Art in Britain 1660-1815 by David Solkin | Bibliography & Index

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

general textsarnold, dana and peters corbett, david, eds.,

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 representationcroft-murray, edward, Decorative Painting in

England 1537–1837. Vol. I: Early Tudor to Sir James Thornhill, London, 1962.

geraghty, anthony, The Sheldonian Theatre: Arch-itecture 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.

2 the politics of portraiture c. 1660–75barber, tabitha, Mary Beale (1632/3–1699): Portrait

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, catha-rine, 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 Painter-Stainers’ Company and the “English School of Paint-ers”’, 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 Mod-ern 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.

Select Bibliography

The bibliography is divided into two parts: a schedule of selected readings for those who wish to explore the back-ground 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 bibliogra-phy, its materials have been organized under the follow-ing headings:

general texts: history (social and cultural) and the history of artthe london art world: institutions, exhibi-tions and the art marketartists and patrons on the continentart in the english regions, ireland, scotland and walesart theorycontemporary art criticism and writing on the arts (including artists’ lives)thematics: consumption and politenessthematics: gender and sensibilitythematics: empire and racemedia: drawings, watercolours and pastelsmedia: miniaturesmedia: prints and print culturemedia: prints and print culture ii: graphic satiregenres: history-paintinggenres: portraituregenres: landscape and marine paintinggenres: sporting artgenres: everyday life and still-lifeartists, patrons and other players (listed alphabetically by name)

Many texts appear in more than one place – though if the focus is exclusively on a single artist, patron or art-world 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 art-ists (e.g. William Blake, J. M. W. Turner), others to col-lections (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).

http://yalebooks.co.uk/display.asp?K=9780300215564

336 • select bibliography select bibliography • 337


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 cata-logue, 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, exhibi-tion 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 conversationbarrell, john, ‘“The Dangerous Goddess”: Mascu-

linity, Prestige, and the Aesthetic in Early Eighteenth-Century 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 Po-liteness: 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, Cam-bridge, 1987, pp. 225–51.

leppert, richard, Music and Image: Domesticity, Ideology and Socio-Cultural Formation in Eighteenth-Century 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.


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 cata-logue, 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 Lan-

guage 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.


stallybrass, peter and white, allon, The Politics and Poetics of Transgression, London, 1986.

11 the classical and the modern: devel-opments 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, Birming-ham Museums & Art Gallery, Birmingham, London, 1993.

rosenthal, michael, The Art of Thomas Gainsbor-ough: ‘a little business for the Eye’, New Haven and London, 1999.



solkin, david h., Richard Wilson: The Landscape of Reaction, exhibition catalogue, Tate Gallery, London, 1982.

12 from island to empire: the cosmo-politan 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 Mascu-linities 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, exhibi-tion 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 shake-speare 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, Craw-ford Art Gallery, Cork, 2005.

fordham, douglas, British Art and the Seven Years’ War: Allegiance and Autonomy, Philadelphia, 2010.

hargraves, matthew, Candidates for Fame: The Soci-ety 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.


—— ed., Gothic Nightmares: Fuseli, Blake and the Ro-mantic 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-Centu-ry 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 stagehallett, 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 Por-traiture 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”: Rom-ney’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 audiencesandrews, 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.


bermingham, ann, Landscape and Ideology: The Eng-lish 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.


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.


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

and Society in Eighteenth-Century Britain, Chicago, 1992.

barrell, john, ‘The Private Comedy of Thomas Row-landson’, Art History, vol. 6, no. 4 (December 1983), pp. 423–41.

barringer, tim, quilley, geoff and fordham, douglas, eds., Art and the British Empire, Manches-ter, 2007.

bermingham, ann, ed., Sensation & Sensibility: View-ing 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.



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 Re-finement: Picturing the British West Indies, 1700–1840, New Haven and London, 2008.

mullan, john, Sentiment and Sociability: The Lan-guage of Feeling in the Eighteenth Century, Oxford, 1988.


quilley, geoff, Empire to Nation: Art, History and the Visualization of Maritime Britain 1768–1829, New Haven and London, 2011.


tobin, beth fowkes, Picturing Imperial Power: Co-lonial 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: Iden-tity and Culture in Eighteenth-Century England, New Haven and London, 2004.

wood, marcus, Blind Memory: Visual Representa-tions of Slavery in England and America 1780–1865, Manchester, 2000.

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

and the French Revolution, exhibition catalogue, Brit-ish 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”: Panora-mas 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 Cari-cature, exhibition catalogue, Tate Britain, London, 2001.

myrone, martin, The Blake Book, London, 2007.pressly, william l., The French Revolution as Blas-

phemy: 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 Wa-tercolourist: 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.



—— ‘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 As-sociation Aesthetics: The Ideological Forms of a Con-flict 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 His-tory, vol. 7, no. 2 (March 1984), pp. 57–77.

klonk, charlotte, Science and the Perception of Na-ture: 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 Cen-tury, 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 Waterco-

lourist: 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, exhibi-tion 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 Not-tingham, 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 Gal-lery, London, New Haven and London, 2010.

bermingham, ann, ‘The Aesthetics of Ignorance: The Accomplished Woman in the Culture of Con-noisseurship’, Oxford Art Journal, vol. 16, no. 2 (1993), pp. 3–20.

cannadine, david, ‘The Making of the British Up-per 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, Edin-burgh, 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 His-tory, 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.


kriz, k. dian, ‘Dido versus the Pirates: Turner’s Car-thaginian Paintings and the Sublimation of Colonial Desire’, Oxford Art Journal, vol. 18, no. 1 (1995), pp. 116–32.

myrone, martin, ed., John Martin: Apocalypse, exhi-bition catalogue, Tate Britain, London, 2011.

—— William Blake. Seen in my Visions: A Descriptive Catalogue of Pictures, exhibition catalogue, Tate Brit-ain, 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.

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

general textsarnold, dana and peters corbett, david, eds.,

A Companion to British Art: 1600 to the Present, Chichester, 2013.




craske, matthew, Art in Europe, 1700–1830, Oxford, 1997.




paulson, ronald, Emblem and Expression: Meaning in English Art of the Eighteenth Century, Cambridge, MA, 1975.



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.



1 restoration and representationcroft-murray, edward, Decorative Painting in

England 1537–1837. Vol. I: Early Tudor to Sir James Thornhill, London, 1962.

geraghty, anthony, The Sheldonian Theatre: Arch-itecture and Learning in Seventeenth-Century Oxford, New Haven and London, 2013.





2 the politics of portraiture c. 1660–75barber, tabitha, Mary Beale (1632/3–1699): Portrait


coombs, katherine, The Portrait Miniature in England, London, 1998.



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.



johns, richard, ‘Framing Robert Aggas: The Painter-Stainers’ Company and the “English School of Paint-ers”’, Art History, vol. 31, no. 3 (June 2008), pp. 322–41.


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 Mod-ern 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.

Select Bibliography

The bibliography is divided into two parts: a schedule of selected readings for those who wish to explore the back-ground 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 bibliogra-phy, its materials have been organized under the follow-ing headings:

general texts: history (social and cultural) and the history of artthe london art world: institutions, exhibi-tions and the art marketartists and patrons on the continentart in the english regions, ireland, scotland and walesart theorycontemporary art criticism and writing on the arts (including artists’ lives)thematics: consumption and politenessthematics: gender and sensibilitythematics: empire and racemedia: drawings, watercolours and pastelsmedia: miniaturesmedia: prints and print culturemedia: prints and print culture ii: graphic satiregenres: history-paintinggenres: portraituregenres: landscape and marine paintinggenres: sporting artgenres: everyday life and still-lifeartists, patrons and other players (listed alphabetically by name)

Many texts appear in more than one place – though if the focus is exclusively on a single artist, patron or art-world 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 art-ists (e.g. William Blake, J. M. W. Turner), others to col-lections (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).



brewer, john, The Sinews of Power: War, Money and the English State 1688–1783, Cambridge, MA, 1988.


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 cata-logue, The Grolier Club, New York, 1989.


6 making history after the ‘glorious revolution’


gibson-wood, carol, Jonathan Richardson: Art Theorist of the English Enlightenment, New Haven and London, 2000.


—— ‘“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.


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.


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, exhibi-tion catalogue, The Iveagh Bequest, Kenwood House, London, 1984.


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 conversationbarrell, john, ‘“The Dangerous Goddess”: Mascu-

linity, Prestige, and the Aesthetic in Early Eighteenth-Century Britain’, Cultural Critique, vol. 12 (Spring 1989), pp. 101–31.



hirschman, albert o., The Passions and the Interests: Political Arguments for Capitalism before its Triumph, Princeton, NJ, 1977.


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, Cam-bridge, 1987, pp. 225–51.


mandeville, bernard, The Fable of the Bees: Or, Private Vices, Publick Benefits [1723–9], ed. F. B. Kaye, 2 vols., Oxford, 1924.


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.



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.


eagleton, terry, The Ideology of the Aesthetic, Oxford, 1990.


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 Lan-

guage of Feeling in the Eighteenth Century, Oxford, 1988.

paulson, ronald, Hogarth, Volume 2: High Art and Low, 1732–1750, Cambridge, 1992.




11 the classical and the modern: devel-opments in landscape in the 1740s





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, Birming-ham Museums & Art Gallery, Birmingham, London, 1993.




solkin, david h., Richard Wilson: The Landscape of Reaction, exhibition catalogue, Tate Gallery, London, 1982.

12 from island to empire: the cosmo-politan turn in british art, 1737–60




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.






13 dreams of grandeur and marketplace realities: history-painting in britain from vauxhall gardens to the shake-speare 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.




hargraves, matthew, Candidates for Fame: The Soci-ety of Artists of Great Britain 1760–1791, New Haven and London, 2006.






pressly, william l., The Artist as Original Genius: Shakespeare’s ‘Fine Frenzy’, in Late Eighteenth-Centu-ry British Art, Newark, DE, 2007.





14 portraiture takes the public stagehallett, 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.


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.


rosenthal, michael and myrone, martin, eds., Gainsborough, exhibition catalogue, Tate Britain, London, 2002.

sloman, susan, Gainsborough in Bath, New Haven and London, 2002.


15 landscape art and its audiencesandrews, 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.




bonehill, john and daniels, stephen, eds., Paul Sandby: Picturing Britain, exhibition catalogue, Royal Academy of Arts, London, 2009.




moir, esther, The Discovery of Britain: The English Tourists 1540–1840, London and New York, 1964 (reissued 2014).



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.



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

and Society in Eighteenth-Century Britain, Chicago, 1992.

barrell, john, ‘The Private Comedy of Thomas Row-landson’, Art History, vol. 6, no. 4 (December 1983), pp. 423–41.



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.






guest, harriet, Empire, Barbarism, and Civilisation: Captain Cook, William Hodges, and the Return to the Pacific, Cambridge, 2007.






tobin, beth fowkes, Picturing Imperial Power: Co-lonial Subjects in Eighteenth-Century British Painting, Durham, NC and London, 1999.


wahrman, dror, The Making of the Modern Self: Iden-tity and Culture in Eighteenth-Century England, New Haven and London, 2004.


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

and the French Revolution, exhibition catalogue, Brit-ish Museum, London, 1989.







myrone, martin, The Blake Book, London, 2007.pressly, william l., The French Revolution as Blas-

phemy: Johan Zoffany’s Paintings of the Massacre at Paris, August 10, 1792, Berkeley, Los Angeles and London, 1999.



18 british genius and british nature: depicting the domestic landscape in the wartime years








—— Landscape Imagery and Urban Culture in Early Nineteenth-Century Britain, Cambridge, 1992.



kriz, kay dian, The Idea of the English Landscape Painter: Genius as Alibi in the Early Nineteenth Cen-tury, New Haven and London, 1997.


shanes, eric, Turner’s Human Landscape, London, 1990.

smiles, sam, The Turner Book, London, 2006.smith, greg, The Emergence of the Professional Waterco-

lourist: 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, exhibi-tion 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 Not-tingham, 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.


tromans, nicholas, David Wilkie: Painter of Everyday Life, exhibition catalogue, Dulwich Picture Gallery, London, 2002.


