Hubert Robert,

Draftsman in an Italian Church, 1763

• shows a young artist sketching Domenichino's fresco Flagellation of St. Andrew in the chapel of St. Andrew adjacent to S. Gregorio al Celio, in Rome
• Copying old masters was common practice for French artists in Italy
• The depiction of artists sketching was popular with Robert and his contemporaries

Katharine Read, formerly attributed to James Russel,

British Gentlemen in Rome,

ca. 1750

• Objects in background were impossible and painted that way to show ownership of the land
• Men were all grand tourists and were probably wealthy
• Conversational piece

John Henry Fuseli,

The Artist Moved by the

Grandeur of Antique Fragments,

1778-9

• Example of stendahl syndrome
• Showed a tradition of copying and redrawing ancien artworks
• Shows admiration for classical Greek and Roman art

Meissen porcelain teapot, c1727

• Figures and forms depict Asiatic forms. Meissen is German, but porcelain is from Asia. Secret of porcelain ripped from the continent of Asia.
• There is an "exchange" that had to happen for this piece to be possible. Motifs were acquired from an Asian context.
• Possibly acquired from cities close to ports along the grand tour.

Pompeo Batoni, Lord Charles John Crowle,

1761-1762, oil on canvas

• Italian landscape. Very generic.
• Specific small scale sculptures of: sleeping Aridane and Hercules.
• Dogs are traditionally symbolic of rank, based on hunting things. Ability to keep up dogs is an expense as well.

Pompeo Batoni,

Charles Compton, 7th Earl of Northampton,

1758

• Young, unmarried, aristocratic, and well-educated. Had just succeeded his uncle as 7th Earl of Northampton.
• Met w/ an Italian woman, Lady Montigue.
• Relationship between dog & man seems more friendly and affable, unlike Lord Charles John Crowle

Johann Zoffany,

Charles Townley’s Library at 7 Park Street, Westminster, London, 1781-3

• Simulacrum: impossible collection of things in the room. External verification at the objects were stored in a much larger, open gallery
• Elimination of the real, but substitution of the real. Townley's library is this representation. It takes the place of the real
• In this painting, Zoffany has substituted signs of real for the real. Signifier is the painting. Signified is the space. Painting replaces actual works and places.

Johann Zoffany, The Tribuna of the Uffizi, 1772-1777

• Made for King George III and Queen Charlotte bc they couldn't embark on the grand tour.
• Was able to get exceptional access bc of the conditions of the commission.
• Charlotte enraged at the painting bc of the sexualization of women in the painting. Titian painting of the courtesan directly in the middle.
• Zoffany got caught up in the culture of the grand tour, which heavily affected his painting.
• This painting bankrupted Zoffany, to where he had to leave for India afterwards.

Johann Zoffany,

Queen Charlotte and Her Two Eldest Sons,

1764-5

• queen depicted in somewhat casual manner by being at her dressing table. privileged sight. the children are depicted as childlike, but very royal as the future monarchs.
• clothes are exquisite. they aren't overpowering, but shapes her depiction in a positive way.
• complicated depictions of space also rendered.

Johann Zoffany, George III and Queen Charlotte, 1771

• Very large and thought to be the most exquisite pieces of them.
• Intricate detailing depicts them similarly to the royalty that traveled on the grand tour
• Portrayed as casual but noble

Johann Zoffany,

Colonel Blair with his Family and an Indian Ayah,

1786

• In the background are three paintings: a large hill scene, and two of Indian customs which fascinated and horrified westerners.
• Space indicates that paintings are no longer in Europe. Indian architecture
• Shows European dominance and expansion to India. Also shows Zoffany's downfall as he tries to find success in India as an artist.

Thomas Rowlandson and Augustus Pugin,

Exhibition Room, Somerset House,

1800

• Promoting a GB genre. Training artist to be proper lackeys to goals.
• Problem of the history painting vs. the portrait painting.
• Polite arts – in contrast w/ liberal and fine arts. Women can do polite arts. Related to trade. Lesser kind of trade arts. Ones that get you married/get on the market are same. Make life more pleasant, but didn't challenge the intellect. 

