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Excerpt from The Society of Artists of Great Britain, 1760-1791, the Free Society of Artists, 1761-1783: A Complete Dictionary of Contributors and Their Work From the Foundation of the Societies to 1791 The Royal Academy Exhibitors have induced me to continue the series by producing a companion volume of the two earlier Societies, thereby carrying the records of the works of English artists back to the year 1760, when the first public exhibition took place in England. In common with the Lists of Exhibitors at other London Exhibitions, this work was compiled over thirty years ago, and the manuscript volumes have ever since been of great use for reference. The catalogues of these early exhibitions are very difficult to obtain, and there is, I believe, no complete set of printed copies in existence, those in public institutions being completed by manuscript copies. To lovers of art this volume will present the only easily available means of knowing what pictures were exhibited by well-known artists before the foundation of the Royal Academy. Upwards of works were Shown at these exhibitions. To make the volume still more interesting, I have endeavoured to give an account of these Societies by reprinting portions of books written at the time of the exhibitions, or shortly afterwards. In this very little attempt has been made to introduce original matter, but I feel that the extracts from books now exceedingly scarce will prove of value. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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This volume is framed by articles that throw interesting light on the achievement and reputation of the greatest of Anglo-Saxon kings - Alfred.
The reception of Thomas Gainsborough’s Blue Boy from its origins to its appearances in contemporary visual culture reveals how its popularity was achieved and maintained by diverse audiences and in varied venues. Performative manifestations resulted in contradictory characterizations of the painted youth as an aristocrat or a "regular fellow," as masculine or feminine, or as heterosexual or gay. In private and public spaces where viewers saw the actual painting and where living and rendered replicas circulated, Gainsborough’s painting was often the centerpiece where dominant and subordinate classes met, gender identities were enacted, and sexuality was implicitly or overtly expressed.