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 Gal-lery, London, New Haven and London, 2010.

bermingham, ann, ‘The Aesthetics of Ignorance: The Accomplished Woman in the Culture of Con-noisseurship’, Oxford Art Journal, vol. 16, no. 2 (1993), pp. 3–20.



coltman, viccy and lloyd, stephen, eds., Henry Raeburn: Context, Reception and Reputation, Edin-burgh, 2012.

levey, michael, Sir Thomas Lawrence: The Artist, New Haven and London, 2005.


21 painting history between trafalgar and waterloo







—— William Blake. Seen in my Visions: A Descriptive Catalogue of Pictures, exhibition catalogue, Tate Brit-ain, London, 2009.

nicholson, kathleen, Turner’s Classical Landscapes: Myth and Meaning, Princeton, NJ, 1991.


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.


general texts: history (social and cultural) and the history of artallen, brian, ed., Towards a Modern Art World, Stud-

ies in British Art 1, New Haven and London, 1995.—— and dukelskaya, larissa, eds., British Art Trea-

sures from Russian Imperial Collections in the Hermit-age, exhibition catalogue, Yale Center for British Art, New Haven, New Haven and London, 1996.

arnold, dana and peters corbett, david, eds., A Companion to British Art: 1600 to the Present, Chichester, 2013.

asfour, amal and williamson, paul, ‘The Art of Shadows: Substance and Topos in Mid-18th Century England’, British Art Journal, vol. 2, no. 1 (Autumn 2000), pp. 35–42.

asleson, robyn and bennett, shelley m., British Paintings at the Huntington, New Haven and London, 2001.

ayres, james, Art, Artisans & Apprentices: Apprentice Painters and Sculptors in the Early Modern British Tradition, Oxford and Philadelphia, 2014.

baetjer, katharine, British Paintings in The Metro-politan Museum of Art, 1575–1875, New Haven and London, 2009.

barrell, john, The Birth of Pandora and the Division of Knowledge, London, 1992.

—— ed., Painting and the Politics of Culture: New Essays on British Art 1700–1850, Oxford, 1992.

—— The Political Theory of Painting from Reynolds to Hazlitt. ‘The Body of the Public’, New Haven and London, 1986.

bbc, Your Paintings: Uncovering the Nation’s Art Collec-tion, http://www.bbc.co.uk/arts/yourpaintings/


—— ‘The “Curious Attitude” in Eighteenth-Century Britain: Observing and Owning’, Eighteenth-Century Life, new series, vol. 14, no. 3 (November 1990), pp. 59–98.


—— The Shadow of the Guillotine: Britain and the French Revolution, exhibition catalogue, British Museum, London, 1989.

black, jeremy, ed., Culture and Society in Britain, 1660–1800, Manchester, 1997.

—— Culture in Eighteenth-Century England: A Subject for Taste, London, 2005.

—— and gregory, jeremy, eds., Culture, Politics and Society in Britain, 1660–1880, Manchester, 1991.

blackledge, aimee, ‘Materials for the Artist’s Mind: Artists as Collectors in Eighteenth-Century England’, D.Phil. dissertation, University of Oxford, 2010.

bonehill, john and quilley, geoff, eds., Conflict-ing Visions: War and Visual Culture in Britain and France c.1700–1830, Aldershot and Burlington, VT, 2005.


—— The Sinews of Power: War, Money and the English State 1688–1783, Cambridge, MA, 1988.

british museum, Collection Online, http://www.britishmuseum.org/research/collection_online/search.aspx

brooks, carolina and curzi, valter, eds., Hogarth, Reynolds, Turner: British Painting and the Rise of Modernity, exhibition catalogue, Fondazione Roma Museo, Palazzo Sciarra, Rome, 2014.

brownell, morris r., Alexander Pope and the Arts of Georgian England, Oxford, 1978.

bryant, julius, Kenwood: Paintings in the Iveagh Bequest, New Haven and London, 2003.


burke, joseph, English Art 1714–1800, Oxford, 1976.busch, werner, Englishness: Beiträge zur Englischen

Kunst des 18. Jahrhunderts von Hogarth bis Romney, Berlin and Munich, 2010.


chu, john, ‘The Fortunes of Fancy Painting in Eighteenth-Century England’, Ph.D. dissertation, Courtauld Institute of Art, University of London, 2014.


craske, matthew, Art in Europe, 1700–1830: A History of the Visual Arts in an Era of Unprecedented Urban Economic Growth, Oxford, 1997.

croft-murray, edward, Decorative Painting in England, 1537–1837. Vol. I: Early Tudor to Sir James Thornhill, London, 1962.

curd, mary bryan h., Flemish and Dutch Artists in Early Modern England: Collaboration and Competition, 1460–1680, Farnham and Burlington, VT, 2010.


dorment, richard, British Painting in the Philadelphia Museum of Art: From the Seventeenth through the Nine-teenth Century, Philadelphia, 1986.


egerton, judy, National Gallery Catalogues: The Brit-ish School, London, 2000.


—— and egerton, judy, The Age of Hogarth: British Painters Born 1675–1709. Tate Gallery Collections: Volume Two, London, 1988.


fox, celina, The Arts of Industry in the Age of Enlight-enment, New Haven and London, 2010.

—— ed., London – World City: 1800–1840, exhibition catalogue, Villa Hügel, Essen, 1992.

gallinou, mireille, ed., City Merchants and the Arts 1670–1720, London, 2004.

gamer, meredith, ‘“The Sheriff’s Picture Frame”: Art and Execution in Eighteenth-Century Britain’, Ph.D. dissertation, Yale University, 2015.

gear, josephine, ‘Masters or Servants? A Study of Se-lected English Painters and Their Patrons of the Late Eighteenth and Early Nineteenth Centuries’, Ph.D. dissertation, New York University, 1976.

goodison, j. w., Fitzwilliam Museum, Cambridge, Catalogue of Paintings, Volume III: British School, Cambridge, 1977.

goodman, elise, ed., Art and Culture in the Eighteenth Century: New Dimensions and Multiple Perspectives, Newark, DE, 2001.

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.

haslam, fiona, From Hogarth to Rowlandson: Medicine in Art in Eighteenth-Century Britain, Liverpool, 1996.

hayes, john, British Paintings of the Sixteenth through Nineteenth Centuries: The Collections of the National Gallery of Art, Washington, Washington, DC, 1992.

—— Catalogue of the Oil Paintings in the London Mu-seum: With an Introduction on Painters and the London Scene from the Fifteenth Century, London, 1970.

haynes, clare, Pictures and Popery: Art and Religion in England, 1660–1760, Aldershot and Burlington, VT, 2006.


herrmann, luke, Nineteenth-Century British Painting, London, 2000.

hind, charles, ed., The Rococo in England: A Sympo-sium, London, 1986.

hoock, holger, Empires of the Imagination: Politics, War, and the Arts in the British World, 1750–1850, London, 2010.


hoozee, robert, ed., British Vision: Observation and Imagination in British Art, 1750–1950, exhibition catalogue, Museum of Fine Arts, Ghent, 2008.

howarth, david, ed., Art and Patronage in the Caroline Courts: Essays in Honour of Sir Oliver Millar, Cam-bridge, 1993.

hunt, john dixon, ed., Encounters: Essays on Litera-ture and the Visual Arts, London, 1971.


ingamells, john, Dulwich Picture Gallery: British, London, 2009.

—— The Wallace Collection Catalogue of Pictures 1: Brit-ish, German, Italian, Spanish, London, 1985.

irwin, david, English Neoclassical Art: Studies in Inspi-ration and Taste, London, 1966.

jackson-stops, gervase, ed., The Treasure Houses of Britain: Five Hundred Years of Private Patronage and Art Collecting, exhibition catalogue, National Gallery of Art, Washington, DC, 1985.

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prown, jules d., ‘The Expedition Against the Ohio Indians in 1764 under Colonel Bouquet: Two Early Drawings by Benjamin West’, in Guilland Suther-land, ed., British Art 1740–1820: Essays in Honor of Robert R. Wark, San Marino, CA, 1992, pp. 205–33.

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trumble, angus and aronson, mark, Benjamin West and the Venetian Secret, exhibition catalogue, Yale Center for British Art, New Haven, 2008.

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

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Francis Wheatleywebster, mary, Francis Wheatley, London, 1970.

Samuel Whitbread IIdeuchar, stephen, Painting, Politics & Porter: Samuel

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Henry Wigsteadpayne, 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 Wilkiechiego, william, miles, h. a. d. and brown, da-

vid 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 Ev-eryday Life, exhibition catalogue, Dulwich Picture Gallery, London, 2002.


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

London, 1951.postle, martin and simon, robin, eds., Richard

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spencer-longhurst, paul, ed., Richard Wilson Online Catalogue Raisonné, http://www.richardwil-sononline.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 Woottonmeyer, 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 Wrighthowarth, david, ‘A Little Local Difficulty: John

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stevenson, sara and thomson, duncan, John Mi-chael Wright: The King’s Painter, exhibition catalogue, Scottish National Portrait Gallery, Edinburgh, 1982.

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

genius in a peculiar way”: Joseph Wright of Derby and Candlelight Painting in Eighteenth-Century Brit-ain’, 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.

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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 (Sep-tember 2007), pp. 521–44.

cummings, frederick, ‘Boothby, Rousseau, and the Romantic Malady’, Burlington Magazine, vol. 110, no. 789 (December 1968), pp. 659–67.

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graciano, andrew, ‘Art, Science and Enlightenment Ideology: Joseph Wright and the Derby Philosophical Society’, Ph.D. dissertation, University of Virginia, 2002.

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366 • bibliography

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—— Johan Zoffany 1733–1810, New Haven and Lon-don, 2011.

wilson, david, Johan Zoffany RA and ‘The Sayer Family of Richmond’: A Masterpiece of Conversation, London, 2014.

index • 369

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

absolutism and Stuart monarchy 3, 18–19, 36–9, 51, 53

academic traditionin Britain 44, 80–1, 83, 85, 101, 116,

125artists 4, 129, 225

see also Royal Academy, Londonin Europe 10, 84

Addison, Joseph 72, 76–8, 78, 89–90, 99Aggas, Robert 26–7

Landscape, Sunset 26–7, 26agriculture

and Gainsborough’s Cottage Doors 238and landowning class 65, 114, 116, 215,

280landscapes 66, 114, 117–19, 274and Wilkie’s Distraining for Rent

289–90see also country life, countryside;

georgic; labour; poor in artAken, 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, 82Barry’s Commerce, or Triumph of the

Thames 174Blake’s use of allegory 254–5, 311–12Hayman at Vauxhall 148Hogarth’s The Lottery 83–4, 84Hoppner’s allegorical portraits 208, 302Reynolds’ use of allegory 199, 200,

202–3Romney’s portraits of Emma Hart 236Streeter’s Truth Descending 7, 7, 10Thornhill’s Blenheim Palace ceiling 58,

59, 60Thornhill’s Royal Naval Hospital cycle

52, 53–4, 54Vanderbank’s Cervantes as Hercules 81,

81Verrio’s Hampton Court Palace

decorations 50–1, 51Verrio’s Sea Triumph of Charles II, 8,

8–9Verrio’s Windsor decorations 9, 9–10,

31West’s Sketch for a Monument to Lord

Nelson 309, 309–10Wright’s Astraea Returns to Earth 4–5,

4, 7, 10see also mythology

amateur artists 75drawing 115, 123, 218–19, 300and Picturesque landscapes 227and watercolours 23–4, 123, 260

Amigoni, Jacopo 88, 125, 139, 140Frederick, Prince of Wales 88, 88

ancient Greece 146–7, 166–7, 171, 252–4ancient Rome 133–4, 142, 144, 152, 162,

312–13, 315–18

Angelis, Pieter 82, 88–9Angerstein, John Julius 265, 288, 304–5Anglo-Dutch Wars 6, 10, 15, 18Anne, 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, 313and views of Britain 75, 122, 228–9,

261antiquity

and history-painting 312–16Barry’s Society of Arts cycle 171

Hamilton’s all’antica scenes 144–7and portrait poses 86, 133–4, 145–6and Wilson’s landscapes 144, 212–14,

