scholarly journals Marooned on a Desert Island: Continental European Artists in Eighteenth-Century British Royal Academy

2009 ◽  
Vol null (33) ◽  
pp. 113-146
Author(s):  
전동호
Keyword(s):  
Eighteenth Century ◽  
Royal Academy ◽  
Desert Island

scholarly journals The Soane-Dance Collaboration, 1771-1799

2010 ◽  
Vol 53 ◽  
pp. 163-190
Author(s):  
Jill Lever
Keyword(s):  
Eighteenth Century ◽  
Royal Academy ◽  
Early Years ◽  
Architectural Practice ◽  
Late Eighteenth Century ◽  
Late Eighteenth ◽  
Bank Of England

After the publication for Sir John Soane’s Museum of a Catalogue of the Drawings of George Dance the Younger (1741-1825) (in 2003) further cataloguing of, and research into, John Soane’s early drawings has enabled the reattribution to George Dance of a number of sketch designs previously thought to be by Soane. In particular there are several drawings from the years 1771 to 1784, when Soane was a student and exhibitor at the Royal Academy, a competition entrant, and in the first years of practice. Later sketch designs by Dance for Soane then relate to several phases of the rebuilding of the Bank of England in the 1790s. It has also been possible to identify Robert Baldwin as the draughtsman for many of Soane’s early Royal Academy and competition drawings, as well as during Soane’s early years in practice, from 1780 to 1785. These discoveries bring to light not only the character of the collaboration between Soane and Dance, but also aspects of architectural practice more generally in the late eighteenth century.

The Picturesque Prospect of Architecture: Thomas Sandby's Royal Academy Lectures

2018 ◽  
Vol 61 ◽  
pp. 73-104
Author(s):  
Sigrid De Jong
Keyword(s):  
Eighteenth Century ◽  
Royal Academy ◽  
Early Statement

AbstractThomas Sandby (1721/3–98), who served as the Royal Academy's first professor of architecture from 1768 to 1798, shaped his students’ architectural thought. His lectures represent some of the crucial developments in viewing architecture that occurred during the period. They are vibrant expressions of how a viewer's experience of buildings informs architectural teaching and design, and demonstrate the importance of architectural experience for eighteenth-century architectural thought. This article explores Sandby's thinking, first in his own observations of buildings in his diary of a tour through Yorkshire and Derbyshire, and then in his teachings, which functioned as a kind of manual for future architects. It examines the diary and the lectures for his ideas on the effects of architecture — a building's situation, exterior, interior and decorations — in relation to the picturesque, one of the dominant concepts in his texts and drawings. Sandby's architectural thought is shown to be a relatively early statement of the picturesque applied to architecture and its setting.

Eighteenth-Century Connoisseurship and the Female Body

2017 ◽  
Author(s):  
Terry F. Robinson
Keyword(s):  
Eighteenth Century ◽  
Female Body ◽  
Royal Academy ◽  
Aesthetic Appreciation ◽  
Women's Bodies ◽  
Recent Scholarship ◽  
History Of

With the development of connoisseurship in eighteenth-century England came new scrutiny of the female body. This article examines the contemporary intersection between aesthetic appreciation and the act of viewing the female form. Drawing upon recent scholarship, it charts a history of “body connoisseurship” from the Society of Dilettanti, to London’s Theatres Royal, to the Royal Academy of Arts, and reveals how the focus on the female physique—as an object of beauty, sex, ownership, and exchange—was shaped not only by men but also by women who exerted increasing control over their own representational narratives. More fundamentally, it places women at the center of connoisseurial debates in the period, contending that depictions of women’s bodies within connoisseurial contexts function at once as emblems of knowledge, both aesthetic and concupiscent, and as emblems that ironize and destabilize such knowledge by cultivating a fiction of the profound unknowability of women—and thus of beauty itself.

