, nicholas , David Wilkie: Painter of Everyday Life, exhibition catalogue, Dulwich Picture Gallery, London, 2002. —— David Wilkie: The People’s Painter, Edinburgh, 2007.

Richard Wilson constable, w. g ., Richard Wilson, London, 1953. ford, brinsley , The Drawings of Richard Wilson, London, 1951.

postle, martin and simon, robin , eds., Richard

Wilson and the Transformation of European Landscape, exhibition catalogue, Yale Center for British Art, New Haven and London, 2014. solkin, david h ., ‘The Battle of the Ciceros: Richard Wilson and the Politics of Landscape in the Age of John Wilkes’, Art History, vol. 6, no. 4 (December 1983), pp. 406–22. —— Richard Wilson: The Landscape of Reaction, exhibition catalogue, Tate Gallery, London, 1982. spencer-longhurst, paul , ed., Richard Wilson Online Catalogue Raisonné, http://www.richardwilsononline.ac.uk sutton, denys and clements, ann , An Italian Sketchbook by Richard Wilson RA: Drawings Made by the Artist in Rome and its Environs in the Year 1754, 2 vols., London, 1968. wright, thomas , Some Account of the Life of Richard Wilson, Esq. R.A., London, 1824.

John Wootton meyer, arline , ‘The Landscape Paintings of John

Wootton (1682–1764): Painter of the Augustan Age’, Ph.D. dissertation, Columbia University, 1982. —— John Wootton 1682–1764: Landscapes and Sporting Art in Early Georgian England, exhibition catalogue, Iveagh Bequest, Kenwood House, London, 1984. millar, oliver , ‘Gilbert Coventry and His Sporting and Other Paintings’, Burlington Magazine, vol. 133, no. 1061 (August 1991), pp. 537–41.

John Michael Wright howarth, david , ‘A Little Local Difficulty: John

Michael Wright and His Patrons’, Apollo, vol. 149, no. 447 (May 1999), pp. 27–30. stevenson, sara and thomson, duncan , John Michael Wright: The King’s Painter, exhibition catalogue, Scottish National Portrait Gallery, Edinburgh, 1982.

Joseph Wright of Derby barker, elizabeth e ., ‘“A very great and uncommon

genius in a peculiar way”: Joseph Wright of Derby and Candlelight Painting in Eighteenth-Century Britain’, Ph.D. dissertation, New York University, 2003. —— and kidson, alex , Joseph Wright of Derby in Liverpool, exhibition catalogue, Walker Art Gallery, Liverpool, New Haven and London, 2007. barker, elizabeth e ., ‘Documents Relating to Joseph Wright “of Derby” (1734–97)’, Walpole Society, vol. 71 (2009), pp. 1–216. baudot, laura , ‘An Air of History: Joseph Wright’s and Robert Boyle’s Air Pump Narratives’, EighteenthCentury Studies, vol. 46, no. 1 (Fall 2012), pp. 1–28. bermingham, ann , ‘The Origin of Painting and the Ends of Art: Wright of Derby’s Corinthian Maid’, in John Barrell, ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992, pp. 135–65. bonehill, john , ‘“The Eye of Delicacy”: Joseph Wright of Derby Reviewed’, in Sarah Monks, John Barrell and Mark Hallett, eds., Living with the Royal Academy: Artistic Ideals and Experiences in England,

1768–1848, Farnham and Burlington, VT, 2013, pp. 89–110. —— ‘Laying Siege to the Royal Academy: Wright of Derby’s View of Gibraltar at Robins’s Rooms, Covent Garden, April 1785’, Art History, vol. 30, no. 4 (September 2007), pp. 521–44. cummings, frederick , ‘Boothby, Rousseau, and the Romantic Malady’, Burlington Magazine, vol. 110, no. 789 (December 1968), pp. 659–67. duro, paul , ‘“Great and Noble Ideas of the Moral Kind”: Wright of Derby and the Scientific Sublime’, Art History, vol. 33, no. 4 (September 2010), pp. 660–79. egerton, judy , Wright of Derby, exhibition catalogue, Tate Gallery, London, 1990. graciano, andrew , ‘Art, Science and Enlightenment Ideology: Joseph Wright and the Derby Philosophical Society’, Ph.D. dissertation, University of Virginia, 2002. —— Joseph Wright of Derby, Esq. Painter and Gentleman, Newcastle, 2012. —— ‘Observation, Imitation and Emulation in An Academy by Lamplight by Joseph Wright of Derby (1734–97)’, British Art Journal, vol. 14, no. 3 (2013/14), pp. 36–41. hargraves, matthew , ‘Joseph Wright of Derby and the Society of Artists of Great Britain’, British Art Journal, vol. 11, no. 1 (March 2010), pp. 53–61. leach, stephen , ‘Good Monsieur Melancholy: Joseph Wright’s Portrait of Sir Brooke Boothby’, British Art Journal, vol. 15, no. 1 (Autumn 2014), pp. 110–12. may, suzanne e ., ‘Attempts Toward Fame and Fortune: Joseph Wright of Derby and Late-Renaissance Humanism’, British Art Journal, vol. 11 no. 1 (March 2010), pp. 41–52. nicolson, benedict , Joseph Wright of Derby: Painter of Light, 2 vols., London, 1968. —— ‘Wright of Derby: Addenda and Corrigenda’, Burlington Magazine, vol. 130, no. 1027 (October 1988), pp. 745–58. pressly, william l ., ‘Joseph Wright of Derby’s Miravan Breaking open the Tomb of His Ancestors: Variations on an Arabian Tale’, British Art Journal, vol. 2, no. 1 (Autumn 2000), pp. 14–19. solkin, david h ., ‘Joseph Wright of Derby and the Sublime Art of Labor’, Representations, vol. 83, no. 1 (Summer 2003), pp. 167–94. —— ‘ReWrighting Shaftesbury: The Air Pump and the Limits of Commercial Humanism’, in John Barrell, ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992, pp. 73–99. wright, amina , Joseph Wright of Derby: Bath and Beyond, exhibition catalogue, Holburne Museum, Bath, 2014.

Jan Wyck gibson, katharine , ‘Jan Wyck c1645–1700: A Painter

with “a grate deal of fire”’, British Art Journal, vol. 2, no. 1 (Autumn 2000), pp. 3–13. millar, oliver , ‘Jan Wyck and John Wootton at Antony’, in The National Trust Year Book 1975–76, London, 1975, pp. 38–41.

Johann Zoffany crossman, colette , ‘Priapus in Park Street: Reveal-

ing Zoffany’s Subtext in Charles Townley and Friends’,

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

British Art Journal, vol. 6, no. 1 (Spring/Summer 2005), pp. 71–80. millar, oliver , Zoffany and His Tribuna, London, 1967. postle, martin , ed., Johann Zoffany RA: Society Observed, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 2011. pressly, william l ., The French Revolution as Blasphemy: Johan Zoffany’s Paintings of the Massacre at Paris, August 10, 1792, Berkeley, Los Angeles and London, 1999. —— ‘Genius Unveiled: The Self Portraits of Johann Zoffany’, Art Bulletin, vol. 69, no. 1 (March 1987), pp. 88–101. treadwell, penelope , Johan Zoffany: Artist and Adventurer, London, 2010. webster, mary , Johan Zoffany 1733–1810, exhibition catalogue, National Portrait Gallery, London, 1976. —— Johan Zoffany 1733–1810, New Haven and London, 2011. wilson, david , Johan Zoffany RA and ‘The Sayer Family of Richmond’: A Masterpiece of Conversation, London, 2014.

This bibliography is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

Index Page numbers in italics refer to pages on which illustrations appear; page numbers followed by n and a number refer to information in a note. Artists’ works appear at the end of their index entries.

absolutism and Stuart monarchy 3, 18–19, 36–9, 51, 53 academic tradition in Britain 44, 80–1, 83, 85, 101, 116, 125 artists 4, 129, 225 see also Royal Academy, London in Europe 10, 84 Addison, Joseph 72, 76–8, 78, 89–90, 99 Aggas, Robert 26–7 Landscape, Sunset 26–7, 26 agriculture and Gainsborough’s Cottage Doors 238 and landowning class 65, 114, 116, 215, 280 landscapes 66, 114, 117–19, 274 and Wilkie’s Distraining for Rent 289–90 see also country life, countryside; georgic; labour; poor in art Aken, Joseph Van 88–9, 129, 131, 135 Aliamet, François Germain Mrs Pritchard in the Character of Hermione (after Pine) 87 The Surrender of Calais to Edward III (after Pine) 151 allegory 26, 29, 50, 58, 82 Barry’s Commerce, or Triumph of the Thames 174 Blake’s use of allegory 254–5, 311–12 Hayman at Vauxhall 148 Hogarth’s The Lottery 83–4, 84 Hoppner’s allegorical portraits 208, 302 Reynolds’ use of allegory 199, 200, 202–3 Romney’s portraits of Emma Hart 236 Streeter’s Truth Descending 7, 7, 10 Thornhill’s Blenheim Palace ceiling 58, 59, 60 Thornhill’s Royal Naval Hospital cycle 52, 53–4, 54 Vanderbank’s Cervantes as Hercules 81, 81 Verrio’s Hampton Court Palace decorations 50–1, 51 Verrio’s Sea Triumph of Charles II, 8, 8–9 Verrio’s Windsor decorations 9, 9–10, 31 West’s Sketch for a Monument to Lord Nelson 309, 309–10 Wright’s Astraea Returns to Earth 4–5, 4, 7, 10 see also mythology amateur artists 75 drawing 115, 123, 218–19, 300 and Picturesque landscapes 227 and watercolours 23–4, 123, 260 Amigoni, Jacopo 88, 125, 139, 140 Frederick, Prince of Wales 88, 88 ancient Greece 146–7, 166–7, 171, 252–4 ancient Rome 133–4, 142, 144, 152, 162, 312–13, 315–18

Angelis, Pieter 82, 88–9 Angerstein, John Julius 265, 288, 304–5 Anglo-Dutch Wars 6, 10, 15, 18 Anne, Princess of Denmark, queen of Great Britain 33, 33, 46, 53, 56–7, 74, 76, 79 Verrio’s Hampton Court Palace decorations 50–1, 51 antiquarians, antiquarianism 24, 310, 313 and views of Britain 75, 122, 228–9, 261 antiquity and history-painting 312–16 Barry’s Society of Arts cycle 171 Hamilton’s all’antica scenes 144–7 and portrait poses 86, 133–4, 145–6 and Wilson’s landscapes 144, 212–14, 220–1 see also ancient Greece; ancient Rome; classicism aquatint 224, 227, 228, 247, 256, 266, 269 architecture 27, 48, 56, 60, 69, 75, 276, 310 classical 60, 85, 120, 144, 200, 215 Gothic 261 see also country houses and estates art criticism 210, 261–5, 284–5, 292–4, 304 see also Hazlitt, Holt, Pasquin art education apprenticeship 3 and history painters 170 London academies 80–1, 83, 85, 101, 116, 125 Royal Academy 160–2, 179, 277 Society of the Virtuosi of St Luke 44 training in Italy 4, 129, 133 see also Painter-Stainers’ Company art market 1 clubs and societies 79, 92–3, 93 curiosity 74–6 Dutch art 22, 31–2, 92, 196–7 Girtin and Turner 266–7 Heaphy’s lowlife scenes 287 ideal art and design 253 landscapes in Norfolk 273–4 sale of Old Masters 307 Wilkie’s everyday life scenes 289 see also commercial galleries; exhibitions; print culture, publishers art theory, theorists 62, 81, 153, 158, 162, 310, 314 European art theory 44, 72, 80–1, 161 British art theory Gilpin 227 Reynolds 61, 136, 165, 199, 269, 277–8, 316 Richardson 71–2 Shaftesbury 61–2 see also Picturesque artisanal status of art 3, 13, 115, 125, 260 see also professionalisation of art

