Academic literature on the topic 'Royal Academy of Arts, Great Britain'
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Journal articles on the topic "Royal Academy of Arts, Great Britain"
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Watson, Sheila. "The British Museum and the Royal Academy: the nation state, English and British identities, and the constitution in the eighteenth century." Museum and Society 17, no. 1 (March 10, 2019): 66–82. http://dx.doi.org/10.29311/mas.v17i1.3014.
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During the mid-eighteenth century two museum institutions the British Museum and the Royal Academy of Arts were established, the former by Parliament, the latter by artists under the patronage of the Crown. In their origins and their early development they illustrate and help shape ideas relating to the growth of the notion of Britishness and English national identity. They were the theatres in which ideas about the kind of political nation Britain imagined itself to be were played out between loyalists (supporters of a reformed monarchy) and Whigs (mistrustful of the crown and jealous of the hard won rights of Parliament). Their foundation is all the more extraordinary because they developed at a time when the arts were not generally understood to be a matter for the state in Britain and when some powerful politicians regarded national sponsorship and support of the arts with great suspicion.This paper seeks to re-examine the origins of these two key national cultural institutions. It considers their political significance and suggests that this has been somewhat downplayed by those who focus on their development within cultural historical contexts. While not dismissing the importance of the international and national cultural arenas in which these institutions were imagined and forged, particularly the role of the Enlightenment, the paper suggests that they can only be fully understood within the context of a nation still exploring and developing a constitutional monarchical system of government and its need to present a form of Britishness to its citizens and its neighbours.
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Binenko, V. I. "Contribution of Academician K.Ya. Kondratyev in the development of meteorology and ecology (to the 100th anniversary)." HYDROMETEOROLOGY AND ECOLOGY. PROCEEDINGS OF THE RUSSIAN STATE HYDROMETEOROLOGICAL UNIVERSITY, no. 59 (2020): 137–49. http://dx.doi.org/10.33933/2074-2762-2020-59-137-149.
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In connection with the centenary of K.Ya. Kondratyev, the academician of the USSR and RAS, the article examines the scientific path of the outstanding geophysicist, the man who, being a student of the Physics Department of LSU, became an ordinary participant in the second world war and after severe injuries, finished his studies, worked his way from the assistant to the University rector, becoming a scientist whose works were highly appreciated in the world scientific community and are still in demand today. K.Ya. Kondratyev was one of the first to use remote sensing methods of the Earth and atmosphere from manned spaceships, his contribution to the implementation of both national and international research complex experiments, to the consideration of the problems of modern climate change, global ecology and the development of the strategy of global EcoDynamics being great. K.Ya Kondratyev was awarded the State prize of the USSR, was a co-author of scientific discovery "the Phenomenon of vertically-ray structures of day radiation of the upper atmosphere of the Earth”, listed in the State register of discoveries of the USSR under No. 106 with priority from May 19, 1971, was a winner of the Honorary award and was awarded the Grand gold medal of the World Meteorological Organization. He was awarded the Simons Gold medal of the Royal meteorological society of Great Britain. K.Ya Kondratyev was elected an Honorary member of the American Meteorological Society (USA), Royal Meteorological Society (UK), Academy of Natural Sciences "Leopoldina" (Germany), foreign member of the American Academy of Arts and Sciences (USA), member of the International Academy of Astronautics, an honorary doctor of the universities of Lille (France, Budapest (Hungary), Athens (Greece). For many years he has an editor of the "Earth Research from Space" journal, a member of the editorial boards of "Optics of atmosphere and ocean" and "Izvestiya of the Russian geographical society" journals, a member of the editorial boards of foreign journals of "Meteorology and Atmospheric Physics" (Austria), "Idojaras" (Hungary), "II Nuovo Cimento C", "Italy", "Atmosfera" (Mexico), "Energy and Environment" (UK). His scientific and literary heritage consists of 120 monographs and more than 1,500 scientific articles published in the leading scientific journals in Russia and abroad
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Golding, Rosemary. "The Society of Arts and the Challenge of Professional Music Education in 1860s Britain." Journal of Historical Research in Music Education 38, no. 2 (January 18, 2017): 128–50. http://dx.doi.org/10.1177/1536600616684579.
