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This quantity interrogates labels utilized in average histories of the paintings of this era (baroque, rococo, neoclassicism, and Romanticism) and examines either validated and up to date art-historical methodologies, together with formalism, iconology, spectatorship and reception, and identification and distinction. Key themes contain baroque Rome, Dutch work of the Golden Age, Georgian London, the Paris salon, and the influence of the invention of the South Pacific.

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14, no. four, pp. 319–53. McNairn, A. (1997) Behold the Hero: basic Wolfe and the humanities within the Eighteenth Century, Liverpool, Liverpool collage Press. Mitchell, C. (1944) ‘Benjamin West’s “Death of common Wolfe” and the preferred background piece’, magazine of the Warburg and Courtauld Institutes, no. 7, pp. 20–33. Neff, E. B. (1995) John Singleton Copley in England, London, Merrell Holberton. Puttfarken, T. (1981) ‘David’s Brutus and theories of pictorial harmony in France’, artwork heritage, vol. four, no. three, pp. 291–304. Quilley, G. (2005) ‘Questions of loyalty: the illustration of the British West Indian colonies throughout the American innovative conflict’ in Bonehill, J. and Quilley, G. (eds) Conflicting Visions: battle and visible tradition in Britain and France c. 1700–1830, Ashgate, Aldershot, pp. 115–37. Reynolds, J. (1975) Discourses on artwork (ed. R. R. Wark), New Haven, CT and London, Yale collage Press. driving, C. (2003) ‘The Raft of the Medusa in Britain: viewers and context’ in midday, P. (ed. ) Constable to Delacroix: British artwork and the French Romantics, London, Tate Publishing, pp. 66–73. Shaw, P. (2005) ‘Dead squaddies: pain in British army artwork, 1783–1789’, Romanticism, vol. eleven, no. 1, pp. 55–69. Siegfried, S. (1995) ‘Engaging the viewers: sexual economies of imaginative and prescient in Joseph Wright’, Representations, no. sixty eight, pp. 34–58. Solkin, D. (1992) portray for cash: The visible Arts and the general public Sphere in Eighteenth-Century England, New Have, CTn and London, Yale college Press. Solkin, D. (ed. ) (2001) artwork at the Line: The Royal Academy Exhibitions at Somerset condominium, 1780–1836, New Haven, CT and London, Yale college Press. White, L. (2010) ‘Damien Hirst’s Shark: nature, capitalism and the sublime’, Tate Papers, no. 14, http://www. tate. org. uk/research/tateresearch/tatepapers/10autumn/white02. shtm (Accessed 19 January 2011). Wilson, okay. (1995) The experience of the folk : Politics, tradition, and Imperialism in England, 1715–1785, Cambridge, Cambridge collage Press. Wind, E. (1938) ‘The revolution of background painting’, magazine of the Warburg Institute, vol. 2, no. 2, pp. 116–27. Wrigley, R. (1993) The Origins of French paintings feedback: From the Ancien Régime to the recovery, Oxford, Clarendon Press. bankruptcy 6 Canova, Neo-classicism and the sculpted physique Linda Walsh Plate 6. 1 Antonio Canova, the 3 Graces (detail from Plate 6. 19). creation in the course of his personal lifetime the Italian sculptor Antonio Canova (1757–1822) used to be essentially the most recognized of all ecu artists. He used to be popular for his cutting edge, ‘living’ and swish therapy of classical topics. Like lots of his his eu contemporaries, Canova used to be seriously motivated by way of vintage sculpture and its representations of the human physique. within the past due eighteenth and early 19th centuries this impact used to be expressed when it comes to allegiance to a specific kind, Neo-classicism, which represented an intensive, sleek departure from previous Baroque and Rococo remedies of the vintage. Sections 1 and a couple of of this bankruptcy will discover a number of the major features of and impacts on sculpted representations of physically shape during this interval.

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