Augusta, Dowager Princess of Wales 138–9, 138 Augustan literature 69–71, 73 Banks, Thomas 169–70 Baretti, Giuseppe 200, 200 Baring, Sir Francis 297–8, 297 Baring, John 297–8, 297 Barker, Robert 257, 265 Barlow, Francis 27–8, 67, 83 The Decoy at Pyrford with Waterfowl Startled by a Bird 28, 28, 29 The Happy Instruments of Englands Preservation (anon. engraving) 29–30, 29 Baron, Bernard 93, 93 Barret, George, the Elder 217–19, 226 Landscape with the Effect of a Rainbow 217–18, 217 Barry, James 166–7, 183, 310, 313 and French Revolution 251, 254 Progress of Human Culture cycle 171–4 Commerce, or the Triumph of the Thames 174 Crowning the Victors at Olympia 171, 172–3, 307, frontispiece (detail) Elysium, or the State of Final Retribution 172–3, 174 Orpheus Instructing a Savage People 171, 254 Paradise Lost 251 The Temptation of Adam 166–7, 167 Bartolozzi, Francesco 176, 183 Batoni, Pompeo 146 Sir Robert Davers, 5th Baronet 142, 142 battle-painting and Copley 176–9, 203, 258 de Loutherbourg’s Glorious First of June 256–8, 257 Laguerre’s Battles of the Duke of Marlborough 57–60 naval battles 123–4, 256–8 and print culture 256–8 and Seven Years’ War 148–9, 157 Trumbull’s Bunker’s Hill 243 West’s Death of Wolfe 163–5 see also military portraits Beale, Charles 20–1 Beale, Mary 20–1 Self-portrait 21, 21 Beaumont, Sir George 272–3, 282, 312, 317–18 Beckford, William 232, 233, 309 Bedlam Hospital 97 Beechey, William 292–4, 300–1 Pasquin’s support for 293–4 Horatio, Viscount Nelson 294–5, 295 John Bannister 292, 293–4 Princess Elizabeth 300–1, 300 benevolence and Foundling Hospital 102–3, 126 history-painting and war 148–9, 156–7

and positive effects of luxury 91–2, 126 and sensibility in art 240–1 see also philanthropy; virtue Bernard, Sir Thomas 307–8 Bible 36–7, 55, 103–4, 149, 254, 256, 300, 307–9, 314–5 see also history-painting Bible Gallery 251, 306 Bifrons Park, Kent 66–7, 67 Bigg, William Redmore 240–1, 281, 286 A Lady and Her Children Relieving a Cottager 240, 240 Bird, Edward Good News 285 Village Choristers Rehearsing an Anthem for Sunday 284, 285 Blake, William 252, 254–6, 307 Exhibition of 1809 310–12 preference for fresco 311 Albion Rose 254–6, 255 The Ancient Britons 311 ‘Continental Prophecies’ 254, 255 Europe – A Prophecy and The Ancient of Days 255–6, 255 ‘Illuminated Books’ 254, 256 The Spiritual Form of Nelson Guiding Leviathan 311–12, 311 The Spiritual Form of Pitt Guiding Behemoth 311 Blenheim Palace, Oxon 57–60, 59 Blome, Richard 67 bodycolour 37, 215–17, 216–17, 259–61 book illustration, illustrators 81, 99, 110–11, 183, 185, 236 Boothby, Brooke 231, 232 Boughton House, Northants 48–50, 50 Bowles, John Life of Charles I series 81–2, 82 Bowles, Thomas 58 Life of Charles I series 81–2, 82 Bowyer, Robert 183, 177–8, 251, 258, 306 Boydell, John 164, 182, 253 and Copley’s history paintings 176–8, 203 and landscape artists 210, 212 and Opie 182 Shakespeare Gallery 183–5, 183–5, 235, 244, 251–2, 256, 306, 331n.21 Boyle, Richard see Burlington Boyle, Robert 6 Bradford, Thomas 218 Brandoin, Michel Vincent The Exhibition of the Royal Academy of Painting in the Year 1771 (mezzotint by Earlom) 163, 163, 165–6 Bridgeman, Charles 93, 93 Bridgewater, Francis Egerton, 3rd Duke of 267, 307 British Empire see Empire British Institution for Promoting the Fine Arts in the United Kingdom 267, 277, 290, 300, 307–8, 310, 313

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

index • 369 Britishness see national school and British art; patriotism/nationalism/ Britishness Brown, John 169 Brown, Lancelot ‘Capability’ 215, 259 Brown, Mather 250–1, 256 The Final Interview of Louis XVI and His Family 250–1, 250 Lord Cornwallis Receiving the Sons of Tippoo Sahib as Hostages 250 Buck, Nathaniel 75, 122 Buck, Samuel 75, 122 The South Prospect of the Ancient City of York 75–6, 75 Burghley House, Cambs 48, 49, 306 Burke, Edmund 252, 256 Reflections on the Revolution in France 248–251, 259–60 on the Sublime 158–60, 167, 227, 229, 316 Burlington, Richard Boyle, 3rd Earl of 56, 60–1, 84–5 Burlington House, London 56, 57, 84–5, 85 Callcott, Augustus Wall 272–3 Littlehampton Pier 272–3, 272 Canaletto, Antonio 99, 119–22 London seen through an Arch of West minster Bridge 120, 120 The Thames, London, from the Terrace of Somerset House 120, 121 Carracci, Annibale 4, 60–1, 195 Carriera, Rosalba 134, 139 Carter, George 236 Catherine of Braganza, queen of Scotland and England 16–18, 18, 23, 36 Catherine the Great, empress of Russia 203–4, 222 Catholicism 10, 29–30 and art 16–18, 35–6, 174 Cecil, John, 5th Earl of Exeter 47, 47, 48 charity see benevolence; philanthropy Charles I, king of Great Britain 1, 5, 40, 40 art collection 3, 55 Life of Charles I print series 81–2, 82 Charles II, king of Scotland and England 1, 3–13, 16, 18, 29, 34 Gennari’s paintings for 36–7 and imperial ambitions 23–4 palaces 25–6 portraits by Cooper 12, 12 Fuller 5, 6, 5 Verrio 8, 9, 11 John Michael Wright 19, 19, 38 Charlotte, queen of Great Britain 189, 194, 195, 292, 294, 301 ‘charter pictures’ 38 Chatham, William Pitt the Elder, Earl of 171, 175–6, 175 Chaucer, Geoffrey 306–7, 306 Chéron, Louis 48–51, 55, 81, 83 Vulcan Catches Venus and Mars 48–51, 50 Cheselden, William 81 children 100, 237–8, 240, 244, 304–5 see also family Christ’s Hospital, London 37–9, 38–9 Churchill see Marlborough cities Hogarth’s urban poor 109–10 Reynolds’s street children 237

views of Buck’s The South Prospect of the Ancient City of York 75, 75 Canaletto’s London seen through an Arch of Westminster Bridge 120, 120 The Thames, London, from the Terrace of Somerset House 120, 121 Girtin’s Eidometropolis and Picturesque Views in Paris 266–7 Scott’s The Building of Westminster Bridge 121–2, 121 Wilson’s Rome from the Villa Madama 212, 212 City of London 37–9, 122 mercantile class and land ownership 65–6, 119 and Stuart monarchs 37–8 as a symbol 53 see also London classicism aesthetics 60–2, 84–5 and Augustan literature 69, 70–1, 73 and land as patrician touchstones 69-71, 115–6, 142–4 privatisation 252–4 reassessment 146–7, 166, 167 and Royal Academy and art education 161–2 and history-painting 162–3, 167–8 see also ancient Greece; ancient Rome; antiquity; Grand Style/Grand Manner; Claude Gellée, called Claude Lorrain 274 importance for British artists 69–70, 115, 210 Aggas 26–7 Constable 278, 279 Gainsborough 218–20 Gilpin 227 Lambert 116 Smith (of Chichester) 210 Turner 265, 269, 272, 317–18 Wilson 143–4, 213–14, 221 Wootton 69–70 impact on Netherlandish artists 25, 27, 66 Liber Veritatis 269 Closterman, John 43–4 The Family of the 1st Duke of Marlborough 44–6, 45, 200 Grinling and Elizabeth Gibbons (mezzotint by John Smith) 43, 43, 44 clubs and societies 76–80, 92–3, 93 Collier, Edward Trompe l’oeil Letter Rack 79, 79 Combe, William The Tour of Dr Syntax 272 comedy 5–6, 185 ‘drolls’ 22, 31–2, 90, 92 Hogarth’s comic histories 105–10 107–8 see also satirical prints commercial galleries 251, 258, 306 Fuseli’s Milton Gallery 251, 252 and Reynolds’s work 203 Shakespeare Gallery 183–5, 183–5, 235, 251, 306, 331n.21 Westall’s solo exhibition 253, 313 see also Bowyer; Boydell; Macklin Committee of Taste 310

Commonwealth and low point in art 3 connoisseurs, connoisseurship 1, 92–3, 93, 188, 282 artists as connoisseurs 92–3, 93, 133 audiences for landscapes 210 British Institution 267, 307, 309–10, 313 Committee of Taste 310 Frederick, Prince of Wales 87 and Girtin 261 and Hogarth 85 and Netherlandish art 273 and Sandby 228 Society of Dilettanti 133–4, 145–6 and Turner 267, 317–18 and watercolours 263, 275–6 and Wootton 69 see also antiquarians, antiquarianism; collectors, collecting; virtuosi/ virtuosity Constable, Archibald 298 Constable, John 1, 277–80, 315 Dedham from Langham 277, 278–9 Flatford Mill from the Lock series 278, 279 View of Dedham 279–80, 280 consumption see commerce, luxury conversation civilising effects 156–7, 160 and politeness 76–9, 111–12, 160 conversation piece 88–93, 96, 140 and Devis 113–14 and Gainsborough 114 and Gawen Hamilton 92–3 and Hayman 112 and Hogarth 89–92 historical conversations 156–7 and the Kitcat club 77 middle-class patronage 111–13, 197–8 narrative and theatrical pieces 154–7, 155 and sport 113–14 theatrical conversations 154–5 and Zoffany 195–6 Cook, Captain James 223–4, 241–2, 242 Cooke, George 270, 272 Cooke, William Bernard 270, 272 Cooper, Anthony Ashley see Shaftesbury Cooper, Edward 33 Cooper, Samuel 9, 12, 21 Charles II in Garter Robes 12, 12 Copley, John Singleton 174–9, 250, 256, 306 Brook Watson and the Shark 175 The Death of Major Peirson, 5 January 1781 176–7, 177, 180, 203, 231–2 The Death [or Collapse] of the Earl of Chatham in the House of Lords 175–6, 175, 180 The Defeat of the Floating Batteries at Gibraltar, 14th September 1782 177–9, 178, 203, 231–2, 242, 258 copyright 43, 97 Engravers’ Copyright Act (‘Hogarth’s Act’) 97 Coram, Captain Thomas 103, 126–8, 127 cosmopolitanism 125–47, 195 costume and clothing see dress; fashion Cosway, Maria 182, 302 Cotes, Francis 194–5 Queen Charlotte and the Princess Royal 194, 195 Sir Richard Hoare 139–40, 139

Cotman, John Sell 273–4, 276 Marl Pit, Norfolk 274, 274 cottage door motif 238, 240, 281, 286 country houses and estates 46, 197, 210, 216, 221 artists and interiors 26, 27, 48–51, 57–8, 115–16, 166 estate portraits 24, 27, 63–5, 66–7, 116, 144, 214, 227 gardens as status symbols 62, 63–4, 115 country life, countryside 63–73 elite enjoyment of 66, 116 land ownership and nature 63–7, 113, 116, 259–60, 280 local demand for landscapes 274 sentimental view of poor 238–41, 281, 286 sport 22, 27–8, 67–9, 113–14, 157, 197 see also agriculture; country houses and estates; horses; hunting; landscape art; nature and art; pastoral, pastoralism; tourism Coventry, Gilbert 67–9 Cowley, Abraham 20–1 Cozens, Alexander 229 Cozens, John Robert 229–30, 261, 264 Between Chamonix and Martigny 229–30, 229, 232 Tomb of Caecilia Metella 230, 230, 232 criminality 96, 286–7 Cristall, Joshua 276 Crome, John 273 Yarmouth Jetty 273, 273, 274 Cromek, Robert 306 Cromwell, Oliver 12, 13 curiosity and art market 74–6 Cuyp, Aelbert 68, 269, 273 Dahl, Michael 46–7, 71, 86, 92–3, 93 admirals series 46–7, 47 Henry Liddell 86-7, 87, 112, 125–6 ‘Petworth Beauties’ 46, 46, 86 Rachael Russell, Duchess of Devonshire 46, 46 Sir James Wishart 47, 47 Dance, Nathaniel 152, 165, 166, 183 Virginia, The Unfortunate Roman Maid (mezzotint by Haid) 152, 153, 167 Danckerts, Hendrick 24–6 View of Greenwich and the Queen’s House from the Southeast 25–6, 25 David, Jacques-Louis 251, 252, 308 Dawkins, James 145, 145 Dayes, Edward 260, 264 de Loutherbourg, Philip James 183, 206–7, 206, 256-8 theatrical background and Eidophusikon 225–6 The Cataracts of the Nile 225 The Glorious First of June, 1794 256–8, 257 The Grand Attack on Valenciennes 256, 258 Lodore Waterfall, near Keswick 226–7, 226, 232 Devis, Arthur 112, 151, 195 John Orde, His Wife Anne, His Eldest Son William, and a Servant 113–14, 113 Devonshire, Georgiana, Duchess of 233, 234 dilettanti see Society of Dilettanti drapery painters 129, 131