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Higher-level music education was in a poor state in mid-nineteenth-century Britain. In particular, the country’s most significant conservatoire, the Royal Academy of Music in London, suffered from a lack of financial support, poor management, and a reputation for mediocre teaching and amateurish standards. Responding to the need for an overhaul, the Society for the Encouragement of Arts, Manufactures and Commerce launched an investigation into the management of the Royal Academy of Music in 1865. The Society’s Committee interviewed a range of high-profile figures from Britain and abroad. The reports and debates that ensued cast light not only on the state of the Royal Academy but also on the organization of professional music training across the United Kingdom and elsewhere in Europe. Many of these discussions revealed important insights into attitudes toward musical training and its institutions, toward the music profession, and toward music itself. Musicians interviewed for the purpose of the Royal Academy report had varying opinions on the curriculum suitable for aspiring professional musicians, including the role of general education and theoretical music studies. The place of amateurs in such institutions was also an important part of the discussion, both in terms of the students admitted and institutional management. Fundamental divisions over the purpose and nature of professional-level education in music reflect both the changing nature of education and deep fractures in the music profession itself, offering valuable insights into the concerns and problems of the time.
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Toon, Peter D. "Congratulations to the Department of Family Medicine of NWSMU named after I.I. Mechnikov for 25 years anniversary. Letter to the editorial board." Russian Family Doctor 25, no. 2 (July 19, 2021): 55–58. http://dx.doi.org/10.17816/rfd64145.
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The letter briefly describes cooperation of the St. Petersburg Medical Academy of Postgraduate Studies and Royal college of general practitioners (Great Britain) with active participation of the author, aimed at improving the training of general practitioners in Russia and the contribution of the Department of Family Medicine of St. Petersburg Medical Academy of Postgraduate Studies (now North-Western State Medical University named after I.I. Mechnikov) in the implementation of joint international projects.
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Trodd, Colin. "The Authority of Art: Cultural criticism and the idea of the Royal Academy in mid‐Victorian Britain." Art History 20, no. 1 (March 1997): 3–22. http://dx.doi.org/10.1111/1467-8365.00044.
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Storey, Taryn. "Devine Intervention: Collaboration and Conspiracy in the History of the Royal Court." New Theatre Quarterly 28, no. 4 (November 2012): 363–78. http://dx.doi.org/10.1017/s0266464x12000668.
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Taryn Storey believes that a series of letters recently discovered in the archive of the Arts Council of Great Britain (ACGB) makes it important that we reassess the genesis of the English Stage Company at the Royal Court. Dating from November 1952, the correspondence between George Devine and William Emrys Williams, the Secretary General of the ACGB, offers an insight into a professional and personal relationship that was to have a profound influence on the emerging Arts Council policy for drama. Storey makes the case that in 1953 Devine not only shaped his Royal Court proposal to fit the priorities of the ACGB Drama Panel, but that Devine and senior members of the ACGB then collaborated to ensure that the proposal became a key part of Arts Council strategic planning. Furthermore, she puts forward the argument that the relationship between Devine and Williams was instrumental to new writing and innovation becoming central to the future rationale for state subsidy to the theatre. Taryn Storey is a doctoral student at the University of Reading. Her PhD thesis examines the relationship between practice and policy in the development of new writing in post-war British theatre, and forms part of the AHRC-funded project ‘Giving Voice to the Nation: The Arts Council of Great Britain and the Development of Theatre and Performance in Britain 1945–1995’, a collaboration between the University of Reading and the Victoria and Albert Museum.
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KRAUSE, FRIEDHILDE. "The Royal Library, Berlin, and its Contacts with Great Britain in the Nineteenth Century." Library s6-VII, no. 3 (1985): 211–17. http://dx.doi.org/10.1093/library/s6-vii.3.211.
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Macfarlane, M. C. "English Delftware Drug Jars. The Collection of the Museum of the Royal Pharmaceutical Society of Great Britain." Journal of the History of Collections 18, no. 2 (June 29, 2006): 290–91. http://dx.doi.org/10.1093/jhc/fhl032.
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Goldhill, Simon. "The Art of Reception: J.W. Waterhouse and the Painting of Desire in Victorian Britain." Ramus 36, no. 2 (2007): 143–86. http://dx.doi.org/10.1017/s0048671x00000722.