220–1see also ancient Greece; ancient Rome;

classicismaquatint 224, 227, 228, 247, 256, 266,

269architecture 27, 48, 56, 60, 69, 75, 276,

310classical 60, 85, 120, 144, 200, 215Gothic 261see also country houses and estates

art criticism 210, 261–5, 284–5, 292–4, 304

see also Hazlitt, Holt, Pasquinart education

apprenticeship 3and history painters 170London academies 80–1, 83, 85, 101,

116, 125Royal Academy 160–2, 179, 277

Society of the Virtuosi of St Luke 44training in Italy 4, 129, 133see also Painter-Stainers’ Company

art market 1clubs and societies 79, 92–3, 93curiosity 74–6Dutch art 22, 31–2, 92, 196–7Girtin and Turner 266–7Heaphy’s lowlife scenes 287ideal art and design 253landscapes in Norfolk 273–4sale of Old Masters 307Wilkie’s everyday life scenes 289see also commercial galleries; exhibi-

tions; print culture, publishersart theory, theorists 62, 81, 153, 158, 162,

310, 314European art theory 44, 72, 80–1, 161British art theory

Gilpin 227Reynolds 61, 136, 165, 199, 269, 277–8, 316

Richardson 71–2Shaftesbury 61–2see also Picturesque

artisanal status of art 3, 13, 115, 125, 260see also professionalisation of art

Augusta, Dowager Princess of Wales 138–9, 138

Augustan literature 69–71, 73

Banks, Thomas 169–70Baretti, Giuseppe 200, 200Baring, Sir Francis 297–8, 297Baring, John 297–8, 297Barker, Robert 257, 265Barlow, 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, 93Barret, George, the Elder 217–19, 226

Landscape with the Effect of a Rainbow 217–18, 217

Barry, James 166–7, 183, 310, 313and French Revolution 251, 254Progress 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 251The Temptation of Adam 166–7, 167

Bartolozzi, Francesco 176, 183Batoni, Pompeo 146

Sir Robert Davers, 5th Baronet 142, 142 battle-painting

and Copley 176–9, 203, 258de Loutherbourg’s Glorious First

of June 256–8, 257Laguerre’s Battles of the Duke

of Marlborough 57–60naval battles 123–4, 256–8and print culture 256–8and Seven Years’ War 148–9, 157Trumbull’s Bunker’s Hill 243West’s Death of Wolfe 163–5see also military portraits

Beale, Charles 20–1Beale, Mary 20–1

Self-portrait 21, 21Beaumont, Sir George 272–3, 282, 312,

317–18Beckford, William 232, 233, 309Bedlam Hospital 97Beechey, William 292–4, 300–1

Pasquin’s support for 293–4Horatio, Viscount Nelson 294–5, 295John Bannister 292, 293–4Princess Elizabeth 300–1, 300

benevolenceand Foundling Hospital 102–3, 126history-painting and war 148–9, 156–7

and positive effects of luxury 91–2, 126and sensibility in art 240–1see also philanthropy; virtue

Bernard, Sir Thomas 307–8Bible 36–7, 55, 103–4, 149, 254, 256, 300,

307–9, 314–5see also history-painting

Bible Gallery 251, 306Bifrons Park, Kent 66–7, 67Bigg, William Redmore 240–1, 281, 286

A Lady and Her Children Relieving a Cottager 240, 240

Bird, EdwardGood News 285Village Choristers Rehearsing an Anthem

for Sunday 284, 285Blake, William 252, 254–6, 307

Exhibition of 1809 310–12preference for fresco 311Albion Rose 254–6, 255The Ancient Britons 311‘Continental Prophecies’ 254, 255Europe – A Prophecy and The Ancient

of Days 255–6, 255‘Illuminated Books’ 254, 256The Spiritual Form of Nelson Guiding

Leviathan 311–12, 311The Spiritual Form of Pitt Guiding

Behemoth 311Blenheim Palace, Oxon 57–60, 59Blome, Richard 67bodycolour 37, 215–17, 216–17, 259 –61book illustration, illustrators 81, 99,

110 –11, 183, 185, 236Boothby, Brooke 231, 232Boughton House, Northants 48–50, 50Bowles, John

Life of Charles I series 81–2, 82Bowles, Thomas 58

Life of Charles I series 81–2, 82Bowyer, Robert 183, 177–8, 251, 258, 306Boydell, John 164, 182, 253

and Copley’s history paintings 176–8, 203

and landscape artists 210, 212and Opie 182Shakespeare Gallery 183–5, 183–5,

235, 244, 251–2, 256, 306, 331n.21Boyle, Richard see BurlingtonBoyle, Robert 6Bradford, Thomas 218Brandoin, Michel Vincent

The Exhibition of the Royal Academy of Painting in the Year 1771 (mezzotint by Earlom) 163, 163, 165–6

Bridgeman, Charles 93, 93Bridgewater, Francis Egerton, 3rd Duke

of 267, 307British Empire see EmpireBritish Institution for Promoting the Fine

Arts in the United Kingdom 267, 277, 290, 300, 307–8, 310, 313

IndexPage 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.

index • 369


Britishness see national school and British art; patriotism/nationalism/Britishness

Brown, John 169Brown, Lancelot ‘Capability’ 215, 259Brown, 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, 122Buck, Samuel 75, 122

The South Prospect of the Ancient City of York 75–6, 75

Burghley House, Cambs 48, 49, 306Burke, 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 272–3Littlehampton Pier 272–3, 272

Canaletto, Antonio 99, 119–22London seen through an Arch of West-

minster Bridge 120, 120The Thames, London, from the Terrace

of Somerset House 120, 121Carracci, Annibale 4, 60–1, 195Carriera, Rosalba 134, 139Carter, George 236Catherine of Braganza, queen of Scotland

and England 16–18, 18, 23, 36Catherine the Great, empress of Russia

203–4, 222Catholicism 10, 29–30

and art 16–18, 35–6, 174Cecil, John, 5th Earl of Exeter 47, 47, 48charity see benevolence; philanthropyCharles I, king of Great Britain 1, 5, 40,

40art collection 3, 55Life 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 36–7and imperial ambitions 23–4palaces 25–6portraits by

Cooper 12, 12Fuller 5, 6, 5Verrio 8, 9, 11John Michael Wright 19, 19, 38

Charlotte, queen of Great Britain 189, 194, 195, 292, 294, 301

‘charter pictures’ 38Chatham, William Pitt the Elder, Earl

of 171, 175–6, 175Chaucer, Geoffrey 306–7, 306Chéron, Louis 48–51, 55, 81, 83

Vulcan Catches Venus and Mars 48–51, 50

Cheselden, William 81children 100, 237–8, 240, 244, 304–5

see also familyChrist’s Hospital, London 37–9, 38–9Churchill see Marlboroughcities

Hogarth’s urban poor 109–10Reynolds’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, 122mercantile class and land ownership

65–6, 119and Stuart monarchs 37–8as a symbol 53see also London

classicismaesthetics 60–2, 84–5and Augustan literature 69, 70–1, 73and land as patrician touchstones

69-71, 115–6, 142–4privatisation 252–4reassessment 146–7, 166, 167and Royal Academy

and art education 161–2and history-painting 162–3, 167–8

see also ancient Greece; ancient Rome; antiquity; Grand Style/Grand Manner;

Claude Gellée, called Claude Lorrain 274importance for British artists 69–70,

115, 210Aggas 26–7Constable 278, 279Gainsborough 218–20

Gilpin 227Lambert 116Smith (of Chichester) 210Turner 265, 269, 272, 317–18Wilson 143–4, 213–14, 221Wootton 69–70

impact on Netherlandish artists 25, 27, 66

Liber Veritatis 269Closterman, John 43–4

The Family of the 1st Duke of Marlbor-ough 44–6, 45, 200

Grinling and Elizabeth Gibbons (mezzotint by John Smith) 43, 43, 44

clubs and societies 76–80, 92–3, 93Collier, Edward Trompe l’oeil Letter Rack

79, 79Combe, William The Tour of Dr Syntax

272comedy 5–6, 185

‘drolls’ 22, 31–2, 90, 92Hogarth’s comic histories 105–10

107–8see also satirical prints

commercial galleries 251, 258, 306Fuseli’s Milton Gallery 251, 252and Reynolds’s work 203Shakespeare Gallery 183–5, 183–5,

235, 251, 306, 331n.21Westall’s solo exhibition 253, 313see also Bowyer; Boydell; Macklin

Committee of Taste 310

Commonwealth and low point in art 3connoisseurs, connoisseurship 1, 92–3,

93, 188, 282artists as connoisseurs 92–3, 93, 133audiences for landscapes 210British Institution 267, 307, 309–10,

313Committee of Taste 310Frederick, Prince of Wales 87and Girtin 261and Hogarth 85and Netherlandish art 273and Sandby 228Society of Dilettanti 133–4, 145–6and Turner 267, 317–18and watercolours 263, 275–6and Wootton 69see also antiquarians, antiquarianism;

collectors, collecting; virtuosi/virtuosity

Constable, Archibald 298Constable, John 1, 277–80, 315

Dedham from Langham 277, 278–9Flatford Mill from the Lock series 278,

279View of Dedham 279–80, 280

consumption see commerce, luxuryconversation

civilising effects 156–7, 160and politeness 76–9, 111–12, 160

conversation piece 88–93, 96, 140and Devis 113–14and Gainsborough 114and Gawen Hamilton 92–3and Hayman 112and Hogarth 89–92historical conversations 156–7and the Kitcat club 77middle-class patronage 111–13, 197–8narrative and theatrical pieces 154–7,

155and sport 113–14theatrical conversations 154–5and Zoffany 195–6

Cook, Captain James 223–4, 241–2, 242

Cooke, George 270, 272Cooke, William Bernard 270, 272Cooper, Anthony Ashley see ShaftesburyCooper, Edward 33Cooper, Samuel 9, 12, 21

Charles II in Garter Robes 12, 12Copley, John Singleton 174–9, 250, 256,

306Brook Watson and the Shark 175The Death of Major Peirson, 5 January

1781 176–7, 177, 180, 203, 231–2The 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, 97Engravers’ Copyright Act (‘Hogarth’s

Act’) 97Coram, Captain Thomas 103, 126–8, 127cosmopolitanism 125–47, 195costume and clothing see dress; fashionCosway, Maria 182, 302Cotes, Francis 194–5

Queen Charlotte and the Princess Royal 194, 195

Sir Richard Hoare 139–40, 139

Cotman, John Sell 273–4, 276Marl Pit, Norfolk 274, 274

cottage door motif 238, 240, 281, 286country houses and estates 46, 197, 210,

216, 221artists and interiors 26, 27, 48–51,

57–8, 115–16, 166estate portraits 24, 27, 63–5, 66–7, 116,

144, 214, 227gardens as status symbols 62, 63–4, 115

country life, countryside 63–73elite enjoyment of 66, 116land ownership and nature 63–7, 113,

116, 259–60, 280local demand for landscapes 274sentimental view of poor 238–41, 281,

286sport 22, 27–8, 67–9, 113–14, 157, 197see also agriculture; country houses and

estates; horses; hunting; landscape art; nature and art; pastoral, pastoralism; tourism

Coventry, Gilbert 67–9Cowley, Abraham 20–1Cozens, Alexander 229Cozens, John Robert 229–30, 261, 264

Between Chamonix and Martigny 229–30, 229, 232

Tomb of Caecilia Metella 230, 230, 232

criminality 96, 286–7Cristall, Joshua 276Crome, John 273

Yarmouth Jetty 273, 273, 274Cromek, Robert 306Cromwell, Oliver 12, 13curiosity and art market 74–6Cuyp, Aelbert 68, 269, 273

Dahl, Michael 46–7, 71, 86, 92–3, 93admirals series 46–7, 47Henry Liddell 86-7, 87, 112, 125–6‘Petworth Beauties’ 46, 46, 86

Rachael Russell, Duchess of Devonshire 46, 46

Sir James Wishart 47, 47Dance, Nathaniel 152, 165, 166, 183

Virginia, The Unfortunate Roman Maid (mezzotint by Haid) 152, 153, 167

Danckerts, Hendrick 24–6View of Greenwich and the Queen’s

House from the Southeast 25–6, 25David, Jacques-Louis 251, 252, 308Dawkins, James 145, 145Dayes, Edward 260, 264de Loutherbourg, Philip James 183,

206–7, 206, 256-8theatrical background and Eido-

phusikon 225–6The Cataracts of the Nile 225The Glorious First of June, 1794 256–8,

257The Grand Attack on Valenciennes 256,

258Lodore Waterfall, near Keswick 226–7,

226, 232Devis, 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 Dilettantidrapery painters 129, 131