Joshua Reynolds,

Captain the Honorable Augustus Keppel,

1752-3

• Heroic stance in front of a tumultuous sea. Like he's a conquering hero.
• Left ground uses reds.
• Hailed for aggressively pursuing and detaining French privateers (state-supported pirates)
• Followed discourse given by Reynolds on nobility and universality. Eternal, grand manner, history painting, men, line, edification

Joshua Reynolds, Self Portrait, c1780

• Stance is very self-assured. Face is older, but the way the face is held is very confident. He's looking down at you.
• Statue is looking down, in comparison to him looking down his nose at you. Very haughty.
• Wearing academic dress. Wearing the dress of a doctor of civil law. Honorary degree in his hand.
• Showing himself as intellectual as the head of the academy.
• Explicitly referencing Rembrandt through light and shadow. Second is Michelangelo through the bust. Owned a cast of that bust. Implying he was better than both the northern and southern masters by referencing both.

Joshua Reynolds,

Sarah Siddons as the Tragic Muse,

1783-4

• Actresses were often "loose." Women shouldn't be working and presenting themselves in public on stage in work.
• Enthroned makes her look quasi-divine.
• Taking references from Sistine ceiling. Throne is from Throne of the Prophets.

Penelope (Pitt) Viscountess Ligonier and Edward, Viscount (later Earl) Ligonier, 

Thomas Gainsborough, 1770

• Man and woman were showed posed in mirroring ways.
• Man was shown w/ masculine, military pursuits. Woman was shown w/ artistic pursuits.
• Long tradition of comparing the man unfavorably to his side. The horse, being so bright and drawing the attention, appears as good as the master.
• Huntington says that horse's sad eyes and downward gaze are to create empathy w/ it. 

Mrs. Siddons, Thomas Gainsborough, 1785

• 18th century equivalent of a celebrity publicity shot, constructed and directed to create an impression upon the viewer
• Whereas she shared the canvas in Reynolds's iconic work, in this portrait there is nothing in the image to distract from the central figure of the actress
• Looking off and away from the audience, air of regal self-possession that this is a woman of no small importance

The Blue Boy, Thomas Gainsborough, 1770

• Gains' dig at Reynolds bc Rey said that cool colors shouldn't make up the principle mass of a painting. Referencing Van Dyck.
• Visual identity is transgressive in the eye of the beholder.

Mr and Mrs William Hallett ('The Morning Walk'),

Thomas Gainsborough, 1785

• At first glance, appears to be a couple engaged in a walk in a pleasant environment.
• Doesn't make sense to wear such nice clothes to walk through the woods.  Having representation of this situation is demonstrating leisure. 
• Cultivation of artificial happiness. They've successfully performed for their audience what landed leisure looks like.

The Cottage Door, Thomas Gainsborough, 1780

• Based on a pyramid within a pyramid, the construction of the picture and emphasis of light within, focuses attention on the concentrated figure group
• Ruben's inspired landscape
• Imagined scene of emotional serenity

British Hoop Petticoat, 1750-80

• Article of clothing that allowed for the sexual autonomy of women
• Popularized by Queen Charlotte. She wouldn't let it die
• Although beginning in court dress, pervaded down to all social tiers

English sack-back gown, 1760-65

• Fabric was hand-painting. Robe & petticoat were hand sewn. Fabric was make and painted in china. Selvage was so different that it was noted that it was not from FR or GB.
• Floral pattern is not Chinese. Very specifically intended for a European market. Would've been familiar to Chinese manufacturers creating export goods. Would not have found a market in china itself.
• Cheaper rendition of a more expensive textile it was faking.
• Dress itself was made in England for an GB client.

Court Bodice, 1761

• Coronation of George III – same year as marriage.
• Adopted from FR court. Grand habit. Instead of calling it grand habit, called it different names.
• Garment was not contemporary or flexible. "Old" had meaning through power and authority. Economic bc it was incredibly expensive. Political is related bc it shows that monarchy is here and can put on this coronation. 

Trade card for Richard Masefield’s

Manufactory in the Strand, 1760

• Shows the important nature of consumerism at the time.
• Women depicted as an important consumer and aspect of the economy
• Etching made it possible to easily distribute these

A morning ramble, or - The Milliners Shop

1782

• Satirical print to show the ownership men believe they have on women and women-owned businesses
• Brightly colored men shown intent on flirting w/ women
• Women working in the back shows that the business is owned by them

The Death of General Wolfe,

Benjamin West, 1770

• Battle of Quebec – struggle between control of French & Britain. 
• Parallel between Wolfe & Christ lol.
• Generally, history paintings were reserved for narratives from the Bible or stories from the classical past. Instead, however, West depicted a near-contemporary event, one that occurred only seven years before.
• strongly urged West to avoid painting Wolfe and others in modern costume, which was thought to detract from the timeless heroism of the event.