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Victorian art, particularly in the latter decades of the 19th century, turned to classical subjects obsessively. Alma-Tadema, Poynter, Leighton, Watts, and a host of less celebrated figures, produced a string of canvasses especially for the Royal Academy but also for other galleries in London and for exhibition around the country, which drew on the passion for the classical world so much in evidence in the broader cultural milieu of nineteenth-century Europe. Classics was an integral part of the furniture of the Victorian mind, through the education system, through popular culture, through architecture, through opera, through literature. The high art of the Royal Academy, viewed by thousands and extensively discussed in the press, is a fundamental aspect of this classicising discourse. This era was self-consciously a great age of progress, but it is striking to what degree the rapidly changing culture of Britain expressed its concerns, projected its ideals and explored its sense of self through images of the past—medieval, and early Christian, as much as classical. In this article, I want to look at one artist, J.W. Waterhouse, who was at the centre of this artistic moment—a discussion which will also involve us in investigating the Victorian perception of less familiar classical authors such as Josephus and Prudentius (as well as Homer and Ovid), and less familiar classical figures—St Eulalia, Mariamne—as well as the most recognisable classical icons such as the Sirens and Circe. My first aim is to show how sophisticated and interesting the art of Waterhouse is, a figure who has suffered markedly from the shifts of taste in the twentieth century. His classical pictures in particular show a fascinating engagement with the position of the male subject of desire, which has been largely ignored in the scant discussions of his work, and is strikingly absent from the most influential attempts to see Waterhouse's art in its Victorian context. Waterhouse's visualisation of classical subjects goes to the heart of Victorian anxieties about sexuality.
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Monrad, Kaper. "The Nordic contributions to romanticism in the visual arts." European Review 8, no. 2 (May 2000): 173–83. http://dx.doi.org/10.1017/s1062798700004749.
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The Nordic achievements in the visual arts in the age of romanticism were first and foremost accomplished by Danish artists. The great initiator was C. W. Eckersberg, who observed reality with great scrutiny and demanded of himself a faithful rendering of all the details. However, at the same time, he stuck to the classical principles of composition and omitted all accidental and ugly aspects of the motif that did not fit into his concept of an ideal picture. The principles he laid down in his art in around 1815 formed the basis of Danish (and Norwegian) painting until 1850. He introduced open-air painting as part of the tuition at the Royal Academy of Copenhagen and was, in this respect, a pioneer in a European context. During the 1820s and 30s almost all the young Danish painters were pupils of Eckersberg, and he also influenced the Norwegian J. C. Dahl. The subjects of the Danish paintings are very down-to-earth – they are first and foremost taken from everyday life. In the first decades of nineteenth century, Copenhagen had the status as the most important art centre in Northern Europe, and the art academy attracted many German artists. However, around 1840, a growing nationalism separated the Danish and German artists, and many Danish landscape painters devoted their art to the praise of Denmark. The nationalist artists, however, still stuck to the reality they had actually seen.
Dissertations / Theses on the topic "Royal Academy of Arts, Great Britain"
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James, Pamela J., University of Western Sydney, of Arts Education and Social Sciences College, and School of Humanities. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." THESIS_CAESS_HUM_James_P.xml, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.Doctor of Philosophy (PhD)
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James, Pamela J. "The lion in the frame : the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939." Thesis, View thesis, 2003. http://handle.uws.edu.au:8081/1959.7/567.
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This study examines the art practices and management of the National Art Galleries of Australia and New Zealand in the period between the wars, 1918-1939.It does so in part to account for the pervading conservatism and narrow corridors of aesthetic acceptability evident in their acquisitions and in many of their dealings. It aims to explore the role of Britishness, through an examination of the influence of the London Royal Academy of Art, within theses emerging official art institutions. This study argues that the dominant artistic ideology illustrated in these National Gallery collections was determined by a social elite, which was, at its heart, British. Its collective taste was predicated on models established in Great Britain and on traditions and on connoisseurship. This visual instruction in the British ideal of culture, as seen through the Academy, was regarded as a worthy aspiration, one that was at once both highly nationalistic and also a tool of Empire unity. This ideal was nationalistic in the sense that it marked the desire of these Boards to claim for the nation membership of the world's civil society, whilst also acknowleging that the vehicle to do so was through an enhanced alliance with British art and culture. The ramifications of an Empire-first aesthetic model were tremendous. The model severely constrained taste in domestic art, limited the participation of indigenous peoples and shaped the reception of modernism.