370 • index index • 371


drawingcommercial value 150, 260as feminine accomplishment 300Flaxman’s Iliad and Odyssey drawings

252–3Fuseli and Mortimer 169, 170as gentlemanly pursuit 115, 123,

218–19life drawing 80, 83, 161–2scientific appreciation 24, 123and watercolour 23–4, 123, 260see also academic tradition; amateur

artists; art educationdress

and aristocracy after ‘Glorious Revolution’ 47

Byron in Albanian dress 296Classical dress 133–4, 145–6drapery painters 129, 131French dress 139Gainsborough’s skill 205, 207, 234–5Garter robes 12, 200, 294military portraits and Napoleonic Wars

295–6painter’s dress 21, 46, 136–7Restoration portraits 12, 15, 18Reynolds and fashions 136, 202, 204in royal portraits 12, 41Van Dyck dress 131, 142Van Loo’s skill 126and women’s status 301see also fashion

‘drolls’ 22, 31–2, 90, 92Dryden, John 72, 106DuBosc, Claude The Battle of Tanieres,

near Mons (after Laguerre) 57–8, 58Dughet, Gaspard 25, 66, 69–70, 115–116,

143, 211, 214

Earlom, RichardThe Exhibition of the Royal Academy

of Painting in the Year 1771 (after Brandoin) 163

Liber Veritatis (after Claude) 269Plundering the King’s Cellar at Paris

(after Zoffany) 249education

as theme in art 290–1see also art education; knowledge and

learningeffeminacy 85, 90, 94, 98, 101, 146

see also luxuryEmpire 1, 146, 223–5, 241–7

Africa 34, 51, 244, 328America 74, 175–7, 179, 182, 232, 243,

243, 293, 312Canada 74, 148, 164India 224–5, 224, 225, 245–7

see also slaveryempirical, empiricist 21–2, 104, 214, 258Engravers’ Copyright Act (Hogarth’s Act)

97engraving, engravers 30, 74, 82, 82, 97,

105, 123, 227–8, 251, 256 Aliamet 151Barlow 29Baron 93Bartolozzi 176, 237Blake 254–6and British landscapes 122, 214, 216,

227–8Cooke, George and William Bernard

270

DuBosc 58Earlom 165, 249, 269Gribelin 61Haughton 252 Heath 308and Highmore’s Pamela 111Hogarth 83, 94–8, 105Kip 64Muller 99and Picturesque landscapes 227–8John Smith 43Taylor 182and topographical landscapes 122, 214,

216Charles Turner 269and J.M.W. Turner 267, 269–70Vandergucht 75Van Somer 31Van der Vaart 31Vertue 93Watson 199Woollett 164, 210, 212, 218, 309see also aquatint; etching, etchers;

mezzotint; print culture; publishers; stipple

erotic, eroticism 16, 49, 170Chéron’s Vulcan Catches Venus and

Mars in his Net 48–50, 50Dahl’s ‘Petworth ‘Beauties’ 46, 46 Fuseli’s Titania and Bottom 184, 184Gennari’s paintings for Charles II 36–7Hayman’s Play at the See-Saw 100–1,

100Hodges’ views of Tahiti 224Hogarth’s Progresses 95–7, 90–6Hoppner’s Mrs Jordan 207–8Hoppner’s and Lawrence’s images

of aristocratic women 302–3Huysmans’ Catherine of Braganza

17–18, 18Lely’s female portraits 16, 31, 42Reynolds’ Venus Chiding Cupid for

Learning to Cast Accounts 165, 165Ricci’s Diana and her Nymphs Bathing

56, 57Verrio’s Mars and Venus Discovered by

Vulcan 48–9, 49West 153see also nudity

etching, etchers 30Blake 254–5Gillray 248Hollar 24Piroli 253Place 24Rowlandson 234, 247Paul Sandby 228Thomas Smith of Derby 124Thornhill 79–80Turner 269

Evelyn, John 28, 30everyday life see genre painting Exclusion Crisis (1678–81) 29–30Exeter, Earl of see Cecil, Johnexhibitions 148–247

accessibility of works 148, 157–60, 181, 190, 223,

Blake’s Exhibition of 1809 310–12British Institution as rival to Royal

Academy 267, 277, 307Copley’s one-picture shows 176–7, 179,

251, 306, 310Foundling Hospital 103, 118, 128–9

Old Masters 307Painter-Stainers’ Hall 26–7Society of Arts/Society of Artists

of Great Britain 149–60see also British Institution; commercial

galleries, Royal Academyexoticism 74–5, 223–5

Faber, John, the Younger 98The Choice (after Mercier) 98, 98John Knight, His Wife Anna, and His

Stepson Jacob Newsam (after Vanderbank) 87, 87

familyand genre painting 105–6, 240–1, 281,

283–5, 287, 289–90and history-painting 146–7, 156–7,

159–60, 166, 176–7, 211, 244, 249–51

and landscape 211, 228, 239–40, 245and 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; marriagefancy pictures

and Gainsborough 237–8, 240, 281as Mercier’s invention 98–9and Reynolds 164, 237and Romney 237–8and Wright of Derby 159–60and sensibility 235–41

Farren, Elizabeth 209, 209fashion

and Frenchness 106–7, 191and Gainsborough 206–7, 234–5Hogarth’s satire on 84–5, 85luxury and moral degeneration 85,

89–98, 95–7, 106, 174and Reynolds 136, 202, 204, 234and sensibility 232Van Dyck dress 131, 142see also dress

femininity 160and the Beautiful 158, 167, 170, 317and history-painting 61, 152, 154,

167–8, 170and portraiture 16, 21, 42, 44, 92, 112,

131, 191, 193, 299–305and women artists 21, 166

see also effeminacy; gender; heroes and heroines; luxury; masculinity

fêtes galantes 88, 90, 99, 112, 287Fielding, Henry 105, 110fiscal-military state 42, 47, 51Fisher, Edward 188Fisher, Kitty 191–2, 191Flatman, Thomas 21Flaxman, John 254, 305, 305, 307, 313

Fury of Athamas (sculpture) 253Iliad and Odyssey drawings 252–3

Thetis Bringing the Armour to Achilles (etching) 253, 253

Nelson monument in St Paul’s 310Flemish art see Netherlandish artFoundling Hospital, London 102–4, 126

General Court Room paintings 103–4, 118, 128–9

Fox, Charles James 234, 248, 256, 293, 294

France/Frenchness 18British antipathy to 90,106–7, 248–51British admiration of 90British engagement with French artand fashionable tastes 101–2, 106, 111Gravelot as intermediary 101, 131,

139–40history-painting 148, 150, 154, 244Hogarth’s Frenchness 106, 140landscape 66, 70, 115–16, 120portraiture 86–7, 125–6, 140French artists in Britain

Chéron 48–51, 55, 81, 83de Loutherbourg 183, 206, 225–6, 256–8

Mercier 88–90, 98–9, 139Van Loo 125–6, 140Watteau 88

Revolution of 1789 248–58Frederick, Prince of Wales 87–90, 88–9Free Society of Artists 151, 197, 198fresco 311Fresnoy, Charles Alphonse du 44, 72Fuller, 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 26Fuseli, Henry (b. Johann Heinrich Füssli)

168–70, 183, 219, 254, 256, 307and his circle in Rome 168–70, 230Milton Gallery 251–2prints after 182, 252Royal Academy professorship 252The Nightmare 181–2, 181Titania and Bottom 184, 184The Vision of the Lazar House 251–2,

252The 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, 226responses to Old Masters 116–18, 219,

220, 238, 240fancy pictures and sensibility 237–8,

240, 281as landscape artist 210, 218–20, 278,

279and Van Dyck 140, 142, 193–4, 204–5,

219Mr and Mrs Robert Andrews 114, 114,

116Ann Ford 193–4, 193, 205Mr and Mrs William Hallett (‘The

Morning Walk’) 234–5, 234 Philip James de Loutherbourg 206–7,

206Isabella, Viscountess Molyneux 204–6,

205James Quin 192–3, 192Mrs Siddons 207, 207Captain William Wade, Master

of Ceremonies at Bath 165, 205, 206William Wollaston 140, 141Cornard Wood, near Sudbury, Suffolk

(‘Gainsborough’s Forest’) 116–18, 118The Cottage Door series 238, 239, 240Cottage Girl with Dog and Pitcher 238,

238



The Harvest Wagon 219–20, 219The Watering Place 220, 221, 232

Gamble, Ellis 83gambling 97Game Act of 1671 67, 113gardens 62–4, 115, 259–60Garrick, David 195, 198, 225

portraits 140, 140, 188, 189and theatrical conversation-pieces

155–6, 155Gascar, 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; masculinitygenius 166–170, 252, 255

Cozens, John Robert 230Girtin’s originality 263–4, 273Turner’s critical reception 272

Gennari, Benedetto and Whitehall Palace chapel 36–7

The Annunciation 36–7, 37genre painting

‘drolls’ 22, 31–2, 90, 92Hayman’s Vauxhall Gardens supper-

boxes 100–2and sensibility 235–41Wilkie and his followers 281–91see also comedy; fancy pictures;

Hogarth; lowness; vulgarityGeorge I, king of Great Britain 53–4, 58,

60George II, king of Great Britain 86–7,

123George III, king of Great Britain 150,

183, 189, 256, 292and family portraits 194–5and patronage 195, 258, 301

Cotes 195Ramsay 186, 191, 195Royal Academy 160–3, 294, 309–10West 162–3, 180–1, 309Zoffany 161–2, 195

George IV, king of Great Britain 9as Prince of Wales 293, 294

George of Denmark, Prince 46, 53Georgiana, Duchess of Devonshire 233,

234georgic 28, 116, 122, 171, 210, 269–70,

277, 279–80Gibbons, Elizabeth 43, 43, 44Gibbons, Grinling 43, 43, 44Gibbs, James 93, 93Gibson, Thomas Gilbert Coventry on

Horseback (attrib. with Wootton) 68Gillray, James 248–9, 258

Presages of the Millenium 256, 256The Zenith of French Glory; – The

Pinnacle of Liberty 248–9, 248Gilpin, William 227, 260–1, 272, 278

Picturesque Tours 227The New Weir, on the River Wye 227, 227

Giordano, Luca 9Girtin, Thomas 260–7, 273–5

comparisons with Turner 261–2, 263Eidometropolis 266–7Rievaulx Abbey, Yorkshire 262–3, 262A 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, 51Gothic

architecture 261literature 181–2

gouache see bodycolourGoupy, Joseph 92–3, 93Granby, John Manners, Marquess

of 156–7, 156, 190, 190Grand Style/Grand Manner 196–7, 258,

307–16and art theory 61–2, 146–7, 150and genre painting 284, 291and history-painting 103, 146–7,

160–85, 252–6, 308–14and landscape art 70–1, 115–16, 143–4,

211–14, 219–23, 314–18and portraiture 135–9, 187–91,

197–204, 302see also academic tradition; classicism;

history-painting; Reynolds; Royal Academy

Grand Tour, Touristsand Batoni 142and Canaletto 119collecting 48, 253and Fuseli and his circle 169 and Gavin Hamilton 144–7and Knapton 133–4and landscape watercolourists 230and Wilson 142–4, 212, 221

graphic satire, see satirical printsGravelot, Hubert François (Bourguignon)

101, 106, 116, 131, 139–40Building Houses with Cards (designed

for Hayman; engraved by Truchy) 101–2, 101

Pamela illustrations 110–11, 110Standing Man (engraved by Truchy)

131, 134Great Queen Street Academy 80–1Green, Rupert 256–8Green, Valentine 256–8Greenwich, London

Queen’s House and King’s House 25–6, 25

see also Royal Naval Hospital, Greenwich

Greuze, Jean-Baptiste 250, 284La Dame Bienfaisante 241Young Girl Weeping over the Death

of Her Pet Bird 237Gribelin, Simon The Judgment of Hercules

(after Matteis) 61, 62

Haid, Johann Gottfried Virginia, The Unfortunate Roman Maid (after Dance) 153

Hamilton, Emma see Hart, EmmaHamilton, Gavin 152, 166, 183

Iliad cycle 168, 253Andromache 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, 55Hanoverian succession 53–4, 54Harley, Edward (later 2nd Earl of Oxford)