AN OPEN ELITE: THE PECULIARITIES OF CONNOISSEURSHIP IN EARLY MODERN ENGLAND

2004 ◽  
Vol 1 (2) ◽  
pp. 151-183 ◽  
Author(s):  
BRIAN COWAN
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Early Modern ◽  
Visual Arts ◽  
Royal Society ◽  
Royal Academy ◽  
Early Modern England ◽  
Modern Approach ◽  
The Arts ◽  
The Social

Seventeenth-century English virtuoso attitudes to the visual arts have often been contrasted with a putative eighteenth-century culture of connoisseurship, most notably in a still influential 1942 article by Walter Houghton. This essay revisits Houghton's thesis and argues that English virtuoso culture did indeed allow for an incipient notion of artistic connoisseurship but that it did so in a manner different from the French model. The first section details a virtuoso aesthetic in which a modern approach to the cultural heritage of antiquity was central. The instructive ethical and historical attributes of an art work were deemed more important than attribution to a master artist, although one can discern an incipient notion of a virtuoso canon of great artists. The second section examines the social and institutional position of the English virtuosi and argues that the lack of a Royal Academy of Arts in the French manner made virtuoso attitudes to the arts unusually receptive to outside influences such as the Royal Society and other private clubs and academies. It concludes by considering the ways in which some eighteenth-century concepts of taste and connoisseurship defined themselves in contrast to an earlier and wider-ranging virtuosity even if they failed to fully supplant it.

scholarly journals Une communauté d’artistes et d’artisans français à l’étranger : Le cas des sculpteurs au château royal de Stockholm au XVIIIe siècle

2015 ◽  
Vol 12 ◽  
pp. 117-131
Author(s):  
Anne-Sophie Michel
Keyword(s):  
Eighteenth Century ◽  
Work Teams ◽  
Royal Academy ◽  
Construction Work ◽  
Royal Palace ◽  
Know How ◽  
Modernization Process ◽  
And Training ◽  
Swedish Royal Academy

A Community of French Artists and Craftsmen Abroad: A Case Study of theSculptors of the Royal Palace of Stockholm in the Eighteenth Century Following the approach of Linda Hinners’s research, this article comprises a study of French sculptors who worked on the construction of Stockholm’s royal palace in the eighteenth century. Indeed, between 1732 and 1765, the superintendent of royal buildings had recruited, through the action of social networks, thirty French sculptors. To encourage them to leave France, the superintendent offered them very attractive conditions of life and work, and the prospects of a career. Once there, these sculptors created the royal palace decoration from the sketches of the Swedish architects. Beyond their artistic ability, the Swedes utilized their great experience of construction work and technical know-how. Soon, they took over the management of the sculpture works and training of young Swedish craftsmen present on the site. With the recruitment of French experts, the Swedes therefore had skilled and knowledgeable work teams, which created autonomous production workshops. These latter also underwent a modernization process induced by the creation of the Superintendence of royal buildings and the Swedish Royal Academy. Thus, the French appear to have been the actors of a modern artistic policy that allowed Sweden to utilize the French aesthetic model.

scholarly journals Johann Gottlieb Walter (1734. – 1818.) i tehničko prepariranje kostiju u kabinetu anatomije u kasnom XVIII. i XIX. stoljeću

2017 ◽  
Vol 15 (2) ◽  
pp. 253-260
Author(s):  
Francesca Monza ◽  
Paolo Badino
Keyword(s):  
Eighteenth Century ◽  
Human Body ◽  
Royal Academy ◽  
Human Anatomy ◽  
Physician Training ◽  
Fundamental Knowledge ◽  
Academy Of Sciences ◽  
German Physician

This study aims to analyze Johann Gottlieb Walter’s biography (1734-1818), a German physician that specialized in human anatomy, who received an award of the Göttingen Royal Academy of Sciences. Here, we describe his technique of preparing bones for educational purposes through the comparison of other widely used techniques. The article also focuses on the great historical, scientific and didactic values of the anatomical preparations. In Europe during the eighteenth century the activity of some anatomists and physiologists, who were dedicated to the realization of anatomical preparations, testified the progress of medicine in the study of the human body, fundamental knowledge for physician training.

Opera Salaries in Eighteenth-Century London

1993 ◽  
Vol 46 (1) ◽  
pp. 26-83 ◽  
Author(s):  
Judith Milhous ◽  
Robert D. Hume
Keyword(s):  
Eighteenth Century ◽  
Royal Academy ◽  
Star System ◽  
Ballet Dancers ◽  
Italian Opera ◽  
Opera House ◽  
Napoleonic Era ◽  
Opera Singers ◽  
First Time