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James, Pamela J. "The lion in the frame the art practices of the national art galleries of New South Wales and New Zealand, 1918-1939 /." View thesis, 2003. http://library.uws.edu.au/adt-NUWS/public/adt-NUWS20040416.135231/index.html.
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Thesis (Ph.D.) -- University of Western Sydney, 2003."A thesis presented to the University of Western Sydney in partial fulfilment of the requirements for the degree of Doctor of Philosophy" Includes bibliography.
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Jones, Victoria Grace. "Murky waters : the representation of negative and subversive actualities of the Royal Navy during the French wars 1793-1815." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/5494/.
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This thesis explores the representation of negative and subversive aspects of the Royal Navy and its seamen during the French Wars, 1793-1815, in contemporary print culture. Visual analysis, supported by archival research, is used to show that evasion and exaggeration were key in the representation of such subjects. The figure of Jack Tar (the common seaman) and the facets of his service referenced in works on paper are investigated as constructs. It is argued that such historical documents confirmed and perpetuated misconceptions informed by dominant expectations, values and concerns. Such depictions, often satirical, are indicative of broader material and ideological contexts. Issues collectively and individually salient for Britons’ and naval seamen are shown to have included those of identity, liberty, state power, subordination, morality and sacrifice. These are revealed to be central to the construction of the notorious naval tar by printmakers, audiences, writers, publishers, politicians, officers, seamen themselves and even historians. In a chronological narrative from recruitment to cessation of service, the thesis explores the experiences of this infamous naval character through his contemporary representation.
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Darlington, Anne Carol. "The Royal Academy of Arts and its anatomical teachings : with an examination of art-anatomy practices during the eighteenth and early nineteenth centuries in Britain." Thesis, UCL Institute of Education (IOE), 1990. http://discovery.ucl.ac.uk/10006566/.
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The thesis investigates the artistic and anatomical practices taking place between circa 1768 and 1810, primarily in the context of the Royal Academy of Arts. In focusing on the educational components of anatomical knowledge, the dissertation examines the style, methodology and the various types of private and public teaching available to artists and medical students during this period. In Chapter One, I examine the social, professional and demographic factors uniting artists and medical men. The social and professional divide that at one time kept such professions apart, was now being filled by informal gatherings. Neither artists nor anatomists however, were solely reliant on venues like the Royal Academy of Arts and private anatomy theatres. Such meetings often began in and around London's social milieu: the coffee-house culture. In Chapter Two, I go on to look at the curriculum used in the Royal Academy Schools. An artist pursuing studies in the human figure would attend life classes, anatomy lectures, dissections, and teachings on physiognomy. The Academy Schools were not immune to the medical and scientific influences of the eighteenth and early nineteenth centuries; the theories and practices of medical men infiltrated artistic training. Consequently, a number of private anatomy schools in the metropolis were open to both medical and art students. Other private drawing and dissecting classes had their own anatomical museums attached, providing art students with the opportunity of painting from pathological specimens. In Chapters Three and Four, I proceed to explore the part played by William Hunter, an obstetrician, anatomist and the first professor of anatomy at the Royal Academy of Arts. Hunter and Joshua Reynolds were in agreement concerning anatomical instruction for artists. It was an education consisting of a thorough knowledge of the human body, and the ability to translate such anatomical information on to a canvas. Discussed here also is Hunter's large obstetrical atlas, and the life-size painted panels of Gautier D'Agoty. I then proceed in Chapter Five, to examine the Plaister Academy. I examine its students, the curriculum and its teachers. While at the Royal Academy, William Hunter had access to the Plaister Academy and, as I suggest, it is here that he made his three-dimensional plaster of paris models of female anatomies. As a whole, it is the aim of this dissertation to have thoroughly explored the links between artists and anatomists in England between 1768 and 1810, and to have documented the rise and nature of art education in this period.
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Wan, Connie. "Samuel Lines and sons : rediscovering Birmingham's artistic dynasty 1794-1898 through works on paper at the Royal Birmingham Society of Artists : Volume 1, Text ; Volume 2, Catalogue ; Volume 3, Illustrations." Thesis, University of Birmingham, 2012. http://etheses.bham.ac.uk//id/eprint/3645/.