69–71Hart, Emma (later Lady Hamilton) 236,

237Hastings, Warren 224–5, 245Haughton, Moses 252Haughton Hall, Notts 64–5, 64Havell, William 276Hawkins, Frances 303–4, 303Haydon, Benjamin Robert 309

The Assassination of Dentatus 312–13, 312

Hayman, Francis 106, 116, 150–1, 164John Conyers (?with Lambert) 116, 117The Finding of Moses in the Bullrushes

103Pamela illustrations 110–11Samuel Richardson, with His Wife

Elizabeth, Their Daughters, and Miss Midwinter 112–13, 112

Vauxhall Gardens paintings 100–2, 220Building 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, 100The Surrender of Montreal to General Amherst (modello) 148–50, 149, 154, 156, 231–2

The Play Scene from ‘Hamlet’ (modello) 102, 102

Hazlitt, William 296Heaphy, Thomas 285–6, 290

Inattention 286, 286Hearne, Thomas 261, 262Heath, Charles Our Saviour Healing the

Sick in the Temple (after West) 308Heath, James 309Heemskerck, Egbert van, the Elder 32,

88–9Tavern Scene with Boors Carousing and

Playing Cards 32Henley-on-Thames 65–6, 65heroes, heroines

ancientAchilles 253Albion 254–6, 255Dentatus 312, 315–16, 315Dido 317–18Hannibal 315–16Hercules 60, 61–2, 78, 81, 84, 94, 98, 108, 157

Oscar 168Penelope 166Regulus 162Scipio 153–4, 154Telemachus 166Ulysses 60–1Virginia 152–3

modernAmherst 148–50, 149, 154, 156, 231–2

Chatham, William Pitt the Elder, Earl of 171, 175–6, 175

Cook, Captain James 241–2, 242Eliott (Lord Heathfield) 177–9, 202–3, 202

Englefield 179–80, 179

Granby 156–7, 156, 190, 190, 231–2

Howard, John 241, 241Marlborough 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, 296Stewart, Charles William (Vane) 295–6, 295

Wolfe, General 163–5, 164, 168, 175–6, 231–2, 242, 309

hierarchy of genres 62, 80, 105, 149Highmore, Joseph 129, 131, 134–5

Pamela series 111Pamela II: Pamela and Mr B in the Summer House 110, 111

Mr Oldham and His Guests 111–12, 111Hilliard, Nicholas 13Historic Gallery see Bowyerhistory–painting 4–10, 48–62, 103–8,

146–85, 241–4, 248–56, 307–18allegorical subjects 4, 7, 9, 51–4, 59–60Barry’s Progress of Human Culture and

Knowledge 171–4Biblical subjects 37, 55–6, 103–4,

180–1, 307–12British history 150–2, 182–3classical subjects 48–50, 60–1, 146–7,

152–4, 162–3, 165–8, 312–14comic history-painting 105–8decorative history-painting 4, 7, 9,

48–61historical landscapes 211–2, 220–2,

314–8history-painting without heroes 157–60literary subjects 167–8, 184–5, 236,

306–7modern 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 115Hoare, Sir Richard 139Hobbema, Meindert 116, 279Hodges, William 223–5, 331n.17

Benares with Aurangzeb’s Mosque 224–5, 225

Select Views in India 224Travels in India 224, 225A View Taken in the Bay of Otaheite

Peha 224, 224Hogarth, William 83–5, 90–2, 94–8,

105–10, 126–9, 285–6apprenticeship as engraver 83and British School 288and Britishness 106–10, 126–8as comic history-painter 105–10conversation pieces 90–2, 96, 112Gainsborough’s James Quin as tribute

to 192–3, 192genre constraints and reputation 110as Governor of the Foundling Hospital

103Hone’s Kitty Fisher as tribute to 191–2,

191‘Modern Moral Subjects’ 94–8, 105–6‘popular prints’ 109–10portraits 90–2, 126–8,140St Bartholomew’s Hospital murals 103,

104



St Martin’s Lane Academy 101, 125in Zoffany’s Plundering the King’s Cellar

249The Analysis of Beauty 109The Artist with a Pug 108–9, 108The Bad Taste of the Town (‘Masquer-

ades and Operas’) 84–5, 85Captain Coram 103, 126–8, 127, 192 Female Nude Seated 83, 83David Garrick with His Wife, Eva-

Maria Veigel 140, 140Garrick as Richard III 187The Lottery 83–4, 84The March to Finchley 107–8, 108, 249,

288‘Modern Moral Subjects’

Beer Street 109, 109, 110–12The Four Stages of Cruelty 109Gin Lane 109, 109, 110A Harlot’s Progress 94–7, 95, 105, 192

Industry and Idleness 109Marriage 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, 92Holbein, Hans 1

Henry VIII and the Barber Surgeons 38Holland 10, 22, 30, 34, 83, 85, 110, 298

see also Anglo-Dutch Wars; Netherlandish art

Hollar, Wenceslaus 23–4Prospect of Tangier from the Land 23, 23,

123Holt, Francis Ludlow 284–5Homer 146–7, 146, 166, 168, 252–3Hone, Nathaniel

Kitty Fisher 191–2, 191Pictorial Conjuror 192

Hooke, Robert 24Micrographia 22

Hope, Thomas 313Hoppner, 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, 296horses 5, 66–7, 69, 113, 157–8, 197hospitals

Hogarth’s murals at St Bartholomew’s Hospital 103

see also Bedlam Hospital; Christ’s Hospital, London; Foundling Hospital; Royal Naval Hospital, Greenwich

Howard, HenryAnne Flaxman 305, 305John Flaxman 305, 305Sarah Trimmer 299–300, 300

Howard, John 241, 241Hudson, Thomas 128–9, 135, 170,

200Lady Frances Courtenay 130, 131Theodore Jacobsen 128–9, 128 Clerke Willshaw, MD 130, 131

Hunt, John 317Hunt, Leigh (James Henry) 317Hunt, Robert 291, 312, 315Hunt, William Henry 276hunting 67–9, 68, 113–14, 218Hutcheson, Francis 91–2Huysmans, Jacob Catherine of Braganza as

a Shepherdess 16–18, 18Hysing, Hans 92–3, 93, 129

idealism see classicism; Grand Style/Grand Manner

immigrant artists in Britaindisplay of work in Painter-Stainers’

Hall 26–7drapery painters 129, 131Hogarth’s satire on 85Italian artists in Britain 8–10, 11, 36–7,

56, 88, 119–20, 139market for Dutch art 22, 92Netherlandish artists and impact 66–8and eighteenth-century portraiture

138–42in Restoration period 4, 8–11

improvementHogarth and moral improvement 109labour and progress 118, 120of morality 76, 85, 99, 171, 210national improvement 153of nature 64–5, 66, 118, 238, 270, 274of taste 151, 181, 283, 308, 313 urban improvement 119–22

Interregnum 3, 6, 12Italy

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, 230Italian artists in Britain 8–11, 36–7, 56,

88, 119–20, 133, 139see also academic tradition; classicism; cosmopolitanism; Grand Tour, Tourists; ancient Rome

Jacobites 53, 106–8, 122–3Jacobsen, Theodore 103, 128–9, 128James II, king of England

abdication and exile in France 40–1as Duke of York 9, 10, 18, 19, 25

and Lely’s ‘Flaggmen’ 15, 46–7

portraiture at court of 32–6religious commissions 36–7succession and reign 29–30Verrio’s Christ’s Hospital mural 37–9,

38–9Jervas, Charles 71, 86

Henrietta, Countess of Suffolk 72–3, 72Johnson, Joseph 251–2, 254Jones, Inigo 25, 60Jones, Thomas 230Jordan, Dorothy 207–8, 208

Kauffman, Angelica 161, 165–6, 183, 192Maria of Moulines, from Sterne (stipple

by Ryland ) 236–7, 236The Return of Telemachus 165–6, 166,

231–2Kensington Palace, London 60, 61Kent, William 60–2, 69, 85, 92–3, 93

Kensington Palace commission 60–1, 61

Ulysses Listening to the Sirens 60–1, 61Kéroualle, Louise de, Duchess of Ports-

mouth 18, 30, 31Kettle, Tilly 245Kip, Johannes

Britannia Illustrata 64Haughton in the County of Notting-ham (after Knyff) 64–5, 64

Kit-Cat Club, London 76–7, 132Knapton, George 129, 131, 139, 145–6

Charles Sackville, Earl of Middlesex 133–4, 133

Kneller, Godfrey 31, 33–6, 71–2, 126and court of William and Mary 42and Great Queen Street Academy 80‘Hampton Court’ beauties 41–2, 46Kit-Cat Club portraits 77, 132, 134legacy 86–7, 111, 125, 132mezzotints 44royal portraits 42Self-portrait 35, 35John Cecil, 5th Earl of Exeter 47, 47Margaret Cecil, Countess of Ranelagh

41, 42Michael Alphonsus Shen Fu-Tsung, the

‘Chinese Convert’ 35–6, 36Grinling Gibbons 43–4Mary II 41Isaac Newton 42–3, 42Mohammed Ohadu, the Moroccan

Ambassador (with Jan Wyck) 34, 34, 67

Matthew Prior 43, 43, 71Sir Richard Steele 77, 77, 86William III 40, 41

Knight, Richard Payne 170, 229–30, 267, 272, 313

The Landscape (poem) 259Knyff, Leonard

Britannia Illustrata 64, 66Haughton in the County of Notting-ham (engraved by Kip) 64–5, 64

labour, representation of,in London views 122, 276, 277in rural landscapes 116–18, 269–70,

272–3, 279, 280cottage scenes 281, 286poor in agrarian landscapes 64, 66–7, 114, 119, 215, 220

see also agriculture; poor in artLadbrooke, Robert 273Laguerre, Louis 37, 48

Marlborough House murals 57–8The Battle of Tanieres, near Mons 57–8, 58

Lambert, George 115–16, 143, 210Classical Landscape with Rustics:

Morning 115–16, 116John Conyers (landscape in?) (with

Hayman) 117View of Copped Hall, Essex, from across

the Lake (with Hayman) 116, 117landownership 63–73, 115–17, 277–80

and culture of politeness 113–14mercantile classes and status 65–7, 113,

119and public virtue 62, 64, 220–1politics of the Picturesque 259–60and sport 67–9, 113–14, 197, 218see 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, 227and classicism 25–7, 70–1, 115–16,

143–4, 211–14, 219–23, 314–18Augustanism 70ideal landscapes 25, 26, 27, 70, 115, 116, 221

and cosmopolitanism 142–4estate portraits 24, 27, 63–7, 116, 144,

214, 227historical landscapes 211–12, 220–2,

314–18and interior decoration 26, 27, 115–16,

213middling classes as purchasers 227–8,

229Netherlandish tradition 24–7, 66, 67–8and reinforcement of Restoration 25–6the Picturesque 227–9, 259–60, 261,

263, 272plein air practice 143–4, 274–80and panoramas 257, 265–7and print culture 122, 210, 212, 214,

216, 218, 227–8 and Royal Academy exhibitions 165,

220–3, 274and social hierarchy 66–7, 73, 119and tourism 24, 122, 216, 227–9watercolours 230, 260–72, 273see also country life, countryside;

labour, in rural landscapes; pastoral/pastoralism; topographical landscapes; watercolour

Langhorne, John The Country Justice 244Laroon, Marcellus, the Elder

Cryes of London print series 31An Old Woman Feeding a Man Seated

on a Close Stool (mezzotint) 31–2, 31Lascelles, Edward 263–4Lawrence, 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 302–3Miss Elizabeth Farren 209, 209, 294Frances Hawkins and Her Son, John

James Hamilton 303–4, 303Francis Osborne, 5th Duke of Leeds 293,

294Queen Charlotte 294Charles William (Vane-)Stewart 295–6,

295Mrs Isabella Wolff 301–2, 301

Le Blanc, Abbé Jean-Bernard 125, 131Le 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, 16and mezzotint 30and Van Dyck 16Self-portrait 13, 13Barbara Villiers, Countess of Castlemaine,

and Her Son, Charles Fitzroy, as the Madonna and Child 16, 17, 193

‘Flaggmen’ 15–16, 46–7Admiral Sir John Harman (Lely and

studio) 15, 15Loiuse Dutchess [sic] of Portsmouth

(mezzotint after) 30, 31



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, 161–2limning tradition 12, 320n.2Linnell, John 276–7