Until the last fifteen years, very few salaries have been known for Italian opera singers or ballet dancers in eighteenth-century London. Two major new sources are presented here for the first time: Chancery testimony concerning salaries in the 1780s, and a series of manuscript annotations giving salaries of principals for eight seasons between 1796 and 1808. Added to recent discoveries concerning the first decade of the century, the Royal Academy of Music in the 1720s, and Chancery testimony about the pay scale in the 1760s, this information makes an overview possible. The top and bottom of the salary scale (£1,500 to £100) remained surprisingly stable from the 1720s to the 1790s. During the last third of the century ballet emerges from relative insignificance and attains virtual parity in cost and status with opera itself. The star system was established as early as 1708, and the size of the theater was always a key determinant in limiting salaries. The huge new opera house of 1791, coupled with Napoleonic-era inflation, quickly increased salaries at the top end of the scale, culminating in the £5,250 paid to Catalani in 1808. The gap between top and bottom salaries was always enormous, but in the later years of this survey the gap was widening substantially.

scholarly journals El protocolo en las Reales Academias. El caso de la Real Academia de Córdoba

2017 ◽  
Vol 4 (7) ◽  
pp. 71
Author(s):  
Javier Eiroa Escalada
Keyword(s):  
Eighteenth Century ◽  
Royal Academy ◽  
Fine Arts ◽  
National Level ◽  
Cultural Institutions ◽  
Real Academia

Las Reales Academias son instituciones de tipo cultural que, en España, nacen durante el siglo XVIII al amparo de la Ilustración y de la Corona.En la primera parte del trabajo se realiza una profunda revisión bibliográfica sobre el origen, evolución y significado de las Reales Academias, para abordar posteriormente los conceptos de protocolo y ceremonial.Si bien el ceremonial en las Reales Academias está bastante documentado, el estudio del protocolo en estas Corporaciones es tarea pendiente.En la segunda parte del artículo se presenta el estudio realizado por el autor sobre la normativa referente a las Reales Academias y al Protocolo, en el ámbito nacional y en el andaluz, de manera específica, que ha servido de base para la elaboración del recientemente aprobado Reglamento de Protocolo en la Real Academia de Córdoba, de Ciencias, Bellas Letras y Nobles Artes, que se presenta como anexo._______________________Royal Academies are cultural institutions that, in Spain, were born during the eighteenth Century under the protection of the Crown.In the first part of the work a deep bibliographical revision is made on the origin, evolution and meaning of the Royal Academies. Later the concepts of protocol and ceremonial are studied.Although the ceremonial in the Royal Academies is well documented, the study of the protocol in these Corporations is pending task.The second part of the article presents the author's study of the regulations concerning the Royal Academies and the Protocol, at national level and in Andalusia, in a specific way, which has served as a basis for the preparation of the recently approved Regulations of Protocol in the Royal Academy of Cordoba, Sciences, Fine Arts and Noble Arts.

Wonders in the Academy

2012 ◽  
Vol 43 (3) ◽  
pp. 334-370 ◽  
Author(s):  
Michael Bycroft
Keyword(s):  
Eighteenth Century ◽  
Seventeenth Century ◽  
Empirical Data ◽  
Royal Academy ◽  
Robert Boyle ◽  
The Difference ◽  
Athanasius Kircher ◽  
Academy Of Sciences

What happened to wondrous phenomena during the European Enlightenment? A familiar answer is that the learned elites of the period, and especially those linked to the Royal Academy of Sciences in Paris, either ignored wonders or debunked them. Historians of science who have challenged this answer have so far paid little attention to one of the main sources of evidence usually invoked in its favor, namely the experimental reports of the chemist Charles Dufay (1698–1739). This paper considers Dufay’s published articles, especially those on phosphorescence and electricity, and argues that far from disdaining wonders he valued them as a means of discovering new regularities and of correcting and confirming hypotheses. Moreover, his interest in wonders was due partly to three concerns that he shared with other members of the Academy, and especially with chemists such as Claude-Joseph Geoffroy and Jean Hellot. These concerns were the production of a large amount of empirical data, the practice of alchemy, and the need to write for an audience of non-academicians. One moral of this study is that Dufay had more in common with two of his seventeenth-century sources, Robert Boyle and Athanasius Kircher, than historians have so far supposed. Another is that the difference between lay and learned attitudes to wonders, insofar as it existed in the eighteenth century, lay not in the ejection of wonders from serious inquiry but in the shifting background of expectations against which different groups judged which facts were wondrous and which were mundane or unsurprising.

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