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Bruce Redford re-creates the vibrant culture of connoisseurship in Enlightenment England by investigating the multifaceted activities and achievements of the Society of Dilettani. Elegantly and wittily he dissects the British connoisseurs whose expeditions, collections, and publications laid the groundwork for the Neoclassical revival and for the scholarly study of Graeco-Roman antiquity. After the foundation of the society in 1732, the Dilettani commissioned portraits of the members. Including a striking group of mock-classical and mock-religious representations, these portraits were painted by George Knapton, Sir Joshua Reynolds, and Sir Thomas Lawrence. During the second half of the century, the society’s expeditions to the Levant yielded a series of pioneering architectural folios, beginning with the first volume The Antiquities of Athens in 1762. These monumental volumes aspired to empirical exactitude in text and image alike. They prepared the way for Specimens of Antient Sculpture (1809), which combines the didactic (detailed investigations into technique, condition, restoration, and provenance) with the connoisseurial (plates that bring the illustration of ancient sculpture to new artistic heights). The Society of Dilettanti’s projects and publications exemplify the Enlightenment ideal of the gentleman amateur, which is linked in turn to a culture of wide-ranging curiosity.
A Passion for Performance: Sarah Siddons and Her Portraitists brings together three engaging essays – by Robyn Asleson, Shelley Bennett and Mark Leonard, and Shearer West – that recreate the eventful life, both on and off the stage, of the great eighteenth-century actress Sarah Siddons. Siddons was renowned for her bravura performances in tragic roles, and her fame was enhanced by the many portraits of her painted by the leading artists of the day. The greatest of these was Sir Joshua Reynolds’s Sarah Siddons as the Tragic Muse, a painting now in the Huntington Art Collections and recently studied at the Getty Center. A Passion for Performance places this magnificent portrait within the context of Siddons’s career as an actress and cultural icon. Includes a chronology of Siddons’s life by volume editor Robyn Asleson.
Reproduction of the original: Naturalistic Photography For Students of the Art by P.H Emerson
This illuminating study examines the cultural meaning of artistic reproduction in a refreshingly new context through its consideration of how three artists managed the reproduction of their work.

Catalogue of Old and Modern Engravings. First Day's Sale, Portraits in Mezzotint, After Sir Wm. Beechey, T. Gainsborough, J. Hoppner, Sir T. Lawrence, Sir J. Reynolds, G. Romney, Etc.; Plates from J. M. W. Turner's Liber Studiorum; Topographical Prints, Principally in Colours, & Drawings, the Property of Cornelia, Countess of Craven, from the Coombe Abbey Collection, Swiss Views in Colours, the Property of Lt.-Col. G. J. Scovell, Volumes of Portraits, Fancy Subjects, Etc.. Second Day's Sale, Modern Engravings, the Property of a Gentleman, Including Impressions, Principally Artists' Proofs, After John Constable, Sir E. Burne-Jones, B. W. Leader, Sir Leighton, Sir J. E. Millais, Meissonier, Sir L. Alma-Tadema, G. F. Watts, Etc., Sporting Subjects, Printed in Colours, the Property of J. Deighton Patmore, Esq., of 72, Ladbroke Road, Holland, Park, W., Portraits in Colours by F. Bartolozzi, After Sir J. Reynolds; Plates from J. M. W. Turner's Liber Studiorum, the Property of a Lady

Published: 1923

Total Pages: 0


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Reprint of the original, first published in 1845.