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, red chalk on sepia wash

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

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Meissen porcelain teapot, c1727,

gilt, silver, hard-paste porcelain

• 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, oil on canvas

• 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.

Sophie Raux,

“Visualizing Spaces, Flows, Agents, and Networks of the Art Markets in the 18th Century: Some Methodological Challenges”

• Abstract - attempted visualization of the sales of paintings. How the paintings moved, the number of paintings moving. Through what channels and networks were they distributed?
• Interactive Mapping of the Numbers of Paintings Sold at Public Sales in the Cities of Northern Europe (18th Century)
• Relational Mapping of Art Market Agents - team's major goals has been to compile a database that provides the research community with documentation abut the art market's agents that is new in terms of both its content and type of output
• Interactive Mapping of the Agents and Locations of the Paris Picture Market in the 18th Century
• Visualizing the commercial activity of a major center of the Paris art trade: the Pont Notre‐Dame.
• Using modern technology to visualize old art makets and paths

Mapping the Republic of Letters:

Travelers on the Grand Tour

• wrestling with the complex process of transforming a rich, nuanced set of historical information into a coherent dataset
• when did people encounter each other physically during the 18th century? How did travel and correspondence intertwine to generate Enlightenment intellectual and social networks?
• Which Italian cities were most visited by British travelers in the 18th century? This was compiled through Ingamell's works
• Using modern graphs, maps, and visualization to illustrate date from Ingamell's book
• Social Space - the Grand Tour was all about people, and the relationships that developed and flourished among the Englishmen in Italy during the 18th century
• Interactive graphs and programs that would be used for help visualize the data

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.

John Brewer, “Whose Grand Tour?”

• 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

Jonathan Yarker and Clare Hornsby,

“Buying Art in Rome in the 1770s”

• Introduced key players and shopping services such as shopping services (such as Jenkins)
• Circumscribed experience evidenced by the specific artists were funded by the shopping services.
• Castration of a lot of figures to be ideal for customers
• Constant change of these works of art due to a game of "telephone"
• System was not appreciated by the artists it controlled.
• People such as Byres followed a time-honored commercial model: he combined dealing with acting as an antiquary - a cicerone, or tour guide, to the sites of Rome.
• Purveyors such as Jenkins would know in advance when travelers were coming and would prepare in advance for their arrival.
• To a British audience, Rome offered unequaled opportunities. Raphael represented the ideal.
• Copies were valued and had classes of expenses. For example, least expensive class of copy comprised small-scale reproductions, frequently drawings of colored prints.

Sir Joshua Reynolds, “Discourse I and IV"

• 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.

Holger Hoock, “Promoting a National School”

• 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