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

370 • index drawing commercial value 150, 260 as feminine accomplishment 300 Flaxman’s Iliad and Odyssey drawings 252–3 Fuseli and Mortimer 169, 170 as gentlemanly pursuit 115, 123, 218–19 life drawing 80, 83, 161–2 scientific appreciation 24, 123 and watercolour 23–4, 123, 260 see also academic tradition; amateur artists; art education dress and aristocracy after ‘Glorious Revolution’ 47 Byron in Albanian dress 296 Classical dress 133–4, 145–6 drapery painters 129, 131 French dress 139 Gainsborough’s skill 205, 207, 234–5 Garter robes 12, 200, 294 military portraits and Napoleonic Wars 295–6 painter’s dress 21, 46, 136–7 Restoration portraits 12, 15, 18 Reynolds and fashions 136, 202, 204 in royal portraits 12, 41 Van Dyck dress 131, 142 Van Loo’s skill 126 and women’s status 301 see also fashion ‘drolls’ 22, 31–2, 90, 92 Dryden, John 72, 106 DuBosc, Claude The Battle of Tanieres, near Mons (after Laguerre) 57–8, 58 Dughet, Gaspard 25, 66, 69–70, 115–116, 143, 211, 214 Earlom, Richard The Exhibition of the Royal Academy of Painting in the Year 1771 (after Brandoin) 163 Liber Veritatis (after Claude) 269 Plundering the King’s Cellar at Paris (after Zoffany) 249 education as theme in art 290–1 see also art education; knowledge and learning effeminacy 85, 90, 94, 98, 101, 146 see also luxury Empire 1, 146, 223–5, 241–7 Africa 34, 51, 244, 328 America 74, 175–7, 179, 182, 232, 243, 243, 293, 312 Canada 74, 148, 164 India 224–5, 224, 225, 245–7 see also slavery empirical, empiricist 21–2, 104, 214, 258 Engravers’ Copyright Act (Hogarth’s Act) 97 engraving, engravers 30, 74, 82, 82, 97, 105, 123, 227–8, 251, 256 Aliamet 151 Barlow 29 Baron 93 Bartolozzi 176, 237 Blake 254–6 and British landscapes 122, 214, 216, 227–8 Cooke, George and William Bernard 270

DuBosc 58 Earlom 165, 249, 269 Gribelin 61 Haughton 252 Heath 308 and Highmore’s Pamela 111 Hogarth 83, 94–8, 105 Kip 64 Muller 99 and Picturesque landscapes 227–8 John Smith 43 Taylor 182 and topographical landscapes 122, 214, 216 Charles Turner 269 and J.M.W. Turner 267, 269–70 Vandergucht 75 Van Somer 31 Van der Vaart 31 Vertue 93 Watson 199 Woollett 164, 210, 212, 218, 309 see also aquatint; etching, etchers; mezzotint; print culture; publishers; stipple erotic, eroticism 16, 49, 170 Chéron’s Vulcan Catches Venus and Mars in his Net 48–50, 50 Dahl’s ‘Petworth ‘Beauties’ 46, 46 Fuseli’s Titania and Bottom 184, 184 Gennari’s paintings for Charles II 36–7 Hayman’s Play at the See-Saw 100–1, 100 Hodges’ views of Tahiti 224 Hogarth’s Progresses 95–7, 90–6 Hoppner’s Mrs Jordan 207–8 Hoppner’s and Lawrence’s images of aristocratic women 302–3 Huysmans’ Catherine of Braganza 17–18, 18 Lely’s female portraits 16, 31, 42 Reynolds’ Venus Chiding Cupid for Learning to Cast Accounts 165, 165 Ricci’s Diana and her Nymphs Bathing 56, 57 Verrio’s Mars and Venus Discovered by Vulcan 48–9, 49 West 153 see also nudity etching, etchers 30 Blake 254–5 Gillray 248 Hollar 24 Piroli 253 Place 24 Rowlandson 234, 247 Paul Sandby 228 Thomas Smith of Derby 124 Thornhill 79–80 Turner 269 Evelyn, John 28, 30 everyday life see genre painting Exclusion Crisis (1678–81) 29–30 Exeter, Earl of see Cecil, John exhibitions 148–247 accessibility of works 148, 157–60, 181, 190, 223, Blake’s Exhibition of 1809 310–12 British Institution as rival to Royal Academy 267, 277, 307 Copley’s one-picture shows 176–7, 179, 251, 306, 310 Foundling Hospital 103, 118, 128–9

Old Masters 307 Painter-Stainers’ Hall 26–7 Society of Arts/Society of Artists of Great Britain 149–60 see also British Institution; commercial galleries, Royal Academy exoticism 74–5, 223–5 Faber, John, the Younger 98 The Choice (after Mercier) 98, 98 John Knight, His Wife Anna, and His Stepson Jacob Newsam (after Vanderbank) 87, 87 family and genre painting 105–6, 240–1, 281, 283–5, 287, 289–90 and history-painting 146–7, 156–7, 159–60, 166, 176–7, 211, 244, 249–51 and landscape 211, 228, 239–40, 245 and portraiture 16–18, 38, 44–6, 53–4, 87, 136–8, 194–5, 197–8, 200–4, 233–4, 297–8, 303–4 conversation-piece portraiture 88–92, 112–4, 195–6 marriage portraiture 147, 148–9, 152, 234–5, 305 see also children; marriage fancy pictures and Gainsborough 237–8, 240, 281 as Mercier’s invention 98–9 and Reynolds 164, 237 and Romney 237–8 and Wright of Derby 159–60 and sensibility 235–41 Farren, Elizabeth 209, 209 fashion and Frenchness 106–7, 191 and Gainsborough 206–7, 234–5 Hogarth’s satire on 84–5, 85 luxury and moral degeneration 85, 89–98, 95–7, 106, 174 and Reynolds 136, 202, 204, 234 and sensibility 232 Van Dyck dress 131, 142 see also dress femininity 160 and the Beautiful 158, 167, 170, 317 and history-painting 61, 152, 154, 167–8, 170 and portraiture 16, 21, 42, 44, 92, 112, 131, 191, 193, 299–305 and women artists 21, 166 see also effeminacy; gender; heroes and heroines; luxury; masculinity fêtes galantes 88, 90, 99, 112, 287 Fielding, Henry 105, 110 fiscal-military state 42, 47, 51 Fisher, Edward 188 Fisher, Kitty 191–2, 191 Flatman, Thomas 21 Flaxman, John 254, 305, 305, 307, 313 Fury of Athamas (sculpture) 253 Iliad and Odyssey drawings 252–3 Thetis Bringing the Armour to Achilles (etching) 253, 253 Nelson monument in St Paul’s 310 Flemish art see Netherlandish art Foundling Hospital, London 102–4, 126 General Court Room paintings 103–4, 118, 128–9 Fox, Charles James 234, 248, 256, 293, 294

France/Frenchness 18 British antipathy to 90,106–7, 248–51 British admiration of 90 British engagement with French art and fashionable tastes 101–2, 106, 111 Gravelot as intermediary 101, 131, 139–40 history-painting 148, 150, 154, 244 Hogarth’s Frenchness 106, 140 landscape 66, 70, 115–16, 120 portraiture 86–7, 125–6, 140 French artists in Britain Chéron 48–51, 55, 81, 83 de Loutherbourg 183, 206, 225–6, 256–8 Mercier 88–90, 98–9, 139 Van Loo 125–6, 140 Watteau 88 Revolution of 1789 248–58 Frederick, Prince of Wales 87–90, 88–9 Free Society of Artists 151, 197, 198 fresco 311 Fresnoy, Charles Alphonse du 44, 72 Fuller, Isaac, the Elder The Escape of Charles II after the Battle of Worcester series 5–6, 320n.4 Charles II on Humphry Penderel’s Mill Horse 5, 5, 16 Fuller, Isaac, the Younger 26 Fuseli, Henry (b. Johann Heinrich Füssli) 168–70, 183, 219, 254, 256, 307 and his circle in Rome 168–70, 230 Milton Gallery 251–2 prints after 182, 252 Royal Academy professorship 252 The Nightmare 181–2, 181 Titania and Bottom 184, 184 The Vision of the Lazar House 251–2, 252 The Witches Show Macbeth the Descendants of Banquo (engraving by Haughton) 169, 169 Gainsborough, Thomas 101, 112, 161, 179, 183, 192–4, 204–7, 208–9 exhibition strategies 186, 206, 207, 226 responses to Old Masters 116–18, 219, 220, 238, 240 fancy pictures and sensibility 237–8, 240, 281 as landscape artist 210, 218–20, 278, 279 and Van Dyck 140, 142, 193–4, 204–5, 219 Mr and Mrs Robert Andrews 114, 114, 116 Ann Ford 193–4, 193, 205 Mr and Mrs William Hallett (‘The Morning Walk’) 234–5, 234 Philip James de Loutherbourg 206–7, 206 Isabella, Viscountess Molyneux 204–6, 205 James Quin 192–3, 192 Mrs Siddons 207, 207 Captain William Wade, Master of Ceremonies at Bath 165, 205, 206 William Wollaston 140, 141 Cornard Wood, near Sudbury, Suffolk (‘Gainsborough’s Forest’) 116–18, 118 The Cottage Door series 238, 239, 240 Cottage Girl with Dog and Pitcher 238, 238

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

index • 371 The Harvest Wagon 219–20, 219 The Watering Place 220, 221, 232 Gamble, Ellis 83 gambling 97 Game Act of 1671 67, 113 gardens 62–4, 115, 259–60 Garrick, David 195, 198, 225 portraits 140, 140, 188, 189 and theatrical conversation-pieces 155–6, 155 Gascar, Henri 18, 30 James Duke of York as Lord High Admiral 9, 18, 19 Gaugain, Thomas Portraits Painted from Life, Representing Capt. Englefield &c. (after Northcote) 179 gender see femininity; masculinity genius 166–170, 252, 255 Cozens, John Robert 230 Girtin’s originality 263–4, 273 Turner’s critical reception 272 Gennari, Benedetto and Whitehall Palace chapel 36–7 The Annunciation 36–7, 37 genre painting ‘drolls’ 22, 31–2, 90, 92 Hayman’s Vauxhall Gardens supperboxes 100–2 and sensibility 235–41 Wilkie and his followers 281–91 see also comedy; fancy pictures; Hogarth; lowness; vulgarity George I, king of Great Britain 53–4, 58, 60 George II, king of Great Britain 86–7, 123 George III, king of Great Britain 150, 183, 189, 256, 292 and family portraits 194–5 and patronage 195, 258, 301 Cotes 195 Ramsay 186, 191, 195 Royal Academy 160–3, 294, 309–10 West 162–3, 180–1, 309 Zoffany 161–2, 195 George IV, king of Great Britain 9 as Prince of Wales 293, 294 George of Denmark, Prince 46, 53 Georgiana, Duchess of Devonshire 233, 234 georgic 28, 116, 122, 171, 210, 269–70, 277, 279–80 Gibbons, Elizabeth 43, 43, 44 Gibbons, Grinling 43, 43, 44 Gibbs, James 93, 93 Gibson, Thomas Gilbert Coventry on Horseback (attrib. with Wootton) 68 Gillray, James 248–9, 258 Presages of the Millenium 256, 256 The Zenith of French Glory; – The Pinnacle of Liberty 248–9, 248 Gilpin, William 227, 260–1, 272, 278 Picturesque Tours 227 The New Weir, on the River Wye 227, 227 Giordano, Luca 9 Girtin, Thomas 260–7, 273–5 comparisons with Turner 261–2, 263 Eidometropolis 266–7 Rievaulx Abbey, Yorkshire 262–3, 262 A Selection of Twenty of the Most Picturesque Views in Paris and its Environs 266–7