Death of Captain Cook,

George Carter, 1783

• Created a realistic portrait of Cook's death that still depicted him as a hero.
• Cook is shown in pure white clothing, which heightens the contrast between he and his darkened Hawaiian assailants.
• He appears to be actively defending his men against an onslaught of savagely depicted natives.

Robert Gwillym of Atherton with His Family,

Arthur Devis, 1745-7

• Man owns this land, as well as the women and children. Literal hierarchy. Lineage that will inherit this house & the line will continue. Both land and wife are fecund. Implies that this is longstanding situation. Concept of generations.
• Not skilled w/ painting figures, but skilled at crafting narratives
• Excellent at making the argument of wealth, family, & gender are all entwined. 

Queen Charlotte and her two eldest sons,

Allan Ramsay, 1764-5

• Boys in dresses bc juvenile form should be allowed to develop w/o restraint
• Book represents how she was the educator for her children. 
• Drum showed how children should be allowed to have juvenile joy.

Thomas and Isabel Crathorne,

Francis Cotes, 1767

• Popular trend of depicting people post-humously
• Husband is dead in this. Note archaic style of dress he is wearing.
• Isabel has moved on & has taken over his estate. Seen managing his finances.

John Manners, Marquess of Granby

Joshua Reynolds, 1766

• Many servant slaves did not exist beyond the portrait. Huge issue of exoticism. Stems from iconographic tradition of depicting young, finely dressed, black boys.
• Horse is balanced in this piece. However he's next to its ass.
• Once again attempt to depict him as heroic

Christopher M.S. Johns,

“Travel and Cultural Exchange in Enlightenment Rome”

• Summary: Johns argues that proprietorship, trade, and exchange of souvenirs from the travels became a crucial part of grand tours.
• Johns argues says that grand tour was crucial in national and social self-commitment. Depictions are one of hierarchy. Grand tour creates this as well.
• Dichotomies: English/Italian, British/French, Ancient/Modern, Gender and sex, technology/spirituality
• Ownership of objects acquired through purchase, not only manifested financial disparity, but also goes in about cultural inferiority.
• British may be cultural center of the world, but GB lust to own Italian items shows some sort of cultural inferiority against the Italians
• Discussion of creating of these views as a loss of cultural patrimony.
• Of the place, produced by people of the place. Issues of identity linked with the object and place.
• Collecting stuff from the travels often just fetishsized the objects instead of displaying their cultural significances.

• Argument – not an argument driven essay, but it discusses who goes on the tours and why. Evidence through statements by the men that went there discussing why they chose to go to the particular locations
• Can be related back to the grand tour project. Relate it to the many conventions of tourism.
• Very much a sense of leisure and a rite of passage. Not exclusively for "studying."
• Discusses people traveling and why people fleeing to Italy. Catholics fleeing to Italy. Artists, people living alternate sexual lifestyles.
• Questions:
• Why does this article not discuss women? Brewer is not interested in the activities of women.
• Did Brewer under or over-emphasize certain aspects of the Grand Tour?
• Think about seeming proprietorship of these tourists when they traveled.
• Proved his evidence through quotes from Grand Tourists and their accounts

Viccy Coltman,

“Representation, Replication and Collecting in Charles Townley’s Late Eighteenth-Century Library”

• Scholars have continued to participate in a territorial tug of war over the precarious relationship between antiquity and modernity, taste and the antique, the new and the classical
• Replication will be po(i)sed as a conceptual framework for the workings of the classical tradition, citing instances of the continuity and discontinuity, confluence and divergence, sameness and difference between antiquity and modernity
• Zoffany manipulated the model – both in terms of its content and its mode of exhibition – for the purposes of his painting
• As the two cultures collide in the realm of collecting, so, in many instances, do their two surviving traditions overlap
• In its painted simulacrum by Zoffany, Townley’s collection is further testimony to the imitation of post-antique traditions of collecting
• the ideal of a collection of classical sculptures that Townley’s collection invokes is a Renaissance paradigm, rather than an ancient Greek or Roman model