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This thesis is the first academic study of nineteenth-century artist and drawing master Samuel Lines (1778-1863) and his five sons: Henry Harris Lines (1800-1889), William Rostill Lines (1802-1846), Samuel Rostill Lines (1804-1833), Edward Ashcroft Lines (1807-1875) and Frederick Thomas Lines (1809-1898). The thesis, with its catalogue, has been a result of a collaborative study focusing on a collection of works on paper by the sons of Samuel Lines, from the Permanent Collection of the Royal Birmingham Society of Artists (RBSA). Both the thesis and catalogue aim to re-instate the family’s position as one of Birmingham’s most prominent and distinguished artistic dynasties. The thesis is divided into three chapters and includes a complete and comprehensive catalogue of 56 works on paper by the Lines family in the RBSA Permanent Collection. The catalogue also includes discursive information on the family’s careers otherwise not mentioned in the main thesis itself. The first chapter explores the family’s role in the establishment of the Birmingham Society of Arts (later the RBSA). It also explores the influence of art institutions and industry on the production of the fine and manufactured arts in Birmingham during the nineteenth century. The second chapter discusses the Lines family’s landscape imagery, in relation to prevailing landscape aesthetics and the physically changing landscape of the Midlands. Henry Harris Lines is the main focus of the last chapter which reveals the extent of his skills as archaeologist, antiquarian and artist.
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Lewis, Elizabeth Faith. "Peter Guthrie Tait : new insights into aspects of his life and work : and associated topics in the history of mathematics." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6330.
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In this thesis I present new insights into aspects of Peter Guthrie Tait's life and work, derived principally from largely-unexplored primary source material: Tait's scrapbook, the Tait–Maxwell school-book and Tait's pocket notebook. By way of associated historical insights, I also come to discuss the innovative and far-reaching mathematics of the elusive Frenchman, C.-V. Mourey. P. G. Tait (1831–1901) F.R.S.E., Professor of Mathematics at the Queen's College, Belfast (1854–1860) and of Natural Philosophy at the University of Edinburgh (1860–1901), was one of the leading physicists and mathematicians in Europe in the nineteenth century. His expertise encompassed the breadth of physical science and mathematics. However, since the nineteenth century he has been unfortunately overlooked—overshadowed, perhaps, by the brilliance of his personal friends, James Clerk Maxwell (1831–1879), Sir William Rowan Hamilton (1805–1865) and William Thomson (1824–1907), later Lord Kelvin. Here I present the results of extensive research into the Tait family history. I explore the spiritual aspect of Tait's life in connection with The Unseen Universe (1875) which Tait co-authored with Balfour Stewart (1828–1887). I also reveal Tait's surprising involvement in statistics and give an account of his introduction to complex numbers, as a schoolboy at the Edinburgh Academy. A highlight of the thesis is a re-evaluation of C.-V. Mourey's 1828 work, La Vraie Théorie des quantités négatives et des quantités prétendues imaginaires, which I consider from the perspective of algebraic reform. The thesis also contains: (i) a transcription of an unpublished paper by Hamilton on the fundamental theorem of algebra which was inspired by Mourey and (ii) new biographical information on Mourey.
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Yen, Chia-Wen, and 顏佳玟. "A STUDY FOR THE TEACHING SYSTEM OF KAOHSIUNG CITY BALLET, A HERITAGE FROM ROYAL ACADEMY OF DANCING IN THE GREAT BRITAIN." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/62038488627183443370.