View near Beddgelert, North Wales 263–4, 263, 265–6 The White House at Chelsea 266, 266 ‘Glorious Revolution’ 39–42, 47–8, 51 Gothic architecture 261 literature 181–2 gouache see bodycolour Goupy, Joseph 92–3, 93 Granby, John Manners, Marquess of 156–7, 156, 190, 190 Grand Style/Grand Manner 196–7, 258, 307–16 and art theory 61–2, 146–7, 150 and genre painting 284, 291 and history-painting 103, 146–7, 160–85, 252–6, 308–14 and landscape art 70–1, 115–16, 143–4, 211–14, 219–23, 314–18 and portraiture 135–9, 187–91, 197–204, 302 see also academic tradition; classicism; history-painting; Reynolds; Royal Academy Grand Tour, Tourists and Batoni 142 and Canaletto 119 collecting 48, 253 and Fuseli and his circle 169 and Gavin Hamilton 144–7 and Knapton 133–4 and landscape watercolourists 230 and Wilson 142–4, 212, 221 graphic satire, see satirical prints Gravelot, Hubert François (Bourguignon) 101, 106, 116, 131, 139–40 Building Houses with Cards (designed for Hayman; engraved by Truchy) 101–2, 101 Pamela illustrations 110–11, 110 Standing Man (engraved by Truchy) 131, 134 Great Queen Street Academy 80–1 Green, Rupert 256–8 Green, Valentine 256–8 Greenwich, London Queen’s House and King’s House 25–6, 25 see also Royal Naval Hospital, Greenwich Greuze, Jean-Baptiste 250, 284 La Dame Bienfaisante 241 Young Girl Weeping over the Death of Her Pet Bird 237 Gribelin, Simon The Judgment of Hercules (after Matteis) 61, 62 Haid, Johann Gottfried Virginia, The Unfortunate Roman Maid (after Dance) 153 Hamilton, Emma see Hart, Emma Hamilton, Gavin 152, 166, 183 Iliad cycle 168, 253 Andromache Bewailing the Death of Hector (modello) 146–7, 146 Dawkins and Wood Discovering Palmyra 144–6, 145 Hamilton, Gawen A Conversation of Virtuosis at the Kings Armes 92–3, 93, 115 Hamilton, William The Happy Cottagers 281, 281

‘Hampton Court Beauties’ 41–2, 46 see also Kneller Hampton Court Palace 50–1, 51, 55 Hanoverian succession 53–4, 54 Harley, Edward (later 2nd Earl of Oxford) 69–71 Hart, Emma (later Lady Hamilton) 236, 237 Hastings, Warren 224–5, 245 Haughton, Moses 252 Haughton Hall, Notts 64–5, 64 Havell, William 276 Hawkins, Frances 303–4, 303 Haydon, Benjamin Robert 309 The Assassination of Dentatus 312–13, 312 Hayman, Francis 106, 116, 150–1, 164 John Conyers (?with Lambert) 116, 117 The Finding of Moses in the Bullrushes 103 Pamela illustrations 110–11 Samuel Richardson, with His Wife Elizabeth, Their Daughters, and Miss Midwinter 112–13, 112 Vauxhall Gardens paintings 100–2, 220 Building Houses with Cards (designed by Gravelot; engraved by Truchy) 101–2, 101 Lord Clive Receiving the Homage of the Nabob 148, 149, 156 The Play at See-Saw 100–1, 100 The Surrender of Montreal to General Amherst (modello) 148–50, 149, 154, 156, 231–2 The Play Scene from ‘Hamlet’ (modello) 102, 102 Hazlitt, William 296 Heaphy, Thomas 285–6, 290 Inattention 286, 286 Hearne, Thomas 261, 262 Heath, Charles Our Saviour Healing the Sick in the Temple (after West) 308 Heath, James 309 Heemskerck, Egbert van, the Elder 32, 88–9 Tavern Scene with Boors Carousing and Playing Cards 32 Henley-on-Thames 65–6, 65 heroes, heroines ancient Achilles 253 Albion 254–6, 255 Dentatus 312, 315–16, 315 Dido 317–18 Hannibal 315–16 Hercules 60, 61–2, 78, 81, 84, 94, 98, 108, 157 Oscar 168 Penelope 166 Regulus 162 Scipio 153–4, 154 Telemachus 166 Ulysses 60–1 Virginia 152–3 modern Amherst 148–50, 149, 154, 156, 231–2 Chatham, William Pitt the Elder, Earl of 171, 175–6, 175 Cook, Captain James 241–2, 242 Eliott (Lord Heathfield) 177–9, 202–3, 202 Englefield 179–80, 179

Granby 156–7, 156, 190, 190, 231–2 Howard, John 241, 241 Marlborough 44–6, 45, 57–60, 59, 200 Nelson 294–5, 309–12, 295, 309, 311 Peirson, Major 176–7, 177, 180, 203, 231–2 Pitt the younger 296–7, 296 Stewart, Charles William (Vane) 295–6, 295 Wolfe, General 163–5, 164, 168, 175–6, 231–2, 242, 309 hierarchy of genres 62, 80, 105, 149 Highmore, Joseph 129, 131, 134–5 Pamela series 111 Pamela II: Pamela and Mr B in the Summer House 110, 111 Mr Oldham and His Guests 111–12, 111 Hilliard, Nicholas 13 Historic Gallery see Bowyer history–painting 4–10, 48–62, 103–8, 146–85, 241–4, 248–56, 307–18 allegorical subjects 4, 7, 9, 51–4, 59–60 Barry’s Progress of Human Culture and Knowledge 171–4 Biblical subjects 37, 55–6, 103–4, 180–1, 307–12 British history 150–2, 182–3 classical subjects 48–50, 60–1, 146–7, 152–4, 162–3, 165–8, 312–14 comic history-painting 105–8 decorative history-painting 4, 7, 9, 48–61 historical landscapes 211–2, 220–2, 314–8 history-painting without heroes 157–60 literary subjects 167–8, 184–5, 236, 306–7 modern subjects 148, 156–7, 163–5, 174–80, 241–4, 249–56, see also academic tradition; allegory; Grand Style/Grand Manner; heroes and heroines; Royal Academy Hoare, Henry, II 115 Hoare, Sir Richard 139 Hobbema, Meindert 116, 279 Hodges, William 223–5, 331n.17 Benares with Aurangzeb’s Mosque 224–5, 225 Select Views in India 224 Travels in India 224, 225 A View Taken in the Bay of Otaheite Peha 224, 224 Hogarth, William 83–5, 90–2, 94–8, 105–10, 126–9, 285–6 apprenticeship as engraver 83 and British School 288 and Britishness 106–10, 126–8 as comic history-painter 105–10 conversation pieces 90–2, 96, 112 Gainsborough’s James Quin as tribute to 192–3, 192 genre constraints and reputation 110 as Governor of the Foundling Hospital 103 Hone’s Kitty Fisher as tribute to 191–2, 191 ‘Modern Moral Subjects’ 94–8, 105–6 ‘popular prints’ 109–10 portraits 90–2, 126–8,140 St Bartholomew’s Hospital murals 103, 104

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

372 • index St Martin’s Lane Academy 101, 125 in Zoffany’s Plundering the King’s Cellar 249 The Analysis of Beauty 109 The Artist with a Pug 108–9, 108 The Bad Taste of the Town (‘Masquerades and Operas’) 84–5, 85 Captain Coram 103, 126–8, 127, 192 Female Nude Seated 83, 83 David Garrick with His Wife, EvaMaria Veigel 140, 140 Garrick as Richard III 187 The Lottery 83–4, 84 The March to Finchley 107–8, 108, 249, 288 ‘Modern Moral Subjects’ Beer Street 109, 109, 110–12 The Four Stages of Cruelty 109 Gin Lane 109, 109, 110 A Harlot’s Progress 94–7, 95, 105, 192 Industry and Idleness 109 Marriage A-la-Mode 105–6, 105, 113 A Rake’s Progress 96–7, 97–8, 105, 219, 241 Moses Brought before Pharaoh’s Daughter 103–4, 104 O the Roast Beef of Old England (‘The Gate of Calais’) 106–7, 107, 249 Wollaston Family 90, 91, 92 Holbein, Hans 1 Henry VIII and the Barber Surgeons 38 Holland 10, 22, 30, 34, 83, 85, 110, 298 see also Anglo-Dutch Wars; Netherlandish art Hollar, Wenceslaus 23–4 Prospect of Tangier from the Land 23, 23, 123 Holt, Francis Ludlow 284–5 Homer 146–7, 146, 166, 168, 252–3 Hone, Nathaniel Kitty Fisher 191–2, 191 Pictorial Conjuror 192 Hooke, Robert 24 Micrographia 22 Hope, Thomas 313 Hoppner, John 179, 207–9, 293, 301 George IV when Prince of Wales 293, 294 Lady Charlotte Campbell in the Character of Aurora 302–3, 302 Mrs Jordan in the Character of the Comic Muse 207–8, 208 William Pitt the Younger 296–7, 296 horses 5, 66–7, 69, 113, 157–8, 197 hospitals Hogarth’s murals at St Bartholomew’s Hospital 103 see also Bedlam Hospital; Christ’s Hospital, London; Foundling Hospital; Royal Naval Hospital, Greenwich Howard, Henry Anne Flaxman 305, 305 John Flaxman 305, 305 Sarah Trimmer 299–300, 300 Howard, John 241, 241 Hudson, Thomas 128–9, 135, 170, 200 Lady Frances Courtenay 130, 131 Theodore Jacobsen 128–9, 128 Clerke Willshaw, MD 130, 131

Hunt, John 317 Hunt, Leigh (James Henry) 317 Hunt, Robert 291, 312, 315 Hunt, William Henry 276 hunting 67–9, 68, 113–14, 218 Hutcheson, Francis 91–2 Huysmans, Jacob Catherine of Braganza as a Shepherdess 16–18, 18 Hysing, Hans 92–3, 93, 129 idealism see classicism; Grand Style/ Grand Manner immigrant artists in Britain display of work in Painter-Stainers’ Hall 26–7 drapery painters 129, 131 Hogarth’s satire on 85 Italian artists in Britain 8–10, 11, 36–7, 56, 88, 119–20, 139 market for Dutch art 22, 92 Netherlandish artists and impact 66–8 and eighteenth-century portraiture 138–42 in Restoration period 4, 8–11 improvement Hogarth and moral improvement 109 labour and progress 118, 120 of morality 76, 85, 99, 171, 210 national improvement 153 of nature 64–5, 66, 118, 238, 270, 274 of taste 151, 181, 283, 308, 313 urban improvement 119–22 Interregnum 3, 6, 12 Italy British artists in Italy 5, 60, 129, 131–3, 142–7, 152, 166–70, 195, 198, 230, 253, 299 British patrons in Italy 49, 60, 133–4, 142–4 views of Italy 142–4, 212, 222–3, 230 Italian artists in Britain 8–11, 36–7, 56, 88, 119–20, 133, 139 see also academic tradition; classicism; cosmopolitanism; Grand Tour, Tourists; ancient Rome Jacobites 53, 106–8, 122–3 Jacobsen, Theodore 103, 128–9, 128 James II, king of England abdication and exile in France 40–1 as Duke of York 9, 10, 18, 19, 25 and Lely’s ‘Flaggmen’ 15, 46–7 portraiture at court of 32–6 religious commissions 36–7 succession and reign 29–30 Verrio’s Christ’s Hospital mural 37–9, 38–9 Jervas, Charles 71, 86 Henrietta, Countess of Suffolk 72–3, 72 Johnson, Joseph 251–2, 254 Jones, Inigo 25, 60 Jones, Thomas 230 Jordan, Dorothy 207–8, 208 Kauffman, Angelica 161, 165–6, 183, 192 Maria of Moulines, from Sterne (stipple by Ryland ) 236–7, 236 The Return of Telemachus 165–6, 166, 231–2 Kensington Palace, London 60, 61 Kent, William 60–2, 69, 85, 92–3, 93