• French would never talk about money concerning art.
• Why have an academy? 15 – principle function is schooling function, and secondary is collection of art.
• Trying to build a tradition of GB art. They're late in the game
• Work ethic needed to be successful in art (18). Aspect of morality and protestant work ethic.
• Nobility and universality.  Eternal, grand manner, history painting, men, line, edification
• Ornament, particularity, popular, portraiture, a man, color, seduction
• Discourse I:
• Believed they had nothing to unlearn. However, that should not result in cockiness. Which has happened before.
• Do not be scared away by the toil it takes to be considered a master. Young men often scared away by the amount of effort it would take.
• The error is that the young men never draw what is presented in front of them by the model. There are always slight alterations in their ideas of beauty. But he who endeavors to copy exactly what they see is continually advancing in their knowledge of huma anatomy.
• Discourse IV:
• The value & rank of every art is in proportion to the mental labor employed in it, or the pleasure produced by it.
• Minute details should not detract from the whole of the painting. And if they do, discard those details.
• Don't be particular about expression, but make sure the person is recognizable. Produce expressions that are relevant to the situation.
• Grandeur through color is produced in 2 different ways: 1) reducing the colors to little more than chiaro scuro 2) producing a monotony of colors through union and repetition
• Each artist has their own deficiencies, but that can be made up for in mastery of other techniques.

• Founding of the academy allowed for elevating the status of the artist above mere craftsperson. Given intellectual status of highest level of authors.
• Ability to rise and apply yourself to the GB academy that wasn't available in FR academy. All professional artists were allowed to submit for exhibition. In  FR, only academicians were allowed to submit.
• Polite arts – in contrast w/ liberal and fine arts. Women can do polite arts. Related to trade. Lesser kind of trade arts. Ones that get you married/get on the market are same. Make life more pleasant, but didn't challenge the intellect. 
• Mode of teaching was by precepts and rules, in a progressive course of drawing from casts, followed by the life model, and suuplemented by instruction in anatomy and perspective.
• Unlike FR school which had admission through a master, GB school had admission through a drawing or a model. Although people with sponsors were favored.
• Paris Salon displayed dispproportionately, which is why GB school was established in order to re-assert artistic dominance

• Thomas Gainsborough painting of Penelope Ligonier
• Generally viewed through the lens of the viewer's biography, which was similar to tabloids. "Classic instance of depravity." 
• Bronze statuette behind her believed that it was Gainsborough's wit. Bacchus, goddess of wine, was supposed to hint at her behavior. 
• Scallop shell on pedestal symbol of Venus, goddess of love. She is also the goddess of beauty. her reputation tainted the symbolism of the objects.
• Contemporary comments written in Royal Academy of 1771 were only neutral comments. 2 weeks after exhibition, everyone knew she was a bad bitch lol.
• Her gaze is very piercing and she has a very "French" look. Comment from 1771 also said that she seemed to have a polite countenance.

• Explores the development of the museum and its origins
• Early classification system helped diffuse knowledge. Books also helped diffuse knowledge
• Dealers in antiquities were very eager to provide the early museum w/ materials
• Sir Hans Sloane collected inclusively, though not discriminatively
• Sloane was particularly interested in collecting things brought in from travelers abroad.
• Like ethnographic things

• Public eager to see national gallery due to FR and IT having them
• People who went to Paris very surprised to see extent of which public was exposed to art
• Ensuing argument of how to separate public galleries for works of art
• Debated between Church holding things and galleries. Came down to money and funding available for said institution
• Faced Tory opposition, but met a lot of widespread support from upperclass

• Irish perceptions of FR taste was very confusing. The latest FR fashions were very extravagant. 
• Irish manufacturers were copying from FR designs. Copied from FR magazines. But no real visual aids so the Irish copies could be inaccurate.
• Rhetoric's of cloth. 
• Article doesn't deal w/ Dublin. Doesn't deal w/ country Irish.

• Statue influenced and radically transformed how women dressed. Underpinning started falling away. Starting shifting toward garments that highlighted the natural woman's body. Fabrics that would cling to the figure.
• During grand tour, people would bring home mini sculptures. This sculpture would be used as reference for paintings.
• Specific reproduction that had a wet drapery effect that covered her butt.