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碩士國立臺灣體育學院
體育研究所
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ABSTRCT The purposes of this study, mainly is to discuss the true experiences from Kaohsiung City Ballet that is studying The Ballet teaching system from Royal Academy of Dance in Great Britain. And how are the students experienced it in their own technical training. Also to trace the beginning of RAD teaching system. After visiting the teachers and students who a reusing this RAD teaching system in Kaohsiung City Ballet. To analyze the studying motif and to solve the problems come out with it, plus the true teaching experiences of it. According to the research, the profession teachers using this system as an ideal, and they offer to the other private dance schools, profession dance schools, and dance departments. So after analyzing information’s of the interviews and meetings, the results are sorted as the following: 1.The motifs of Kaohsiung City Ballet choose RAD teaching system: The lessons, which had been designed for children's dance education and the profession classes, can give the students. Different needs. Let children enjoy in dance much more. The parents thought that to go for RAD authorized examinations can let children get experiences and to present themselves on stage, specially also high up the grades of private dance schools. 2.The specialty of RAD teaching system: The lessons had been designed continuously. Beside, the students are feeling more interested in those short compensations specialty. The authorized examination gives them goals. It is an excellent example for children's basic dance training. Qualities are asked more than the technical presentations. It depends on how the teachers are using it. Suggestion: The RAD Ballet teaching system is a suitable stander to choose for those teachers who are just graduated from professional school newly, and going to teach. 3.The motifs of Kaohsiung City Ballet students are studying from RAD teaching system: It’s a system inherited since more than two hundred years of history in RAD school. It is well known proved teaching system of Ballet traditions. After the training, students are more elegant, correct, stronger basic technique, have better ideas about dance, and have better performing qualities. And the one who frequently go for authorized examinations know about their own abilities better than the others, and to face the examinations as usual experiences.
Books on the topic "Royal Academy of Arts, Great Britain"
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The history of the Royal Academy 1768-1986. 2nd ed. London: Royce, 1986.
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Posters: A century of summer exhibitions at the Royal Academy of Arts. London: Royal Academy of Arts, 2015.
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Royal Academy of Arts (London). The 241st Royal Academy of Arts Summer Exhibition: List of works. London: Royal Academy of Arts, 2009.
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Royal Academy of Arts (Great Britain) and Compton Verney (Gallery), eds. Opulence & anxiety: Landscape paintings from the Royal Academy of Arts. Warwickshire: Compton Verney, 2007.
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Humphrey, Ocean, and Royal Academy of Arts (Great Britain), eds. Royal Academy illustrated 2008: A selection from the 240th summer exhibition. [London]: Royal Academy of Arts, 2008.
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1932-, Blake Peter, and Royal Academy of Arts (Great Britain). Summer Exhibition., eds. Royal Academy illustrated 2001: A selection from the 233rd summer exhibition. [London]: Royal Academy of Arts, 2001.
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The company of artists: The origins of the Royal Academy of Arts in London. London: Modern Art Press in association with Bloomsbury, 2012.
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Royal Academy of Arts (Great Britain), ed. Masterworks: Architecture at the Royal Academy. London: Royal Academy of Arts, 2011.
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Anne, Stevens Mary, Gowing Lawrence, and Royal Academy of Arts (Great Britain)., eds. The Edwardians and after: The Royal Academy, 1900-1950. London: Royal Academy of Arts, 1988.
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The King's artists: The Royal Academy of Arts and the politics of British culture, 1760-1840. Oxford: Clarendon Press, 2003.
Find full textBook chapters on the topic "Royal Academy of Arts, Great Britain"
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KAMIDE, MAYU. "The Royal Academy of Arts and Japan:." In Britain & Japan: Biographical Portraits, Vol. X, 718–30. Renaissance Books, 2016. http://dx.doi.org/10.2307/j.ctt1s17p06.68.
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Howes, Anton. "A Society against Ugliness." In Arts and Minds, 200–217. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691182643.003.0009.
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This chapter examines the Great Exhibition of 1851, which is considered an industrial audit of the world that included exhibits from Britain's empire and other foreign nations. It talks about the East India Company, a private company that exercised control over almost all of the Indian subcontinent that provided displays of the products of India in the Great Exhibition. It also explains the aim of the Great Exhibition, which was to reveal to merchants and manufacturers in Britain the kinds of raw materials that might be imported for Englishmen to work upon. The chapter highlights the Royal Society of Arts' activities over the previous century, which focused on the spread of information instead of awarding premiums for exploiting new resources. It describes how the products of Britain's colonies brought attention to merchants and manufacturers in Britain itself.
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Howes, Anton. "A System to Force down the General Throat." In Arts and Minds, 144–71. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691182643.003.0007.