Kensington Palace commission 60–1, 61 Ulysses Listening to the Sirens 60–1, 61 Kéroualle, Louise de, Duchess of Portsmouth 18, 30, 31 Kettle, Tilly 245 Kip, Johannes Britannia Illustrata 64 Haughton in the County of Nottingham (after Knyff) 64–5, 64 Kit-Cat Club, London 76–7, 132 Knapton, George 129, 131, 139, 145–6 Charles Sackville, Earl of Middlesex 133–4, 133 Kneller, Godfrey 31, 33–6, 71–2, 126 and court of William and Mary 42 and Great Queen Street Academy 80 ‘Hampton Court’ beauties 41–2, 46 Kit-Cat Club portraits 77, 132, 134 legacy 86–7, 111, 125, 132 mezzotints 44 royal portraits 42 Self-portrait 35, 35 John Cecil, 5th Earl of Exeter 47, 47 Margaret Cecil, Countess of Ranelagh 41, 42 Michael Alphonsus Shen Fu-Tsung, the ‘Chinese Convert’ 35–6, 36 Grinling Gibbons 43–4 Mary II 41 Isaac Newton 42–3, 42 Mohammed Ohadu, the Moroccan Ambassador (with Jan Wyck) 34, 34, 67 Matthew Prior 43, 43, 71 Sir Richard Steele 77, 77, 86 William III 40, 41 Knight, Richard Payne 170, 229–30, 267, 272, 313 The Landscape (poem) 259 Knyff, Leonard Britannia Illustrata 64, 66 Haughton in the County of Nottingham (engraved by Kip) 64–5, 64 labour, representation of, in London views 122, 276, 277 in rural landscapes 116–18, 269–70, 272–3, 279, 280 cottage scenes 281, 286 poor in agrarian landscapes 64, 66–7, 114, 119, 215, 220 see also agriculture; poor in art Ladbrooke, Robert 273 Laguerre, Louis 37, 48 Marlborough House murals 57–8 The Battle of Tanieres, near Mons 57–8, 58 Lambert, George 115–16, 143, 210 Classical Landscape with Rustics: Morning 115–16, 116 John Conyers (landscape in?) (with Hayman) 117 View of Copped Hall, Essex, from across the Lake (with Hayman) 116, 117 landownership 63–73, 115–17, 277–80 and culture of politeness 113–14 mercantile classes and status 65–7, 113, 119 and public virtue 62, 64, 220–1 politics of the Picturesque 259–60 and sport 67–9, 113–14, 197, 218 see also country life, countryside; gentry

landscape art 22–8, 63–7, 70, 72–3, 75–6, 115–23, 210–30, 259–80, 314–18 amateur artists 24, 123, 227 and classicism 25–7, 70–1, 115–16, 143–4, 211–14, 219–23, 314–18 Augustanism 70 ideal landscapes 25, 26, 27, 70, 115, 116, 221 and cosmopolitanism 142–4 estate portraits 24, 27, 63–7, 116, 144, 214, 227 historical landscapes 211–12, 220–2, 314–18 and interior decoration 26, 27, 115–16, 213 middling classes as purchasers 227–8, 229 Netherlandish tradition 24–7, 66, 67–8 and reinforcement of Restoration 25–6 the Picturesque 227–9, 259–60, 261, 263, 272 plein air practice 143–4, 274–80 and panoramas 257, 265–7 and print culture 122, 210, 212, 214, 216, 218, 227–8 and Royal Academy exhibitions 165, 220–3, 274 and social hierarchy 66–7, 73, 119 and tourism 24, 122, 216, 227–9 watercolours 230, 260–72, 273 see also country life, countryside; labour, in rural landscapes; pastoral/ pastoralism; topographical landscapes; watercolour Langhorne, John The Country Justice 244 Laroon, Marcellus, the Elder Cryes of London print series 31 An Old Woman Feeding a Man Seated on a Close Stool (mezzotint) 31–2, 31 Lascelles, Edward 263–4 Lawrence, Thomas 1, 209, 293, 301 The Children of John Angerstein, Esq. 304–5, 304 Sir Francis Baring, John Baring and Charles Wall 297–8, 297 Lady Charlotte Campbell 302–3 Miss Elizabeth Farren 209, 209, 294 Frances Hawkins and Her Son, John James Hamilton 303–4, 303 Francis Osborne, 5th Duke of Leeds 293, 294 Queen Charlotte 294 Charles William (Vane-)Stewart 295–6, 295 Mrs Isabella Wolff 301–2, 301 Le Blanc, Abbé Jean-Bernard 125, 131 Le Brun, Charles 8–10, 49 Alexander before the Tent of Darius 148, 150, 154, 244 Lely, Peter 12–13, 16–8, 20–2, 32–3, 34, 80, 138 as art collector 13, 16 and mezzotint 30 and Van Dyck 16 Self-portrait 13, 13 Barbara Villiers, Countess of Castlemaine, and Her Son, Charles Fitzroy, as the Madonna and Child 16, 17, 193 ‘Flaggmen’ 15–16, 46–7 Admiral Sir John Harman (Lely and studio) 15, 15 Loiuse Dutchess [sic] of Portsmouth (mezzotint after) 30, 31

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

index • 373 Frances Teresa Stuart (later Duchess of Richmond and Lennox) 16, 17, 42 Horatio, Baron Townshend 13, 14, 15 ‘Windsor Beauties’ 16, 42 life drawing 80, 83, 161–2 limning tradition 12, 320n.2 Linnell, John 276–7 Kensington Gravel Pits 276, 277 Liotard, Jean-Étienne 195 Augusta, Princess of Wales 138–9, 138 literary culture authors Addison 72, 76–8, 78, 89–90, 99 Byron 296, 296 Chaucer 306–7 Cicero 220–1 Dryden 106 Fielding 105–6 Fuseli 180–1 Gay 96, 220 Gray 169, 214, 256 Homer 60–1, 87, 146–7, 116, 252–3 Hooke 312 Horace 70 Macpherson 168–9 Mackenzie 231 Mallet 265 Milton 166–7, 251–2 Ossian 168–9 Ovid 211 Pepys 20, 22, 25–6, 30, 37–9 Pope 69–73, 71, 87, 213 Ridley 317 Rousseau 232 Scott 298–9, 298 Shakespeare 84, 102, 102, 109, 169, 174, 184, 185, 186, 187, 193, 313 Steele 51, 53, 76–8, 77–8, 89–90 Sterne 187–9, 187 Virgil 28 Augustan poetry and prose 69–71, 73 Celtic Revival 214 guidebooks and the Picturesque 227 the Harley circle 69–71 and Hogarth’s The Bad Taste of the Town 84–5 Samuel Richardson’s Pamela 110–33 see also book illustration; georgic; Poets’ Gallery; sensibility; sister arts; theatre Lodge, William 24 London 1, 3, 30–1, 39, 44, 56–7, 62, 75, 79, 84, 107, 125, 174, 185 Barker’s panorama 257, 265 Canaletto’s views 119–20, 120, 121 Great Fire of 6, 25–6 Girtin’s Eidometropolis 266–7 Netherlandish artists in 21–22 Scott’s views 121–2, 121 urban improvements 119–22 see also City of London; Hogarth; Somerset House; Vauxhall Gardens Lorrain, Claude see Claude Gellée, called Claude Lorrain Louis XIV, king of France 6, 18 Louis XVI, king of France 248–9, 249–51 lowness in art 5, 30, 32, 82–4, 90, 92, 101–2, 105–6, 110, 113, 165, 219–20, 226, 238, 284, 287–91 of artists 21, 30, 79, 92

in society 64, 79, 87, 96, 98–100, 110, 179, 185–6, 197–8, 207, 241, 249, 291, 294 see also ‘drolls’; genre painting; poor in art; vulgarity luxury and Barry’s Commerce, or Triumph of the Thames 174 economic necessity 90–1, 96–7 and Hogarth’s ‘Modern Moral Subjects’ 94–8, 105–6, 192, 219, 241, 285 luxury goods 6, 71, 101, 193, 196, 236, 253 Mandeville and re-evaluation of luxury 90–2 positive effects of 91–2, 126 as threat to morality 74, 85, 89–92, 96, 98, 101, 197, 316 see also effeminacy Mackenzie, Henry The Man of Feeling 231 Macklin, Thomas 181, 253 Bible Gallery 251, 306 Poets’ Gallery 183, 251, 281, 306 Mandeville, Bernard 90–1, 96–7 Manners, John see Granby manners see morality; politeness Mansfield, David William Murray, 3rd Earl of 282 Marie Antoinette, queen of France 250 marine painting 10–11, 22, 123–4, 256–8, 273 and the van de Veldes 10–11, 124, 267–8, 272 see also de Loutherbourg, Scott, Turner, van de Velde market see art market; commerce Marlborough, John Churchill, 1st Duke of 44–6, 45, 57–8, 200 Marlborough, Sarah Churchill, Duchess of 44–6, 45, 57 Marlborough House, London 57 marriage 82, 90–2, 105–6, 109–13, 140, 195, 234–5, 300 see also family Martin, John 314 Sadak in Search of the Waters of Oblivion 316, 317 Mary II, queen of Great Britain 40–1, 51, 52, 53 masculinity and history-painting 9, 146–7, 150, 152, 167–70, 181 and male artists 136, 166–70 and portraiture 15–6, 32, 47, 87, 92, 112, 294, 296, 299 and the Sublime 158, 301 see also gender; heroes and heroism Mason, William 214, 227 masquerades 84, 85, 132, 133–4 Matteis, Paolo de The Judgment of Hercules (engraving by Gribelin) 61–2, 61 Mead, Richard 129, 129 Mechel, Christian von 256–8 Mengs, Anton Raphael 139, 142, 147, 166 Mercier, Philip (Philippe) 88–90, 139 fancy pictures and mezzotints 98–9 The Choice (mezzotint by Faber) 98 Frederick, Prince of Wales and His Sisters 88–90, 89

mezzotints 182, 249 fancy pictures 98–9, 241 portrait reproduction 30–1, 33, 44, 86, 188, 191, 199 Turner’s Liber Studiorum 269–70, 269 Michelangelo Buonarroti 85, 169, 180, 198, 203, 301 military portraits 294–6 admirals 15, 46–7 Marlborough in battle scenes 57–8 Beechey’s Nelson 294–5 Dahl’s and Kneller’s admirals 46-7 Copley’s Floating Batteries at Gibraltar 178, 178 Lawrence’s Charles William (Vane-) Stewart 295–6, 295 Lely’s ‘Flaggmen’ 15-6 Reynolds Granby 190, 190 Heathfield 202, 203–4 Commodore Keppel 131–2, 132 Captain Keppel 135–6, 135, 139 Ligonier 190 and sensibility 243–4 military survey 123 millenarianism 256 Milton, John 251–2 Miniaturists see limning tradition modernity 22, 139, 142 arguments in favour of 85, 89, 92, 113, 119 crisis of confidence in 147 construction of Westminster Bridge 120 and landscape painting 73, 118–20, 221, 268–71, 273 Westminster Bridge 120 Wilkie’s modernity 283 and Wright of Derby’s candlelights 159–60 see also commerce; history-painting: modern subjects; Hogarth: ‘Modern Moral Subjects’ monarchy execution of Louis XVI 250 Exclusion Crisis 29–30 Hanoverian succession 53–4, 54 see also individual monarchs; ‘Glorious Revolution’; Restoration; Monro, Thomas 260–1, 275 Montagu, Lady Mary Wortley 72 Montagu, Ralph, 1st Duke of 8, 48, 50 morality and early nineteenth-century genre painting 286–8, 289–90, 291 fancy pictures and politeness 98–9 Fuseli’s indifference to morality in art 169 Hogarth’s ‘Modern Moral Subjects’ 93, 94–8, 95–7, 105, 106 as an issue for female portraiture 190–1, 193, 203, 233–4, 302–4 and luxury 85, 89–92, 174, 316 Mortimer and the amoral Sublime 170 Pamela and the ‘middling orders’ 110–13 Shaftesbury’s Judgment of Hercules as moral exemplum 62, 63, 157, 167, 288, 316 Society for the Reformation of Manners 42

urban poor and Hogarth 109–10, 109, 286 Vauxhall Gardens paintings 100–2 voluntary associations 292 see also benevolence; sympathy; vice; virtue More, Jacob 230 Morland, George 240, 281 African Hospitality (mezzotint by John Raphael Smith) 244–5 Morning (The Benevolent Sportsman) 240–1, 241 Slave Trade (mezzotint by John Raphael Smith) 244–5, 245 Morland, Henry Robert 240 Mortimer, John Hamilton 331n.20 Banditti Returning 170, 170 Moser, John Michael 161 Moser, Mary 161 Mulgrave, Henry Phipps, 1st Earl of 282, 283, 296–7, 312 Muller, Johann Sebastian Vauxhall Gardens (after Wale) 99 Mulready, William 276, 277 Idle Boys 290–1, 290 mythology 4–5, 9–10, 16 and decorative history-painting 48, 49–50, 49–50, 56, 60–2 and landscape 211–12 see also allegory; classicism Napoleon, Napoleonic Wars 248, 252, 268, 280, 286, 289, 295, 306–18 National Gallery 265, 290, 307–8, 318 national school of British art 1, 11, 248–58, 314 and Blake’s exhibition of 1809 310–12 and Boydell as promoter 183–5 and British Institution 307, 308–9 genre painting 281–91 Hogarth’s support for 85, 288 and landscape painting during Revolutionary and Napoleonic Wars 259–80 historical landscapes 314–18 responses to French Revolution 248–58 see also British Institution; Royal Academy; history-painting; patriotism/nationalism/Britishness nationalism see patriotism/nationalism/ Britishness naturalism as marker of Britishness 258 and Heaphy’s watercolours 285–6 and landscape art 143–4, 267–8, 272, 273, 274–80 and portraiture 20–1, 136, 140, 195, 196, 234 naval battles in art 123–4, 256–8 Nelson, Viscount Horatio 294–6, 295 death of309–10, 309, 311–12, 311 Netherlandish art art market in Britain 22, 31–2, 92, 196–7 artists in Restoration court 10–11 ‘drolls’ 22, 31–2, 90, 92 genre painting 240, 282–5, 288–9, 291 history-painting 313 landscape painting 24–7, 63–8, 116–19, 265–6, 269, 272–4, 279 marine painting 11, 124, 267–8 portraiture 21, 68, 78, 111, 159 see also individual artists