Kensington Gravel Pits 276, 277Liotard, Jean-Étienne 195

Augusta, Princess of Wales 138–9, 138literary culture

authorsAddison 72, 76–8, 78, 89–90, 99Byron 296, 296Chaucer 306–7Cicero 220–1Dryden 106Fielding 105–6Fuseli 180–1 Gay 96, 220Gray 169, 214, 256Homer 60–1, 87, 146–7, 116, 252–3

Hooke 312Horace 70Macpherson 168–9Mackenzie 231Mallet 265Milton 166–7, 251–2 Ossian 168–9Ovid 211Pepys 20, 22, 25–6, 30, 37–9Pope 69–73, 71, 87, 213Ridley 317Rousseau 232Scott 298–9, 298Shakespeare 84, 102, 102, 109, 169, 174, 184, 185, 186, 187, 193, 313

Steele 51, 53, 76–8, 77–8, 89–90Sterne 187–9, 187Virgil 28

Augustan poetry and prose 69–71, 73Celtic Revival 214guidebooks and the Picturesque 227the Harley circle 69–71and Hogarth’s The Bad Taste of the

Town 84–5Samuel Richardson’s Pamela 110–33see also book illustration; georgic;

Poets’ Gallery; sensibility; sister arts; theatre

Lodge, William 24London 1, 3, 30–1, 39, 44, 56–7, 62, 75,

79, 84, 107, 125, 174, 185Barker’s panorama 257, 265Canaletto’s views 119–20, 120, 121Great Fire of 6, 25–6Girtin’s Eidometropolis 266–7Netherlandish artists in 21 –22Scott’s views 121–2, 121urban improvements 119–22see also City of London; Hogarth;

Somerset House; Vauxhall GardensLorrain, Claude see Claude Gellée, called

Claude Lorrain Louis XIV, king of France 6, 18Louis XVI, king of France 248–9, 249–51lowness

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 174economic necessity 90–1, 96–7and 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, 126as threat to morality 74, 85, 89–92, 96,

98, 101, 197, 316see also effeminacy

Mackenzie, Henry The Man of Feeling 231Macklin, Thomas 181, 253

Bible Gallery 251, 306Poets’ Gallery 183, 251, 281, 306

Mandeville, Bernard 90–1, 96–7Manners, John see Granbymanners see morality; politenessMansfield, David William Murray, 3rd

Earl of 282Marie Antoinette, queen of France 250marine painting 10–11, 22, 123–4, 256–8,

273and the van de Veldes 10–11, 124,

267–8, 272see also de Loutherbourg, Scott,

Turner, van de Veldemarket see art market; commerceMarlborough, John Churchill, 1st Duke

of 44–6, 45, 57–8, 200Marlborough, Sarah Churchill, Duchess

of 44–6, 45, 57Marlborough House, London 57marriage 82, 90–2, 105–6, 109–13, 140,

195, 234–5, 300see also family

Martin, John 314Sadak in Search of the Waters

of Oblivion 316, 317Mary II, queen of Great Britain 40–1, 51,

52, 53masculinity

and history-painting 9, 146–7, 150, 152, 167–70, 181

and male artists 136, 166–70and portraiture 15–6, 32, 47, 87, 92,

112, 294, 296, 299and the Sublime 158, 301see also gender; heroes and heroism

Mason, William 214, 227masquerades 84, 85, 132, 133–4Matteis, Paolo de The Judgment

of Hercules (engraving by Gribelin) 61–2, 61

Mead, Richard 129, 129Mechel, Christian von 256–8Mengs, Anton Raphael 139, 142, 147, 166Mercier, Philip (Philippe) 88–90, 139

fancy pictures and mezzotints 98–9The Choice (mezzotint by Faber) 98

Frederick, Prince of Wales and His Sisters 88–90, 89

mezzotints 182, 249fancy pictures 98–9, 241portrait reproduction 30–1, 33, 44, 86,

188, 191, 199Turner’s Liber Studiorum 269–70, 269

Michelangelo Buonarroti 85, 169, 180, 198, 203, 301

military portraits 294–6admirals 15, 46–7Marlborough in battle scenes 57–8Beechey’s Nelson 294–5Dahl’s and Kneller’s admirals 46-7Copley’s Floating Batteries at Gibraltar

178, 178Lawrence’s Charles William (Vane-)

Stewart 295–6, 295Lely’s ‘Flaggmen’ 15-6Reynolds

Granby 190, 190Heathfield 202, 203–4Commodore Keppel 131–2, 132 Captain Keppel 135–6, 135, 139Ligonier 190

and sensibility 243–4military survey 123millenarianism 256Milton, John 251–2Miniaturists see limning tradition modernity 22, 139, 142

arguments in favour of 85, 89, 92, 113, 119

crisis of confidence in 147construction of Westminster Bridge

120and landscape painting 73, 118–20,

221, 268–71, 273Westminster Bridge 120Wilkie’s modernity 283and Wright of Derby’s candlelights

159–60see also commerce; history-painting:

modern subjects; Hogarth: ‘Modern Moral Subjects’

monarchyexecution of Louis XVI 250Exclusion Crisis 29–30Hanoverian succession 53–4, 54

see also individual monarchs; ‘Glorious Revolution’; Restoration;

Monro, Thomas 260–1, 275Montagu, Lady Mary Wortley 72Montagu, Ralph, 1st Duke of 8, 48, 50morality

and early nineteenth-century genre painting 286–8, 289–90, 291

fancy pictures and politeness 98–9Fuseli’s indifference to morality in art

169Hogarth’s ‘Modern Moral Subjects’

93, 94–8, 95–7, 105, 106as an issue for female portraiture

190–1, 193, 203, 233–4, 302–4and luxury 85, 89–92, 174, 316Mortimer and the amoral Sublime

170Pamela and the ‘middling orders’

110–13Shaftesbury’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 100–2voluntary associations 292see also benevolence; sympathy; vice;

virtueMore, Jacob 230Morland, 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 240Mortimer, John Hamilton 331n.20

Banditti Returning 170, 170Moser, John Michael 161Moser, Mary 161Mulgrave, Henry Phipps, 1st Earl of 282,

283, 296–7, 312Muller, Johann Sebastian

Vauxhall Gardens (after Wale) 99Mulready, William 276, 277

Idle Boys 290–1, 290mythology 4–5, 9–10, 16

and decorative history-painting 48, 49–50, 49–50, 56, 60–2

and landscape 211–12see also allegory; classicism

Napoleon, Napoleonic Wars 248, 252, 268, 280, 286, 289, 295, 306–18

National Gallery 265, 290, 307–8, 318national school of British art 1, 11,

248–58, 314and Blake’s exhibition of 1809 310–12and Boydell as promoter 183–5and British Institution 307, 308–9genre painting 281–91Hogarth’s support for 85, 288and landscape painting during

Revolutionary and Napoleonic Wars 259–80

historical landscapes 314–18responses to French Revolution 248–58see also British Institution; Royal

Academy; history-painting; patriotism/nationalism/Britishness

nationalism see patriotism/nationalism/Britishness

naturalismas marker of Britishness 258and Heaphy’s watercolours 285–6and landscape art 143–4, 267–8, 272,

273, 274–80and portraiture 20–1, 136, 140, 195,

196, 234naval battles in art 123–4, 256–8Nelson, Viscount Horatio 294–6, 295

death of 309–10, 309, 311–12, 311Netherlandish art

art market in Britain 22, 31–2, 92, 196–7

artists in Restoration court 10–11‘drolls’ 22, 31–2, 90, 92genre painting 240, 282–5, 288–9, 291history-painting 313landscape painting 24–7, 63–8, 116–19,

265–6, 269, 272–4, 279 marine painting 11, 124, 267–8portraiture 21, 68, 78, 111, 159see also individual artists

374 • index


index • 375

Newton, Isaac 42–3, 42, 71Northcote, James 169, 183, 304

Marc Isambard Brunel 299, 299, 305The Murder of the Princes in the Tower

183–4, 183, 231–2Portraits Painted from Life, Representing

Capt. Englefield 179–80, 179, 203Norwich Society of Artists and ‘Norwich

School’ 273nudity 56, 166, 255–6

see also eroticism

O’Brien, Nelly 190–1, 191Old Masters

and Angerstein’s collection 265and British Institution 267, 307copying of 81, 117, 265, 267, 269Gainsborough’s emulation of 219, 220,

238, 240exhibitions 307and the Louvre 307and Reynolds’s art theory 136, 150, 269Turner’s responses to 265, 267–72, 317see also individual artists; Netherland-

ish art Oldham, Nathaniel 111–12, 111Oliver, Isaac 12one-picture exhibitions 176–7, 179, 251,

306Onslow, Denzil 28Opie, John 179, 183, 307

Assassination of James I of Scotland 182The Murder of David Rizzio (etching

and engraving by Isaac Taylor) 182, 182

Orientalism 34, 225, 246, 296, 317–8Orme, Daniel 241Ossian (James Macpherson) 168–9Ostade, Adriaen van 31, 240, 269, 282Overton, Henry 24, 58, 123

Painter-Stainers’ Company 3, 26–7, 80Palladianism 60, 72–3, 125, 213panoramas 257, 265–7Pars, William 230Pasquin, Anthony (John Williams) 292–4,

301–2pastels 138–40, 195pastoral, pastoralism

Cozens’s Italian watercolours 230fêtes galantes 88, 90, 112, 287and Gainsborough 220, 238and Heaphy’s anti-pastoralism 286and interior decoration 26, 27, 115,

116, 213and Lely’s female portraits 31philosophy and nature 70–1and Turner 269, 272and Wilson144, 214

patriotism/nationalism/Britishnessand antiquarian views 75, 122, 261and battle-paintings 58, 123–4, 256–8and genre painting 149–50and Hogarth 106–10, 126–8and history-painting 51–3, 147–51, 156–7,

163–5, 174–80, 182–5, 242–4, 309–12and landscape 75–6, 120–2, 258,

259–61, 268–74and portraiture 106–12, 203, 294–7nationalism and naturalism in the

1790s 251, 258, 259–60see also Napoleon/Napoleonic Wars;

national school of British art; Seven Years’ War

Pellegrini, Giovanni Antonio 55The Adoration of the Trinity 56, 56

Penicuik, nr Edinburgh 167–8Penny, Edward 156–7, 164, 240

The Death of General Wolfe 156The Marquess of Granby Relieving a

Sick Soldier 156–7, 156, 190, 231–2Pepys, Samuel 20, 22, 25–6, 30, 37, 38, 39Petworth, West Sussex 46philanthropy

and Foundling Hospital 102–3, 126, 308

visualisation and sensibility 240–1voluntary associations 292see also benevolence; morality;

sympathy; virtuePhilips, Thomas Lord Byron in Albanian

Dress 296, 296Phipps, Henry see MulgravePicart, Bernard 83–4Picturesque

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) 182Pine, 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, 230Piroli, Tomasso Iliad and Odyssey

etchings (after Flaxman) 253, 253Pitt, William, the Elder see ChathamPitt, William, the Younger 248, 256, 293,

296–7, 296, 311Place, Francis 24, 75, 123Part of Tenby Castle in Pembrokeshire 24,

24plein air landscapes 143–4, 274–80Poets’ Gallery 183, 251, 281, 306politeness

art and culture of 76–80, 85benevolence and public display of art 102–4

conversation and social commerce 76–9, 111–12, 114

fancy pictures 98–9, 165opposition to politeness 62, 148, 170, 245–7

land ownership and sporting pursuits 113–14

and marine painting 124and 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 99–102and sensibility 231see also Addison; conversation pieces; Hutcheson; Shaftesbury, Steele

Pond, Arthur 139poor in art 238–42, 281–91

and Gainsborough 219–20, 238–40and Hogarth’s ‘Modern Moral

Subjects’ 109–10, 286

in Vauxhall Gardens paintings 101as labourers in agrarian landscapes 64,

66–7, 114, 119, 215, 220see also genre painting

Pope, Alexander 69–73, 71, 213‘Popish Plot’ 29, 31popular culture see press; print culture;

public and viewers: mass audienceportraiture 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 3context of original settings 15–16conversation pieces 88–93, 96, 111–14,