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This chapter begins with the opening of the Great Exhibition on 1 May 1851, which attracted six million visitors, a tenth of the entire population of Great Britain. It recounts how Henry Cole managed to make himself indispensable to the Great Exhibition's organisation, in which he accumulated responsibilities that allowed him to gradually reassert control. It also mentions utilitarian reformers who came to exercise an extraordinary influence over the Royal Society of Arts and promoted the development of enlarged generalisations and comprehensive measures. The chapter discusses how Cole and his allies reformed the entire system on protecting intellectual property in order to look after the creations of inventors and manufacturers. It points out that the campaign for patent reform was one of the Society's most successful lobbying efforts ever.
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Ibata, Hélène. "Reynolds, the great style and the Burkean sublime." In The challenge of the sublime. Manchester University Press, 2018. http://dx.doi.org/10.7228/manchester/9781526117397.003.0004.
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The chapter examines intellectual interactions between Burke and Reynolds and contrasts their conceptions of the sublime, in order to determine the extent of Burke’s influence on his friend. Reynolds’s own conception of the sublime is shown to be solidly anchored in the neoclassical tradition and its assimilation of the sublime to the ‘great style’ as well as to Michelangelo’s terribilità. Yet, one may discern ways in which the Enquiry’s irrationalism filtered into Reynolds’s own theory of art, which suggests that he played a part in mediating his friend’s aesthetics for the Royal Academy of Arts. Reynolds’s reconciliation of the neoclassical notion of the ‘great style’ with a new emphasis on imagination and intensity of affect is then understood as one of the first stages in the development of ‘Burkean’ academic productions, which flourished from the mid-1770s onwards.
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Fullagar, Kate. "The Master Ascendant." In The Warrior, the Voyager, and the Artist, 160–87. Yale University Press, 2020. http://dx.doi.org/10.12987/yale/9780300243062.003.0008.
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Chapter 6 opens with some reminders of Reynolds’s ambivalent character. His political views are put to the test at the close of the Seven Years War, in 1763, when Britain announces victory but half the nation refuse to celebrate with the king. Reynolds performs similar balancing acts in his personal life, including romantically with Angelica Kauffmann and collegially with Thomas Gainsborough. Most of all we see Reynolds’s artful balancing in the way he secures the presidential appointment to Britain’s first Royal Academy of the Arts. The 1770s see further signs of ascension for Reynolds, such as his acquisitions of a new country house and an honorary doctorate. These years also yield further tests of his ambivalent politics. His portrait of Joseph Banks reveals a circumspect opinion of Pacific exploration while his effort to secure a Devonian Mayoral appointment reiterates his canny play of apologist and oppositional positions. The year 1775, however, presents the biggest challenge of all. His friends Johnson and Burke publish dramatically opposing views on the upcoming American Revolution and at the same time Reynolds’s dignity as President of the Royal Academy is threatened by a lampoon from a fellow academician.
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Muscogiuri, Patrizia A. "Coda: ‘You, who cross the Channel’: Virginia Woolf, Departures and the Spectro-Aesthetics of Modernism." In Cross-Channel Modernisms, edited by Claire Davison, Derek Ryan, and Jane Goldman, 215–42. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474441872.003.0014.
Full textAbstract:
In Woolf’s writings, the sea and the marginal space of the coast unexpectedly bring about the apparition of material aspects of history – gunfire, warships, the war departed – remarkably prefiguring the Derridean notion of the spectre as political dead. From aural haunting to vision, a Derridean spectro-aesthetics arises here in the context of a cross-Channel modernism troubled by the carnage and futility of war. Touching on Jacob’s Room (1922), Mrs Dalloway (1925) and To the Lighthouse (1927), in constellation with works by Wilfred Owen, T.S. Eliot, E.M. Forster, Mulk J. Anand, C.R.W. Nevinson, among others, this chapter draws on three cross-Channel essays by Woolf: ‘Heard on the Downs: The Genesis of Myth’ (1916), ‘The Royal Academy’ (1919), ‘To Spain’ (1923). It recontextualises Woolf’s wartime/post-war writings about the Great War, Channel-crossing, sound, hearing, bodies, the visual arts. Woolf’s historical-materialist treatment of the sea merges history with vision in ways departing from, and subverting, the visual rhetoric prescribed by the British War Propaganda Bureau to official war artists. The Channel was used as political barrier during WWI, facilitating state suppression of information whilst pacifist voices were silenced. Woolf’s strategic liminal stance is informed, instead, by a cross-Channel perspective that is historical, political, aesth-ethical.