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

374 • index Newton, Isaac 42–3, 42, 71 Northcote, James 169, 183, 304 Marc Isambard Brunel 299, 299, 305 The Murder of the Princes in the Tower 183–4, 183, 231–2 Portraits Painted from Life, Representing Capt. Englefield 179–80, 179, 203 Norwich Society of Artists and ‘Norwich School’ 273 nudity 56, 166, 255–6 see also eroticism O’Brien, Nelly 190–1, 191 Old Masters and Angerstein’s collection 265 and British Institution 267, 307 copying of 81, 117, 265, 267, 269 Gainsborough’s emulation of 219, 220, 238, 240 exhibitions 307 and the Louvre 307 and Reynolds’s art theory 136, 150, 269 Turner’s responses to 265, 267–72, 317 see also individual artists; Netherlandish art Oldham, Nathaniel 111–12, 111 Oliver, Isaac 12 one-picture exhibitions 176–7, 179, 251, 306 Onslow, Denzil 28 Opie, John 179, 183, 307 Assassination of James I of Scotland 182 The Murder of David Rizzio (etching and engraving by Isaac Taylor) 182, 182 Orientalism 34, 225, 246, 296, 317–8 Orme, Daniel 241 Ossian (James Macpherson) 168–9 Ostade, Adriaen van 31, 240, 269, 282 Overton, Henry 24, 58, 123 Painter-Stainers’ Company 3, 26–7, 80 Palladianism 60, 72–3, 125, 213 panoramas 257, 265–7 Pars, William 230 Pasquin, Anthony (John Williams) 292–4, 301–2 pastels 138–40, 195 pastoral, pastoralism Cozens’s Italian watercolours 230 fêtes galantes 88, 90, 112, 287 and Gainsborough 220, 238 and Heaphy’s anti-pastoralism 286 and interior decoration 26, 27, 115, 116, 213 and Lely’s female portraits 31 philosophy and nature 70–1 and Turner 269, 272 and Wilson144, 214 patriotism/nationalism/Britishness and antiquarian views 75, 122, 261 and battle-paintings 58, 123–4, 256–8 and genre painting 149–50 and Hogarth 106–10, 126–8 and history-painting 51–3, 147–51, 156–7, 163–5, 174–80, 182–5, 242–4, 309–12 and landscape 75–6, 120–2, 258, 259–61, 268–74 and portraiture 106–12, 203, 294–7 nationalism and naturalism in the 1790s 251, 258, 259–60 see also Napoleon/Napoleonic Wars; national school of British art; Seven Years’ War

Pellegrini, Giovanni Antonio 55 The Adoration of the Trinity 56, 56 Penicuik, nr Edinburgh 167–8 Penny, Edward 156–7, 164, 240 The Death of General Wolfe 156 The Marquess of Granby Relieving a Sick Soldier 156–7, 156, 190, 231–2 Pepys, Samuel 20, 22, 25–6, 30, 37, 38, 39 Petworth, West Sussex 46 philanthropy and Foundling Hospital 102–3, 126, 308 visualisation and sensibility 240–1 voluntary associations 292 see also benevolence; morality; sympathy; virtue Philips, Thomas Lord Byron in Albanian Dress 296, 296 Phipps, Henry see Mulgrave Picart, Bernard 83–4 Picturesque the Picturesque in theory 227, 259–60, 282 the Picturesque in practice, 122, 227–9, 259–63, 278, 282 see also Gilpin; Knight; Price; tourism (domestic) Pindar, Peter (John Wolcot) 182 Pine, Robert Edge 170 Mrs Pritchard in the Character of Hermione (engraving by Aliamet) 186, 187 The Surrender of Calais to Edward III (engraving by Aliamet) 150–2, 151, 186–7 Piranesi, Giovanni Battista 142, 230 Piroli, Tomasso Iliad and Odyssey etchings (after Flaxman) 253, 253 Pitt, William, the Elder see Chatham Pitt, William, the Younger 248, 256, 293, 296–7, 296, 311 Place, Francis 24, 75, 123 Part of Tenby Castle in Pembrokeshire 24, 24 plein air landscapes 143–4, 274–80 Poets’ Gallery 183, 251, 281, 306 politeness art and culture of 76–80, 85 benevolence and public display of art 102–4 conversation and social commerce 76–9, 111–12, 114 fancy pictures 98–9, 165 opposition to politeness 62, 148, 170, 245–7 land ownership and sporting pursuits 113–14 and marine painting 124 and moral concerns 93, 94–9, 105–11, 112–13 and portraiture 86–93, 111–12, 113–14, 131, 134, 136 and professionalisation of art 79–80, 92–3, 115, 147 and Vauxhall Gardens 99–102 and sensibility 231 see also Addison; conversation pieces; Hutcheson; Shaftesbury, Steele Pond, Arthur 139 poor in art 238–42, 281–91 and Gainsborough 219–20, 238–40 and Hogarth’s ‘Modern Moral Subjects’ 109–10, 286

in Vauxhall Gardens paintings 101 as labourers in agrarian landscapes 64, 66–7, 114, 119, 215, 220 see also genre painting Pope, Alexander 69–73, 71, 213 ‘Popish Plot’ 29, 31 popular culture see press; print culture; public and viewers: mass audience portraiture 3, 12–21, 32–6, 40–7, 70–2, 86–93, 110–4, 125–42, 186–209, 231–5, 292–305 antique models for 86, 133–4, 145–6 celebrity portraits 71, 140, 186 actors and actresses 187, 190, 192–3, 202–3, 207–9, 293–4 Reynolds’s Royal Academy portraits 190–1, 202–3 codified poses and formats 72, 86–7, 111, 125, 128, 131 in Commonwealth and Interregnum 3 context of original settings 15–16 conversation pieces 88–93, 96, 111–14, 140, 154–7, 195–6 cosmopolitanism 125–42, 195 and court of James II 32–6 criticism of sitters 292–4, 304 cultural imperialism 146 curiosity and exotic subjects 74–5 demand for and artists’ reliance on 166 drapery painters 129, 131 and exhibitions 186–209, 234, 292–304 formats and pricing 86, 305, 323 n.1 and the Foundling Hospital 127–9 and gender 16, 44–6, 112–14, 196, 200, 234–5 and hierarchy of genres 72, 80, 152 Grand Style 135, 139, 190 Kneller’s legacy 86–7, 111, 125, 132 marriage portraits 140. 234–5 mezzotint reproductions 30–1, 33, 44, 86, 188, 191 military portraits 15, 46–7, 243–4 pastels 138–40, 195 and politeness 86–93, 111–12, 113–14, 131, 134, 136 and Restoration politics 12–21 Richardson on 71–2 Reynolds’s legacy and posthumous reputation 294, 300, 302 and sensibility 232–5 size and pricing 86, 305 Van Dyck’s legacy 3–4, 12, 13, 16, 33, 34, 47, 77, 136 dress 131, 142 Gainsborough 140, 142, 193–4, 204–5 Verrio’s borrowings from 9 see also individual artists; dress; family; femininity; Grand Style/Grand Manner; marriage; masculinity; naturalism; military portraits; patriotism/nationalism/Britishness; politeness; Royal Academy; workshop practice Portsmouth, Duchess of see Kéroualle Poussin, Nicolas 70, 103, 147, 153, 162 see also Hazlitt; Holt; Pasquin Price, Uvedale 259–60, 272, 282 primitivism 167, 170, 220, 224, 253 print culture 6, 29–32, 185, 191 and battle scenes 58, 123–4, 256–8 book illustration 81, 110–11, 183, 236, 306–7 and ‘curiosity’ 74–6

heterogeneity and broad appeal 29, 30, 32 and high and low art 6, 30, 32, 83 Hogarth’s satirical prints 84, 219 and history-painting 81–3, 164, 166, 182 commercial ventures 183–5 Copley 176–8 Hogarth’s A Harlot’s Progress 96–7, 105 and landscape art 210, 212, 216 British landscapes 122, 214, 218, 227–8 and politics 6, 29–31, 58 and status of watercolourists 260 and subscription battle scenes 58, 123–4 Buck, Samuel and Nathaniel 75, 122 Highmore’s Pamela series 111 Hogarth 95–7, 105–6, 109 Kip and Knyff’s Britannia Illustrata 64, 66 Stothard’s Pilgrimage to Canterbury 306 Turner’s Liber Studiorum 269 Verelst’s ‘Four Indian Kings’ 74–5 see also aquatint; engraving; etching; mezzotint; publishers; satirical prints; stipple Prior, Matthew 43, 43, 69, 71 Pritchard, Hannah 86–7, 87 professionalisation of art 79–80, 92–3, 115, 147, 198 and watercolourists 260 Protestantism and religious art 55, 56 public sphere and culture of politeness 76–9, 112 benevolence and public display of art 102–4 moral concerns and art 93, 94–9, 105–11, 112–13 public spaces and decoration 99–102 emergence in late Stuart period 39 societies and exhibitions 149–52 see also art criticism; exhibitions; politeness; print culture; Vauxhall Gardens publishers 30–1, 44, 71, 74, 80–1, 166, 175, 183, 216, 253, 306 Archibald Constable 298 Thomas Bowles and Henry Overton 58, 123 Thomas Bowyer 183, 251, 258, 306 John Boydell 164, 177–8, 182, 253 George and William Bernard Cooke 270 Joseph Johnson 251–2, 254 of magazines 228 and Turner 216, 267, 276 see also book illustration; commercial galleries; literary culture; print culture Pughe, William Owen 311 Pulteney, Sir William 132 Pyrford Manor, Surrey 28, 28 Quicke, Andrew 77–8, 78 Quin, James 192, 192 radicalism and French Revolution 248, 251–2, 254, 255–6 Wilkie’s Village Politicians 282, 283

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

index • 375 Raeburn, Henry Sir John and Lady Clerk 235, 235 Sir Walter Scott 298–9, 298 Ramberg, Johann Heinrich Death of Captain Cook 242, 242 Ramsay, Allan 129–31, 139, 191, 325n.6 royal patronage 186, 191, 195 Queen Charlotte with Her Two Eldest Sons 186, 194, 195 Lady Helen Dalrymple 138, 139 Jane Hale (later Mrs Madan) 130, 131 Norman, 22nd Chief of Macleod 134–6, 134 Dr Richard Mead 129, 129 Sir John Pole, 5th Baronet 130, 131 Raphael (Raffaello Sanzio) 55–6, 60, 84–5, 102, 153 refinement see politeness religious art and biblical subjects Blake 254, 256 and Protestantism 55, 56 West 180–1, 314–15 Whitehall Palace chapel 36–7 see also Catholicism; history-painting; St Paul’s Cathedral Rembrandt van Rijn 34, 35, 43 Restoration 1, 3–11 allegories of 4–5, 7, 9–10 and landscape painting 25–6 portraiture and politics of 12–21 and print culture 6, 30 see also Charles II Reynolds, Sir Joshua 131–3, 135–9, 149–50, 179, 185, 196, 208, 267, 291, 298 as art theorist 136, 149–50, 163, 165, 182, 199, 221, 227, 269, 277–8, 291, 316 as history painter 165 and Boydell’s Shakespeare Gallery 183 competition and rivals 142, 191–5, 197–8, 202, 204–9 Continental journey and change in style 131–3, 135–8, 139, 187 criticisms of technique 206 Discourses 136, 163, 199, 269, 277–8 exhibition strategies 186–91, 198–204, 226, 234 fancy pictures 165, 237 and French Revolution 251 Grand Style 149–50, 160, 165, 185, 199, 202, 204, 269 and portraiture 135–8, 207, 209, 292, 300 legacy and posthumous reputation 294, 300, 302 on Liotard 139 prints after 188, 199 and Royal Academy 153, 160–2, 198–204 Self-portrait 198, 199 Giuseppe Baretti 200, 200 Mrs Billington 209 Jane, Lady Cathcart and Her Daughter 136–8, 137 Georgiana, Duchess of Devonshire, and Her Daughter, Lady Georgiana Cavendish 233, 234 Garrick between Comedy and Tragedy 188, 189, 192, 288 Maria Gideon and Her Brother William 203, 204