140, 154–7, 195–6cosmopolitanism 125–42, 195and court of James II 32–6criticism of sitters 292–4, 304cultural imperialism 146curiosity and exotic subjects 74–5demand for and artists’ reliance on 166drapery painters 129, 131and exhibitions 186–209, 234, 292–304formats and pricing 86, 305, 323 n.1 and the Foundling Hospital 127–9and gender 16, 44–6, 112–14, 196, 200,

234–5and hierarchy of genres 72, 80, 152Grand Style 135, 139, 190Kneller’s legacy 86–7, 111, 125, 132marriage portraits 140. 234–5mezzotint reproductions 30–1, 33, 44,

86, 188, 191military portraits 15, 46–7, 243–4pastels 138–40, 195and politeness 86–93, 111–12, 113–14,

131, 134, 136and Restoration politics 12–21Richardson on 71–2Reynolds’s legacy and posthumous

reputation 294, 300, 302and sensibility 232–5size and pricing 86, 305Van Dyck’s legacy 3–4, 12, 13, 16, 33,

34, 47, 77, 136dress 131, 142Gainsborough 140, 142, 193–4, 204–5

Verrio’s borrowings from 9see 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 KérouallePoussin, Nicolas 70, 103, 147, 153, 162

see also Hazlitt; Holt; PasquinPrice, Uvedale 259–60, 272, 282primitivism 167, 170, 220, 224, 253print culture 6, 29–32, 185, 191

and battle scenes 58, 123–4, 256–8book illustration 81, 110–11, 183, 236,

306–7and ‘curiosity’ 74–6

heterogeneity and broad appeal 29, 30, 32

and high and low art 6, 30, 32, 83Hogarth’s satirical prints 84, 219

and history-painting 81–3, 164, 166, 182

commercial ventures 183–5Copley 176–8

Hogarth’s A Harlot’s Progress 96–7, 105and landscape art 210, 212, 216

British landscapes 122, 214, 218, 227–8

and politics 6, 29–31, 58and status of watercolourists 260and subscription

battle scenes 58, 123–4Buck, Samuel and Nathaniel 75, 122

Highmore’s Pamela series 111Hogarth 95–7, 105–6, 109Kip 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, 71Pritchard, Hannah 86–7, 87professionalisation of art 79–80, 92–3,

115, 147, 198 and watercolourists 260

Protestantism and religious art 55, 56public sphere

and culture of politeness 76–9, 112benevolence 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 39societies and exhibitions 149–52see 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 298Thomas Bowles and Henry Overton

58, 123Thomas Bowyer 183, 251, 258, 306John Boydell 164, 177–8, 182, 253George and William Bernard Cooke

270Joseph Johnson 251–2, 254 of magazines 228and Turner 216, 267, 276see also book illustration; commercial

galleries; literary culture; print culture

Pughe, William Owen 311Pulteney, Sir William 132Pyrford Manor, Surrey 28, 28

Quicke, Andrew 77–8, 78Quin, James 192, 192

radicalismand French Revolution 248, 251–2,

254, 255–6Wilkie’s Village Politicians 282, 283

374 • index


index • 375

Raeburn, HenrySir John and Lady Clerk 235, 235Sir Walter Scott 298–9, 298

Ramberg, Johann Heinrich Death of Captain Cook 242, 242

Ramsay, Allan 129–31, 139, 191, 325n.6royal patronage 186, 191, 195Queen Charlotte with Her Two Eldest

Sons 186, 194, 195Lady Helen Dalrymple 138, 139Jane Hale (later Mrs Madan) 130, 131Norman, 22nd Chief of Macleod 134–6,

134Dr Richard Mead 129, 129Sir John Pole, 5th Baronet 130, 131

Raphael (Raffaello Sanzio) 55–6, 60, 84–5, 102, 153

refinement see politenessreligious art and biblical subjects

Blake 254, 256and Protestantism 55, 56West 180–1, 314–15Whitehall Palace chapel 36–7see also Catholicism; history-painting;

St Paul’s Cathedral

Rembrandt van Rijn 34, 35, 43Restoration 1, 3–11

allegories of 4–5, 7, 9–10 and landscape painting 25–6portraiture and politics of 12–21and print culture 6, 30see 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 165and Boydell’s Shakespeare Gallery 183competition and rivals 142, 191–5,

197–8, 202, 204–9Continental journey and change in

style 131–3, 135–8, 139, 187criticisms of technique 206Discourses 136, 163, 199, 269, 277–8exhibition strategies 186–91, 198–204,

226, 234fancy pictures 165, 237and French Revolution 251Grand Style 149–50, 160, 165, 185,

199, 202, 204, 269 and portraiture 135–8, 207, 209, 292,

300legacy and posthumous reputation 294,

300, 302on Liotard 139prints after 188, 199and Royal Academy 153, 160–2,

198–204 Self-portrait 198, 199Giuseppe Baretti 200, 200Mrs Billington 209Jane, Lady Cathcart and Her Daughter

136–8, 137Georgiana, 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, 203Captain the Hon. Augustus Keppel (c.

1752) 135–6, 135, 139, 187, 294 Commodore the Hon. Augustus Keppel

(1749) 131–2, 132Commodore the Hon. Augustus Keppel

(c. 1752) 135–6, 135, 139, 187, 294Lady Elizabeth Keppel Adorning a Term

of Hymen 189–90, 189The Duchess of Manchester and Her Son

Lord Mandeville (mezzotint by Watson) 198–9, 199

The Family of the 4th Duke of Marlbor-ough 200–2, 201

Nelly O’Brien 190–1, 191Mrs Siddons as the Tragic Muse 202–3,

202, 207, 301Laurence Sterne 187–9, 187Infant Hercules Strangling the Serpents

in His Cradle 203–4Lesbia (stipple by Bartolozzi) 237, 237Venus Chiding Cupid for Learning to

Cast Accounts 165, 165Ricci, Sebastiano 55, 56

Diana and her Nymphs Bathing 56, 57Richardson, Jonathan, the Elder 3, 55, 80,

86, 92, 128, 133Essay on the Theory of Painting 71–2Alexander Pope 71, 71, 72–3George Vertue 86, 86

Richardson, SamuelClarissa 231Hayman’s conversation piece 112–13,

112Pamela and art 110–13, 231

Ridley, James 317Riley, John 32–3, 42, 44, 71

Bridget Holmes 32, 33Robinson, Matthew 93, 93, 115Rococo 88, 101, 111, 116, 126, 139, 147

reaction agains 147Rome see ancient Rome; ItalyRomney, George 170, 179, 183, 186, 207

fancy pictures and sensibility 236, 237republican sympathies and French

Revolution 251, 252Willian Beckford 232, 233Emma Hart (later Lady Hamilton) in a

Cavern 236, 237The Leigh Family 197–8, 198Henrietta, Countess of Warwick and Her

Children 204, 204The Leigh Family 197–8, 198William Beckford 232, 233

Rosa, Salvator 122, 170, 274, 317Rose and Crown Club 80Roubiliac, Louis François 99Rouquet, Jean André 124Rousseau, Jean-Jacques 232Rowlandson, Thomas 234, 247, 272

A Kick-Up at a Hazard Table! 247, 247Royal Academy, London 160–6, 161, 176,

179annual exhibitions and public reception

163–6, 163, 186and art education 160–2, 179, 277artists returned from Italy 166–70, 222Barry as Professor of Painting 252, 254British Institution as competition 267,

277, 307and Committee of Taste 310

exhibitions and critical reception 163–6, 163, 186

foundation and aims 153, 160–3and French Revolution 249, 251Fuseli as Professor of Painting 252and genre painting 281–5, 289–91 hanging procedure and rivalries 293–4,

312–13and history-painting 160–74, 179–82,

306and landscape 165, 220–6, 239–40,

259–65, 277–80, 314–18‘the line’ 179, 186, 202, 209, 294, 302,

312and portraiture 198–209, 292–305and promotion of British school 160–1,

179, 183Reynolds as President 160–2, 198–204Turner as Professor of Perspective 267West as President 267, 306, 309Wilkie’s success 281–5, 287see also Somerset House

Royal Naval Hospital, GreenwichThornhill’s murals 51–4, 52, 54West’s Nelson pediment 310

Royal Society 6, 24, 30, 74, 129and 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 34Maria de’Medici cycle 82Whitehall ceiling 7, 51

‘Rubens’ wife’ 131Ruisdael, Jacob van 116, 273

Wooded Landscape with a Flooded Road 117

Runciman, Alexander 167–8Study for ‘The Death of Oscar’ 168, 168

Runciman, John 167Rupert, Prince 30Ryland, 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 171Thornhill’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, 259North West View of Wakefield Lodge in

Whittlebury Forest, Northamptonshire 215–16, 216, 259

Plans and Views of Castle Tyrim 123, 123Windsor Castle from Datchet Lane on a

Rejoicing Night 216, 217Sandby, Thomas 123, 216satirical prints

and Duchess of Devonshire 234and Exclusion Crisis 29–30Gillray 248–9, 248, 256, 256Hogarth 83–5, 94–8, 109–10Rowlandson 247

and Royal Academy 163, 163, 166science 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, 298sensibility 147, 166, 229–30, 231–47, 258,

287sentimental view of rural poor 238–41,

281, 286see also sympathy and narrative art

Seven Years’ War 147, 148–9, 157Seymour, James The Stables belonging to

the Duke of Bolton 113, 113Shaftesbury, Anthony Ashley Cooper, 3rd

Earl of 61–2, 104Characteristics of Men, Manners,

Opinions, Times 76Judgment of Hercules (painted by

Matteis, engraved by Gribelin) 61–2, 63, 76, 84, 98, 147, 157, 167, 189, 288, 316

and politeness 76Shakespeare, William 71, 84, 102, 109,

169, 174, 193, 313 and Barry 174and Fuseli 169, 169, 184, 184Hayman’s Hamlet 102, 102Pine’s A Winter’s Tale 187, 186Smirke’s Much Ado About Nothing 185

Shakespeare Gallery 183–5, 183–5, 235, 251, 306, 331n.21

see also BoydellShee, Sir Martin Archer 286, 288Sheldonian Theatre, Oxford 6–7, 7Shepperson, Matthew 267 Sherwin, William 30Shipley, William 150, 170Siberechts, Jan 27

View of Henley from the Wargrave Road 65–6, 65

View of Longleat House 27, 27, 63Wollaton Hall and Park 63–4, 63

Siddons, Sarah 202–3, 202, 207, 207, 301Siegen, Ludwig von 30Simon, John Tee Yee Neen Ho Ga Row,

Emperour of the Six Nations (after Verelst) 74–5, 74

sister arts 72–3see also literary culture

Sketching Society 273slavery and sensibility 240, 244–5Smirke, Robert 183, 185

‘Much Ado About Nothing’ 185, 185Smith, 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, 213Smith, John Raphael Slave Trade (after

Morland) 244, 245Smith, John Thomas 272Smith, John ‘Warwick’ 230Smith, Thomas, of Derby 214

A Prospect of that Beautiful Cascade before Matlock Bath 122, 122

Smithson, Sir Hugh (later 1st Duke of Northumberland) 120

376 • index


Society of Antiquaries 75Society of Artists of Great Britain

first annual exhibitions 149–52and British artists in Rome 152, 156–7exhibition history-paintings 149–60exhibition landscapes 210–20exhibition portraits 186–98and founding of Royal Academy 160

Society of Dilettanti 150Knapton’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 171premium competitions 150, 152,

170–1, 174, 182, 210, 212, 312Society of Painters in Water Colours

(SPWC) 273, 285Society for the Reformation of Manners

42Society of the Virtuosi of St Luke 44, 60,

79–80Soest, Gerard 21, 32

John Wallis 21, 21Somerset House 176, 179–82, 198, 209,

283, 293, 299, 313Spectator, The 76, 89, 99sport 22, 27–8, 67–9, 113–14

see also huntingSpring Gardens exhibitions see Society

of Artists Stafford, Marquess of 307, 308Steele, Richard 51, 53, 76–8, 77–8, 89–90Steen, Jan 291Sterne, Lawrence 187–9, 187, 231

Sentimental Journey 236, 236still lifes 22, 79, 79stipple 166, 179, 182, 236, 236, 237, 256,