• Leisure - Sitting around, reading. Social encounter. Space that they're in is a space of leisure. 
• However, area they were in was v nice. Had to maintain this appearance. It's not easy to sit in the chairs w/ the skirts. It's pure show. 
• Chair shapes your behavior, but essentially becomes part of your body. Prosthetic.
• Sofa is 18thC invention. Another naughty narrative. The sofa wants a true declaration of love. There might be "false" declarations of love on this sofa. 
• Tiny ass table that needed to be manipulated for all of these different functions. Consider inks, candles, wax, and other things that could've been dangerous. Successfully navigating these objects demonstrated mastery.

• McKendrick compounds that consumer revolution is based on an intelligence. Private vices become public virtues.
• If people want luxury items, they will purchase them. Their greed fuels the economy, which pays for the people making them. Which allows for a living. 
• In a religious sense, wanting/buying stuff is considered bad. But it actually fuels the economy.
• Out of consumerism, marks of class become increasingly important. Want new things that keep w/ contemporary taste
• Bourgeois public sphere is sphere of private people coming together as public. Idea that private people come together publically by choice. 

Harriet Guest,

“Commemorating Captain Cook

in the Country Estate”

• Cook was a savagely cruel man who mistreated the natives so badly the journalist was afraid of describing it
• Journalist re-contextualizes it
• News about his death was compeltely de-contextualized. Immediately his death was memorialised.
• Monument erected for Cook
• Trend of re-contextualizing crazy white men appears (note: Wolfe).

Kate Retford, “Patrilineal Portraiture?

Gender and Genealogy in the Eighteenth

Century English Country House” 

• Women turning away from children bc propaganda for women to be fruitful things.
• Motherhood was prized activity. Fashionable for women to nurse their children.
• Inclusion of dead family members. As a spirit or as if they were alive.
• Man owns this land, as well as the women and children. Literal hierarchy. Lineage that will inherit this house & the line will continue. Both land and wife are fecund. Implies that this is longstanding situation. Concept of generations.
• Excellent at making the argument of wealth, family, & gender are all entwined. 
• Not skilled w/ painting figures, but skilled at crafting narratives.

Morna O'Neill and Anne Nellis Richter,

“A Look Back and Ahead: Reflections on Display,

Collecting and Social Class”

• Social class and the place of the history of collecting within the history of art.  The history of the display of art in the domestic realm is, in some regards, inseparable from either of these concerns. 
• Art collected and displayed in the home acted as a powerful agent in the articulation of social status
• Most people display things in their homes but many are hesitant to call themselves collectors.
• In the history of British art, the history of collecting first came to the fore alongside the study of patronage and the practice of connoisseurship

• portraiture expressed an individual's sense of social and civic responsibility, while buying history paintings comprised one of the depravities of commercial capitalism
• History paintings were huge gambles for both painter and buyer.
• "The much-envied history painter succeeded as an exponent of civic virtue to the extent that he could expand on the genre of portraiture; the successful history painting "lived" as closely as possible to the market life of a portrait"
• "Portrait painters complained that much of their work was drudgery, but few could resist the security and prosperity that could be gained by even modest skills"
• "History painting appealed primarily to artists and patrons with ready capital, a taste for speculation, and a high desire for public recognition"

Kate Retford, “‘A Title of so much Tenderness’:

The Art of Motherhood”

• Women turning away from children bc propaganda for women to be fruitful things.
• Motherhood was prized activity. Fashionable for women to nurse their children.
• Juvenile form should be allowed to develop w/o restraint
• Drum showed how children should be allowed to have juvenile joy.

• Inclusion of dead family members. As a spirit or as if they were alive.
• Infant mortality rate was high. Very intimate relationship w/ death. Not clinical. 
• The Graham Children, William Hogarth, 1742
• Scythe on the clock represents death.
• Cherry as the fruits of paradise.
• Cat is about to kill the bird.

• Many servant slaves did not exist beyond the portrait. Huge issue of exoticism. Stems from iconographic tradition of depicting young, finely dressed, black boys.
• Slave life depicted as a masque in an allegorical praise of the monarch
• Ottoman court was seen as most splendid & worthy of emulation
• Most depictions show slaves in court, which  is origin