John Manners, Marquess of Granby 190, 190 Lord Heathfield 202, 203 Captain the Hon. Augustus Keppel (c. 1752) 135–6, 135, 139, 187, 294 Commodore the Hon. Augustus Keppel (1749) 131–2, 132 Commodore the Hon. Augustus Keppel (c. 1752) 135–6, 135, 139, 187, 294 Lady Elizabeth Keppel Adorning a Term of Hymen 189–90, 189 The Duchess of Manchester and Her Son Lord Mandeville (mezzotint by Watson) 198–9, 199 The Family of the 4th Duke of Marlborough 200–2, 201 Nelly O’Brien 190–1, 191 Mrs Siddons as the Tragic Muse 202–3, 202, 207, 301 Laurence Sterne 187–9, 187 Infant Hercules Strangling the Serpents in His Cradle 203–4 Lesbia (stipple by Bartolozzi) 237, 237 Venus Chiding Cupid for Learning to Cast Accounts 165, 165 Ricci, Sebastiano 55, 56 Diana and her Nymphs Bathing 56, 57 Richardson, Jonathan, the Elder 3, 55, 80, 86, 92, 128, 133 Essay on the Theory of Painting 71–2 Alexander Pope 71, 71, 72–3 George Vertue 86, 86 Richardson, Samuel Clarissa 231 Hayman’s conversation piece 112–13, 112 Pamela and art 110–13, 231 Ridley, James 317 Riley, John 32–3, 42, 44, 71 Bridget Holmes 32, 33 Robinson, Matthew 93, 93, 115 Rococo 88, 101, 111, 116, 126, 139, 147 reaction agains 147 Rome see ancient Rome; Italy Romney, George 170, 179, 183, 186, 207 fancy pictures and sensibility 236, 237 republican sympathies and French Revolution 251, 252 Willian Beckford 232, 233 Emma Hart (later Lady Hamilton) in a Cavern 236, 237 The Leigh Family 197–8, 198 Henrietta, Countess of Warwick and Her Children 204, 204 The Leigh Family 197–8, 198 William Beckford 232, 233 Rosa, Salvator 122, 170, 274, 317 Rose and Crown Club 80 Roubiliac, Louis François 99 Rouquet, Jean André 124 Rousseau, Jean-Jacques 232 Rowlandson, Thomas 234, 247, 272 A Kick-Up at a Hazard Table! 247, 247 Royal Academy, London 160–6, 161, 176, 179 annual exhibitions and public reception 163–6, 163, 186 and art education 160–2, 179, 277 artists returned from Italy 166–70, 222 Barry as Professor of Painting 252, 254 British Institution as competition 267, 277, 307 and Committee of Taste 310

exhibitions and critical reception 163–6, 163, 186 foundation and aims 153, 160–3 and French Revolution 249, 251 Fuseli as Professor of Painting 252 and genre painting 281–5, 289–91 hanging procedure and rivalries 293–4, 312–13 and history-painting 160–74, 179–82, 306 and landscape 165, 220–6, 239–40, 259–65, 277–80, 314–18 ‘the line’ 179, 186, 202, 209, 294, 302, 312 and portraiture 198–209, 292–305 and promotion of British school 160–1, 179, 183 Reynolds as President 160–2, 198–204 Turner as Professor of Perspective 267 West as President 267, 306, 309 Wilkie’s success 281–5, 287 see also Somerset House Royal Naval Hospital, Greenwich Thornhill’s murals 51–4, 52, 54 West’s Nelson pediment 310 Royal Society 6, 24, 30, 74, 129 and empiricist aesthetic 20–2 Rubens, Peter Paul 7, 20, 43, 51, 61, 129, 203–3, 218–19, 220, 240, 269, 287, 303, 315 Duke of Buckingham 34 Maria de’Medici cycle 82 Whitehall ceiling 7, 51 ‘Rubens’ wife’ 131 Ruisdael, Jacob van 116, 273 Wooded Landscape with a Flooded Road 117 Runciman, Alexander 167–8 Study for ‘The Death of Oscar’ 168, 168 Runciman, John 167 Rupert, Prince 30 Ryland, William Wynne 164 Maria of Moulines, from Sterne (after Kauffman) 236, 236 Rysbrack, John Michael 93, 93, 103 Sackville, Charles, Earl of Middlesex and 2nd Duke of Dorset 133–4, 133 St Martin’s Lane Academy 81, 83, 85, 101, 116, 125, 139, 160, 170 St Paul’s Cathedral 171 Thornhill’s decoration 55–6, 55, 80 Sandby, Paul 123, 215–17, 227–8, 230, 269 Hubberstone Priory, Pembrokeshire 228, 228 The Iron Forge between Dolgelli and Barmouth in Merioneth Shire (aquatint) 228, 228 Morning 259–60, 259 North West View of Wakefield Lodge in Whittlebury Forest, Northamptonshire 215–16, 216, 259 Plans and Views of Castle Tyrim 123, 123 Windsor Castle from Datchet Lane on a Rejoicing Night 216, 217 Sandby, Thomas 123, 216 satirical prints and Duchess of Devonshire 234 and Exclusion Crisis 29–30 Gillray 248–9, 248, 256, 256 Hogarth 83–5, 94–8, 109–10 Rowlandson 247

and Royal Academy 163, 163, 166 science and art 24, 123, 160, 276–7 empiricism 20–2, 258 Scott, Samuel 121–2 The Building of Westminster Bridge 121–2, 121 Vice Admiral Sir George Anson’s Victory off Cape Finisterre 124, 124 Scott, Sir Walter 298–9, 298 sensibility 147, 166, 229–30, 231–47, 258, 287 sentimental view of rural poor 238–41, 281, 286 see also sympathy and narrative art Seven Years’ War 147, 148–9, 157 Seymour, James The Stables belonging to the Duke of Bolton 113, 113 Shaftesbury, Anthony Ashley Cooper, 3rd Earl of 61–2, 104 Characteristics of Men, Manners, Opinions, Times 76 Judgment of Hercules (painted by Matteis, engraved by Gribelin) 61–2, 63, 76, 84, 98, 147, 157, 167, 189, 288, 316 and politeness 76 Shakespeare, William 71, 84, 102, 109, 169, 174, 193, 313 and Barry 174 and Fuseli 169, 169, 184, 184 Hayman’s Hamlet 102, 102 Pine’s A Winter’s Tale 187, 186 Smirke’s Much Ado About Nothing 185 Shakespeare Gallery 183–5, 183–5, 235, 251, 306, 331n.21 see also Boydell Shee, Sir Martin Archer 286, 288 Sheldonian Theatre, Oxford 6–7, 7 Shepperson, Matthew 267 Sherwin, William 30 Shipley, William 150, 170 Siberechts, Jan 27 View of Henley from the Wargrave Road 65–6, 65 View of Longleat House 27, 27, 63 Wollaton Hall and Park 63–4, 63 Siddons, Sarah 202–3, 202, 207, 207, 301 Siegen, Ludwig von 30 Simon, John Tee Yee Neen Ho Ga Row, Emperour of the Six Nations (after Verelst) 74–5, 74 sister arts 72–3 see also literary culture Sketching Society 273 slavery and sensibility 240, 244–5 Smirke, Robert 183, 185 ‘Much Ado About Nothing’ 185, 185 Smith, George (of Chichester) 210, 213 The First Premium Landscape of the Society of Arts (engraving by Woollett) 210, 210, 217 Smith, John Grinling and Elizabeth Gibbons (after Closterman) 43, 44 Smith, John (of Chichester) 210, 213 Smith, John Raphael Slave Trade (after Morland) 244, 245 Smith, John Thomas 272 Smith, John ‘Warwick’ 230 Smith, Thomas, of Derby 214 A Prospect of that Beautiful Cascade before Matlock Bath 122, 122 Smithson, Sir Hugh (later 1st Duke of Northumberland) 120

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

376 • index Society of Antiquaries 75 Society of Artists of Great Britain first annual exhibitions 149–52 and British artists in Rome 152, 156–7 exhibition history-paintings 149–60 exhibition landscapes 210–20 exhibition portraits 186–98 and founding of Royal Academy 160 Society of Dilettanti 150 Knapton’s portraits 133–4, 139, 145–6 Society for the Encouragement of Arts, Manufactures and Commerce (SEAMC/Society of Arts) 149–60, 170, 190 and Barry’s Progress of Human Culture 171–4, 172–3, 254 and the Royal Academy 171 premium competitions 150, 152, 170–1, 174, 182, 210, 212, 312 Society of Painters in Water Colours (SPWC) 273, 285 Society for the Reformation of Manners 42 Society of the Virtuosi of St Luke 44, 60, 79–80 Soest, Gerard 21, 32 John Wallis 21, 21 Somerset House 176, 179–82, 198, 209, 283, 293, 299, 313 Spectator, The 76, 89, 99 sport 22, 27–8, 67–9, 113–14 see also hunting Spring Gardens exhibitions see Society of Artists Stafford, Marquess of 307, 308 Steele, Richard 51, 53, 76–8, 77–8, 89–90 Steen, Jan 291 Sterne, Lawrence 187–9, 187, 231 Sentimental Journey 236, 236 still lifes 22, 79, 79 stipple 166, 179, 182, 236, 236, 237, 256, 281, 292 Stothard, Thomas 183, 256, 315 The Pilgrimage to Canterbury 306–7, 306 Streeter, Robert Truth Descending on the Arts and Sciences 7, 7, 10 Stuart, Gilbert William Grant (‘The Skater’) 207, 208 Stubbs, George 157–9 Five Brood Mares at the Duke of Cumberland’s Stud Farm 197, 197 Horse Frightened by a Lion 157–9, 158, 160, 218 Lion Attacking a Horse 157 Two Gentlemen Going a Shooting 218, 218 studio practice see workshop practice Stukeley, William 75 Sublime, the 158–9, 160, 167, 170, 189 as popular entertainment 180, 182, 317 and Burke 158–60, 227, 229, 316 and John Robert Cozens 229 and Fuseli and circle 168–9 and genius 146, 168–70, 252 and Girtin’s watercolours 263–4 and Haydon 312 and landscape art 214, 217, 222, 226–9, 276 and Martin’s Sadak 317 and Mortimer’s banditti 170 and Northcote’s Captain Englefield 180 and Reynolds’s Mrs Siddons

and Stubbs’s Horse Frightened by a Lion 158–9 and Turner’s historical landscapes 269, 274, 315–7 and Wright of Derby 160, 222 as popular entertainment 180, 182, 317 surveying 123, 123 Sutherland, Elizabeth, Countess of 263 sympathy 90, 103, 149–50, 156–7, 159–60, 176–7, 236–8, 240–1, 244, 290 see also benevolence; sensibility Tassie, William 306 Tatler, The (periodical) 76, 89 Taverner, William Classical Landscape with Figures 115, 115 Taylor, Isaac The Murder of David Rizzio (etching and engraving after Opie) 182 Taylor, John (critic) 263, 265 Taylor, John (merchant patron) 66–7 Teniers, David, the Younger 282, 283, 284–5, 287, 288 Thames, river 10, 26, 53, 65–6, 73, 99, 102 and Barry 171, 174 and Canaletto 120–1, 120, 121 and Girtin 266 and Scott 121–2, 121 and Turner 268–9, 272 Twickenham 71–3, 213–14 and Wilson 213–14, 213 theatre actors as portrait subjects 186, 187, 190, 192–3, 202–3, 207–9, 293–4 conversation pieces 154–7 and de Loutherbourg 225–6 Hogarth’s satire on 84 see also Garrick, Jordan, Pritchard, Quin, Shakespeare, Siddons Thomas, William 93, 93 Thoresby, Ralph 75 Thornhill, James 51–7, 54, 62, 78, 85, 101, 125, 126 and Great Queen Street Academy 80–1 Kensington Palace commission 60, 61 and Raphael Cartoons 55–6 and Society of the Virtuosi of St Luke 79–80 The Duke of Marlborough Presenting Britannia with the Plan of the Battle of Blenheim 58, 59, 60 Invitation Card for the Feast of St Luke 79–80, 80 Quicke group portrait 77–9, 78 Royal Naval Hospital, Greenwich 51–4 Allegory of the Hanoverian Succession 53–4, 54 Glorification of William and Mary 51, 52, 53 St Paul’s Cathedral 55–6, 55, 80 Paul Preaching at Athens 55, 56 Paul Preaching in the Aeropagus (after Raphael) 55 Thrale, Henry 200 Tillemans, Peter 73, 113 View of the Thames at Twickenham 73, 73, 213 Titian (Tiziano Vecellio) 12, 34, 56, 134, 136 Tompson, Richard 31 Tonson, Jacob 77, 81 Tonson, Richard 81