281, 292Stothard, 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 157–9Five Brood Mares at the Duke

of Cumberland’s Stud Farm 197, 197Horse Frightened by a Lion 157–9, 158,

160, 218Lion Attacking a Horse 157Two Gentlemen Going a Shooting 218,

218studio practice see workshop practiceStukeley, William 75Sublime, the 158–9, 160, 167, 170, 189

as popular entertainment 180, 182, 317 and Burke 158–60, 227, 229, 316and John Robert Cozens 229 and Fuseli and circle 168–9and genius 146, 168–70, 252and Girtin’s watercolours 263–4and Haydon 312and landscape art 214, 217, 222, 226–9,

276and Martin’s Sadak 317and Mortimer’s banditti 170 and Northcote’s Captain Englefield 180and 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, 222as popular entertainment 180, 182, 317 surveying 123, 123Sutherland, Elizabeth, Countess of 263sympathy 90, 103, 149–50, 156–7, 159–60,

176–7, 236–8, 240–1, 244, 290see also benevolence; sensibility

Tassie, William 306Tatler, The (periodical) 76, 89Taverner, William Classical Landscape

with Figures 115, 115Taylor, Isaac The Murder of David Rizzio

(etching and engraving after Opie) 182

Taylor, John (critic) 263, 265Taylor, John (merchant patron) 66–7Teniers, David, the Younger 282, 283,

284–5, 287, 288Thames, river 10, 26, 53, 65–6, 73, 99,

102and Barry 171, 174and Canaletto 120–1, 120, 121 and Girtin 266and Scott 121–2, 121and Turner 268–9, 272Twickenham 71–3, 213–14and Wilson 213–14, 213

theatreactors as portrait subjects 186, 187,

190, 192–3, 202–3, 207–9, 293–4conversation pieces 154–7and de Loutherbourg 225–6Hogarth’s satire on 84see also Garrick, Jordan, Pritchard,

Quin, Shakespeare, SiddonsThomas, William 93, 93Thoresby, Ralph 75Thornhill, James 51–7, 54, 62, 78, 85,

101, 125, 126and Great Queen Street Academy 80–1Kensington Palace commission 60, 61and Raphael Cartoons 55–6and Society of the Virtuosi of St Luke

79–80The 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, 78Royal 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, 80Paul Preaching at Athens 55, 56Paul Preaching in the Aeropagus (after Raphael) 55

Thrale, Henry 200Tillemans, Peter 73, 113

View of the Thames at Twickenham 73, 73, 213

Titian (Tiziano Vecellio) 12, 34, 56, 134, 136

Tompson, Richard 31Tonson, Jacob 77, 81Tonson, Richard 81

topographical landscapes 23–4, 75–6Gainsborough’s attitude toward 218–19military usage 123and print trade 122, 216, 260Paul Sandby’s pre-eminence 215–7,

259–60and status of watercolourists 260and Turner’s early work 261, 270–2

Tories 29, 53, 113, 248, 252Tour, Quentin de la 139tourism (domestic) 122, 216, 227–9, 261,

263, 272see also Grand Tour, Tourists;

Picturesquetown houses and decoration 56–7Trafalgar, Battle of 165, 271, 279, 294,

309–11Tresham, Henry 169Trimmer, Sarah 299–300, 300trompe l’oeils 22, 79, 79Truchy, Louis 111

Building Houses with Cards (after Gravelot and Hayman) 101, 102

Standing man (after Gravelot) 131Trumbull, 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 260–7etchings and mezzotints 269, 269emulation of Old Masters 265, 269,

272, 317Thames valley views 268–70Caernarvon Castle 264, 265Crossing the Brook 271–2, 271, 278, 317Dido Building Carthage 272, 317–18,

318Dolbadarn Castle 274Dutch Boats in a Gale (The Bridgewater

Sea-Piece) 267–8, (watercolour copy by Shepperson) 267, 307

Falmouth Harbour 270–1, 270The Fifth Plague of Egypt 269Liber Studiorum 269–70, 269‘M.S.P[oem?]. Fallacies of Hope’ 316Pembury Mill, Kent (etching and

mezzotint) 269–70, 269Picturesque Views on the Southern Coast

of England 270–2Snow Storm: Hannibal and His Army

Crossing the Alps 315–17, 315Tintern Abbey, Monmouthshire 261, 261Walton Bridges 268–9, 268

Turner, William 276Twickenham 71–3, 73, 213–14, 213Tyers, Jonathan 99, 100, 101, 102, 148

Vaart, Jan van der 31Anne, Princess of Denmark (with

Wissing) 33, 33Bifrons Park, Kent (attrib.) 66–7, 67,

119Gilbert Coventry in the Hunting Field

(with Wyck) 67, 68Van 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, 142workshop practice 3–4, 13, 42, 131Charles I 40, 41, 86

Charles I, Henrietta Maria, and Their Two Eldest Sons 138

Charles I on Horseback 5–6, 6, 67Philip Herbert, 4th Earl of Pembroke and

His Family 44Van Loo, Jean-Baptiste 125–6, 129, 133,

139, 140The Right Hon. Stephen Poyntz,

of Midgeham, Berkshire 125–6, 126Vanderbank, John 81, 87, 126

academic training and book-illustration 81

Cervantes as Hercules 81, 81John 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, 22van de Velde, Willem the Younger 10, 22,

47, 267, 268importance for later marine painting

11, 124The Royal Visit to the Fleet 10–11, 10

Vandrebanc, Peter The Restoration of the Monarchy (after Verrio) 9–10, 9, 31

Varley, Cornelius 275, 276–7Waterfall near Capel Curig 275, 276

Varley, John 290View in the Pass of Llanberis 275–6, 275

Vauxhall Gardens, London (Spring Gardens) 99–102, 99, 148–9

‘Venetian Secret’ 315, 334 n.17Verelst, John

‘Four Indian Kings’ portraits 74–5Tee Yee Neen Ho Ga Row, Emperour of the Six Nations (mezzotint by John Simon) 74–5, 74

Verelst, Simon Pietersz. 74, 79Still-life with Flowers and Butterfly 22,

22Vernet, Claude-Joseph 143, 211Verrio, Antonio 8–10, 35, 42, 62, 126

Burghley House 48, 49, 306Mars and Venus Discovered by Vulcan 48, 49, 49

Hampton Court Palace 50–1Apotheosis 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, 11Windsor Castle 9–10

The Restoration of the Monarchy ceiling 9–10, 9

Versailles 9, 10, 66Vertue, George 44, 46, 70, 87, 93, 93, 98,

115, 125, 128, 129on Hogarth 90, 94, 96, 103portrait by Richardson 86, 86

viceand luxury 92, 96–8, 106, 174, 316and the poor 109–10, 285–8, 286, 291and Shaftesbury’s Judgment of Hercules

62, 288voluntary associations and reform 292see also morality

Villiers, Barbara, Countess of Castlemaine (later Duchess of Cleveland) 16, 17

index • 377

376 • index


Virgil 28, 116, 144virtue

and ancient models 146, 147, 162and commerce 62, 75 –7and Hogarth’s A Harlot’s Progress 94,

96–7and luxury 90–2and Shaftesbury’s Judgment of Hercules

62, 63, 76, 157, 167, 288, 316see also benevolence; morality;

philanthropy; politenessvirtuosi/virtuosity 24, 28, 75, 123, 129

artists as virtuosi 13, 43, 72, 92Congregazione dei Virtuosi 4John Robert Cozens’s watercolours for

229–30and drawing 24, 93, 115, 123Gawen Hamilton’s Conversation

of Virtuosis 92–3, 115and mezzotint techniques 30, 32Society of the Virtuosi of St Luke 44,

60, 79–80York Virtuosi 75, 122see also collectors, collecting; connois-

seurs, 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 292vulgarity 90, 92

and culture of Restoration court 32in genre painting 282, 283, 291Gainsborough’s The Harvest Wagon

220Hogarth’s Progresses 98, 105, 110Vauxhall Gardens 99–100see also ‘drolls’; genre painting;

lowness; politenessVyner, Sir Robert 19–20, 20

Wale, Samuel Vauxhall Gardens (engraving by Muller) 99, 99

Wales 24, 214–15, 228, 263–4, 273, 275–6Walpole, Horace 136, 157–9watercolour

and amateur practice 23–4, 123, 260British watercolourists in Rome 230exhibition watercolours 215–7, 260–72,

285–6Girtin v. Turner 260–7Heaphy’s genre scenes 285–7, 286Hollar’s topographical landscapes 23–4,

123military usage 123and patronage 215, 253–4, 260plein air practice 274–7 and the print trade 23, 216, 227–8, 260,

266–7, 270–2Paul Sandby’s uses of watercolour

215–6, 227–8Westall’s historical watercolours 253–4,

260see also individual artists

Waterhouse, Sir Ellis 1Waterloo, battle of 1, 249, 318Watson, James The Duchess of Manchester

and Her Son Lord Mandeville (after Reynolds) 199

Watteau, Antoine 88, 92, 99, 112, 128, 287

index • 377

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 309The Continence of Scipio 153–4, 154,

231–2The Death of General Wolfe 163–5, 164,

168, 175–6, 231–2, 242, 309Death of Nelson 309Death on the Pale Horse 309The Departure of Regulus from Rome

162–3, 162, 167Historical Landscape: Saul before

Samuel and the Prophets 314–15, 314Moses Receiving the Law on Mount

Sinai 180, 181, 203The Oath of Hannibal 165Our 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) 313Hesiod Instructing the Greeks in the Arts

of Peace 254, 254Sappho in the Lesbian Shades 254The Sword of Damocles 313–15, 313

Wheatley, Francis 183, 240, 281John Howard Visiting and Relieving the

Miseries of a Prison 241, 241Whigs 29–30, 56–7, 76–8, 92, 170, 248,

293Whitehall, Robert 7Whitehall Palace, London 4–5, 4, 36–7,

37Wijnants, Jan 67, 116Wilkie, David 281–90, 312

The Blind Fiddler 283–5, 283, 289Distraining for Rent 289–90, 289The Letter of Introduction 288–9, 288The Rent Day 285The Village Holiday 287–8, 287Village Politicians 281–3, 282, 285, 289,

298William III, king of Great Britain 40–1,

48, 55, 76in art 40, 41, 50, 51–4, 52

Williams, John see Pasquin, AnthonyWilloughby, Sir Thomas 63, 66Wilson, Benjamin 154–5Wilson, 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 of Artists 211–15Cicero 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 CastleSandby’s views of 216–17, 216Verrio’s decorative schemes 9–10, 48,

51, 180–1, 309West’s Royal Chapel project 180–1,

307, 309Wissing, Willem: Anne, Princess

of Denmark (with van der Vaart) 33, 33

Wolcot, John (‘Peter Pindar’) 182Woollett, 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, 210The Duke of Hamilton’s Grey Racehorse

‘Victorious’, at Newmarket 69, 69Gilbert Coventry on Horseback (with

Gibson ?) 67–9, 68A Philosophers’ Grove 70, 70, 72–3, 115

workshop practice drapery painters 129, 131Kneller 42Lely 13, 33Reynolds 193Van Dyck 3–4, 13, 42Van Loo 126Verrio 37Wilson’s ‘good breeders’ 212Wissing 33

Worshipful Company of Painter-Stainers 3, 26–7, 80

Wren, Christopher 6–7Wright, John Michael 4–5, 18–19

Astraea Returns to Earth 4–5, 4, 7, 10Charles II Enthroned 19, 19, 38The Family of Sir Robert Vyner 19–20,

20Wright, Joseph (‘Wright of Derby’)

159–60, 183, 269in Italy 222–3Brooke Boothby 231, 232The Dead Soldier 244, 244An Eruption of Mount Vesuvius 222–3,

223An Experiment on a Bird in the Air

Pump 159, 160, 217, 231–2A Philosopher Giving That Lecture on

the Orrery 160

Wyatt, James 260, 261, 306Wyck, 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 155aristocratic and royal patronage 195–6The Academicians of the Royal Academy

161–2, 161Colonel Mordaunt’s Cock Match 245–7,

246David Garrick and Mary Bradshaw in

‘The Farmer’s Return’ 155–6, 155John, 14th Lord Willoughby de Broke

and Family 195–6, 196Plundering the King’s Cellar at Paris,

August 10, 1792 249, 249The Tribuna of the Uffizi 245

Art in Britain 1660-1815 by David Solkin | Bibliography & Index

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Transcript of Art in Britain 1660-1815 by David Solkin | Bibliography & Index