topographical landscapes 23–4, 75–6 Gainsborough’s attitude toward 218–19 military usage 123 and print trade 122, 216, 260 Paul Sandby’s pre-eminence 215–7, 259–60 and status of watercolourists 260 and Turner’s early work 261, 270–2 Tories 29, 53, 113, 248, 252 Tour, Quentin de la 139 tourism (domestic) 122, 216, 227–9, 261, 263, 272 see also Grand Tour, Tourists; Picturesque town houses and decoration 56–7 Trafalgar, Battle of 165, 271, 279, 294, 309–11 Tresham, Henry 169 Trimmer, Sarah 299–300, 300 trompe l’oeils 22, 79, 79 Truchy, Louis 111 Building Houses with Cards (after Gravelot and Hayman) 101, 102 Standing man (after Gravelot) 131 Trumbull, John 242–4 The Battle of Bunker’s Hill, June 17, 1775 243, 243 Turner, Joseph Mallord William 1, 260–1, 264–5, 267–72, 307, 314 comparisons with Girtin 260–7 etchings and mezzotints 269, 269 emulation of Old Masters 265, 269, 272, 317 Thames valley views 268–70 Caernarvon Castle 264, 265 Crossing the Brook 271–2, 271, 278, 317 Dido Building Carthage 272, 317–18, 318 Dolbadarn Castle 274 Dutch Boats in a Gale (The Bridgewater Sea-Piece) 267–8, (watercolour copy by Shepperson) 267, 307 Falmouth Harbour 270–1, 270 The Fifth Plague of Egypt 269 Liber Studiorum 269–70, 269 ‘M.S.P[oem?]. Fallacies of Hope’ 316 Pembury Mill, Kent (etching and mezzotint) 269–70, 269 Picturesque Views on the Southern Coast of England 270–2 Snow Storm: Hannibal and His Army Crossing the Alps 315–17, 315 Tintern Abbey, Monmouthshire 261, 261 Walton Bridges 268–9, 268 Turner, William 276 Twickenham 71–3, 73, 213–14, 213 Tyers, Jonathan 99, 100, 101, 102, 148 Vaart, Jan van der 31 Anne, Princess of Denmark (with Wissing) 33, 33 Bifrons Park, Kent (attrib.) 66–7, 67, 119 Gilbert Coventry in the Hunting Field (with Wyck) 67, 68 Van Dyck, Anthony 3–5, 15, 17, 35, 80 legacy 3–4, 12, 13, 16, 33, 34, 47, 77, 136 and Gainsborough 140, 142, 193–4, 204–5 Van Dyck dress 131, 142 workshop practice 3–4, 13, 42, 131 Charles I 40, 41, 86

Charles I, Henrietta Maria, and Their Two Eldest Sons 138 Charles I on Horseback 5–6, 6, 67 Philip Herbert, 4th Earl of Pembroke and His Family 44 Van Loo, Jean-Baptiste 125–6, 129, 133, 139, 140 The Right Hon. Stephen Poyntz, of Midgeham, Berkshire 125–6, 126 Vanderbank, John 81, 87, 126 academic training and book-illustration 81 Cervantes as Hercules 81, 81 John Knight, His Wife Anna, and His Stepson Jacob Newsam (mezzotint by Faber) 87, 87 Vandergucht, Gerard The South Prospect of the Ancient City of York (after Samuel Buck) 75, 75 van de Velde, Willem the Elder 10, 22 van de Velde, Willem the Younger 10, 22, 47, 267, 268 importance for later marine painting 11, 124 The Royal Visit to the Fleet 10–11, 10 Vandrebanc, Peter The Restoration of the Monarchy (after Verrio) 9–10, 9, 31 Varley, Cornelius 275, 276–7 Waterfall near Capel Curig 275, 276 Varley, John 290 View in the Pass of Llanberis 275–6, 275 Vauxhall Gardens, London (Spring Gardens) 99–102, 99, 148–9 ‘Venetian Secret’ 315, 334 n.17 Verelst, John ‘Four Indian Kings’ portraits 74–5 Tee Yee Neen Ho Ga Row, Emperour of the Six Nations (mezzotint by John Simon) 74–5, 74 Verelst, Simon Pietersz. 74, 79 Still-life with Flowers and Butterfly 22, 22 Vernet, Claude-Joseph 143, 211 Verrio, Antonio 8–10, 35, 42, 62, 126 Burghley House 48, 49, 306 Mars and Venus Discovered by Vulcan 48, 49, 49 Hampton Court Palace 50–1 Apotheosis of Queen Anne and Britannia Receiving the Homage of the Four Continents 50–1, 51 James II Receiving the Mathematical Scholars of Christ’s Hospital 37–9, 38–9 The Sea Triumph of Charles II 8, 9, 11 Windsor Castle 9–10 The Restoration of the Monarchy ceiling 9–10, 9 Versailles 9, 10, 66 Vertue, George 44, 46, 70, 87, 93, 93, 98, 115, 125, 128, 129 on Hogarth 90, 94, 96, 103 portrait by Richardson 86, 86 vice and luxury 92, 96–8, 106, 174, 316 and the poor 109–10, 285–8, 286, 291 and Shaftesbury’s Judgment of Hercules 62, 288 voluntary associations and reform 292 see also morality Villiers, Barbara, Countess of Castlemaine (later Duchess of Cleveland) 16, 17

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4

index • 377 Virgil 28, 116, 144 virtue and ancient models 146, 147, 162 and commerce 62, 75–7 and Hogarth’s A Harlot’s Progress 94, 96–7 and luxury 90–2 and Shaftesbury’s Judgment of Hercules 62, 63, 76, 157, 167, 288, 316 see also benevolence; morality; philanthropy; politeness virtuosi/virtuosity 24, 28, 75, 123, 129 artists as virtuosi 13, 43, 72, 92 Congregazione dei Virtuosi 4 John Robert Cozens’s watercolours for 229–30 and drawing 24, 93, 115, 123 Gawen Hamilton’s Conversation of Virtuosis 92–3, 115 and mezzotint techniques 30, 32 Society of the Virtuosi of St Luke 44, 60, 79–80 York Virtuosi 75, 122 see also collectors, collecting; connoisseurs, connoisseurship; Society of Dilettanti Virtuosi’s Museum, The (print series) 228–9 Vivares, Francis A Prospect of that Beautiful Cascade before Matlock, Bath (after Smith of Derby) 122 voluntary associations 292 vulgarity 90, 92 and culture of Restoration court 32 in genre painting 282, 283, 291 Gainsborough’s The Harvest Wagon 220 Hogarth’s Progresses 98, 105, 110 Vauxhall Gardens 99–100 see also ‘drolls’; genre painting; lowness; politeness Vyner, Sir Robert 19–20, 20 Wale, Samuel Vauxhall Gardens (engraving by Muller) 99, 99 Wales 24, 214–15, 228, 263–4, 273, 275–6 Walpole, Horace 136, 157–9 watercolour and amateur practice 23–4, 123, 260 British watercolourists in Rome 230 exhibition watercolours 215–7, 260–72, 285–6 Girtin v. Turner 260–7 Heaphy’s genre scenes 285–7, 286 Hollar’s topographical landscapes 23–4, 123 military usage 123 and patronage 215, 253–4, 260 plein air practice 274–7 and the print trade 23, 216, 227–8, 260, 266–7, 270–2 Paul Sandby’s uses of watercolour 215–6, 227–8 Westall’s historical watercolours 253–4, 260 see also individual artists Waterhouse, Sir Ellis 1 Waterloo, battle of 1, 249, 318 Watson, James The Duchess of Manchester and Her Son Lord Mandeville (after Reynolds) 199 Watteau, Antoine 88, 92, 99, 112, 128, 287

Wellington, Arthur Wellesley, 1st Duke of 1, 318 West, Benjamin 152–4, 166, 175, 183, 243, 250, 256 pre-eminence as history-painter 307–10, 312 President of Royal Academy 267, 306, 309 response to Titian and the ‘Venetian Secret’ 315 royal patronage and Windsor Castle commissions 180–1, 309 Alexander III of Scotland Saved from a Stag by Colin Fitzgerald 182 Christ Rejected 309 The Continence of Scipio 153–4, 154, 231–2 The Death of General Wolfe 163–5, 164, 168, 175–6, 231–2, 242, 309 Death of Nelson 309 Death on the Pale Horse 309 The Departure of Regulus from Rome 162–3, 162, 167 Historical Landscape: Saul before Samuel and the Prophets 314–15, 314 Moses Receiving the Law on Mount Sinai 180, 181, 203 The Oath of Hannibal 165 Our Saviour Healing the Sick in the Temple (engraving by Heath) 290, 307–9, 308 Sketch for a Monument to Lord Nelson 309–10, 309, 311 William Penn’s Treaty with the Indians 165 Westall, Richard 253–4, 260, 262, 313–14 solo exhibition (1814) 313 Hesiod Instructing the Greeks in the Arts of Peace 254, 254 Sappho in the Lesbian Shades 254 The Sword of Damocles 313–15, 313 Wheatley, Francis 183, 240, 281 John Howard Visiting and Relieving the Miseries of a Prison 241, 241 Whigs 29–30, 56–7, 76–8, 92, 170, 248, 293 Whitehall, Robert 7 Whitehall Palace, London 4–5, 4, 36–7, 37 Wijnants, Jan 67, 116 Wilkie, David 281–90, 312 The Blind Fiddler 283–5, 283, 289 Distraining for Rent 289–90, 289 The Letter of Introduction 288–9, 288 The Rent Day 285 The Village Holiday 287–8, 287 Village Politicians 281–3, 282, 285, 289, 298 William III, king of Great Britain 40–1, 48, 55, 76 in art 40, 41, 50, 51–4, 52 Williams, John see Pasquin, Anthony Willoughby, Sir Thomas 63, 66 Wilson, Benjamin 154–5 Wilson, Richard 118–19, 142–4, 153, 210–15, 217–18, 220–2, 224, 226, 228, 230, 264–6, 273, 275, 278, 315 and Grand Style 211–12, 214–15, 220–1 at the Royal Academy 220–2 at the Society ofArtists 211–15 Cicero and His Friends 220–1, 222

Cock Tavern, Cheam Common, Surrey 118–19, 119 The Destruction of the Children of Niobe 211–12, 211, 217 Landscape Capriccio on the Via Aemilia 143, 144, 212 Rome from the Villa Madama 212–13, 212 Snowdon from Llyn Nantlle 214, 214, 224 View from Moor Park, toward Cassiobury, Watford and St Albans 215, 215 View on the Thames near Twickenham 213–14, 213 Winckelmann, Johann Joachim 146–7, 166, 167, 168, 197, 253 ‘Windsor Beauties’ 16, 42 see also Lely Windsor Castle Sandby’s views of 216–17, 216 Verrio’s decorative schemes 9–10, 48, 51, 180–1, 309 West’s Royal Chapel project 180–1, 307, 309 Wissing, Willem: Anne, Princess of Denmark (with van der Vaart) 33, 33 Wolcot, John (‘Peter Pindar’) 182 Woollett, William 164, 212, 218, 309 Smith’s First Premium Landscape (engraved by) 210, 210 Stubbs’s four Shooting scenes (engraved by) 218 West’s Death of Wolfe (engraved by) 164, 309 Wilson’s Destruction of the Children of Niobe (engraved by) 212 Wootton, John 67–71, 92–3, 93, 143, 210 The Duke of Hamilton’s Grey Racehorse ‘Victorious’, at Newmarket 69, 69 Gilbert Coventry on Horseback (with Gibson ?) 67–9, 68 A Philosophers’ Grove 70, 70, 72–3, 115 workshop practice drapery painters 129, 131 Kneller 42 Lely 13, 33 Reynolds 193 Van Dyck 3–4, 13, 42 Van Loo 126 Verrio 37 Wilson’s ‘good breeders’ 212 Wissing 33 Worshipful Company of Painter-Stainers 3, 26–7, 80 Wren, Christopher 6–7 Wright, John Michael 4–5, 18–19 Astraea Returns to Earth 4–5, 4, 7, 10 Charles II Enthroned 19, 19, 38 The Family of Sir Robert Vyner 19–20, 20 Wright, Joseph (‘Wright of Derby’) 159–60, 183, 269 in Italy 222–3 Brooke Boothby 231, 232 The Dead Soldier 244, 244 An Eruption of Mount Vesuvius 222–3, 223 An Experiment on a Bird in the Air Pump 159, 160, 217, 231–2 A Philosopher Giving That Lecture on the Orrery 160

Wyatt, James 260, 261, 306 Wyck, Jan 58, 68 The Hon. Gilbert Coventry in the Hunting Field (with van der Vaart) 67, 68 Mohammed Ohadu, the Moroccan Ambassador (with Kneller) 34, 34 York 24, 75–6, 75 Zoffany, Johann 155 aristocratic and royal patronage 195–6 The Academicians of the Royal Academy 161–2, 161 Colonel Mordaunt’s Cock Match 245–7, 246 David Garrick and Mary Bradshaw in ‘The Farmer’s Return’ 155–6, 155 John, 14th Lord Willoughby de Broke and Family 195–6, 196 Plundering the King’s Cellar at Paris, August 10, 1792 249, 249 The Tribuna of the Uffizi 245

This index is published in David Solkin: Art in Britain 1660–1815 (Pelican History of Art) available from Yale University Press www.yalebooks.com isbn 078-0300-21556-4