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İngiliz suluboya ekolünün inşasına etki eden faktörlerin araştırıldığı bu çalışma; 19. yüzyıl itibarıyla İngiltere özelinde başat bir üretim metodu olarak kendini kabul ettiren suluboya resminin 18. yüzyıl boyunca gösterdiği gelişmenin izini sürmektedir. Metin bu amaca uygun olacak şekilde, 18. yüzyılın başında İngiltere’nin durumunu, suluboya tekniğinin diğer üretim metodlarıyla ilişkisini, ele alarak genel bir bilgilendirme yaptıktan sonra, Paul Sandby, Thomas Gainsborough, Alexander Cozens, John Robert Cozens ve William Payne gibi dönemin ileri gelen sanatçılarının farklı uygulamalarını ve yaşanan teknik gelişmeleri araştırarak, İngiliz suluboya ekolünün inşa sürecinin bir izleğini ortaya koymaktadır. Çalışmada yöntem olarak Ulusal ve Uluslararası literatür taraması yapılmış ve kaynak taramasından elde edilen bilgiler ile örnek olarak ele alınan sanatçıların eserleri incelenmiştir. Yüzyılın başında yükselişe geçen suluboya peyzaj resminin birçok sanatçı tarafından benimsendiği ve statüsünün Kraliyet Akademisi tarafından belirlenen türler hiyerarşisinde hak ettiği yeri bulması için tekniğin olanaklarının araştırıldığı görülmüştür. Sanatçılar yağlıboya resminin etkilerinin suluboya tekniğiyle de elde edilebilmesi için sürekli denemeler yapmışlar ve bu sebeple suluboya peyzaj resminin dönem itibarıyla bir “İngiliz ekolü” inşa ettiği görülmüş, ayrıca popülaritesinin artması sebebiyle toplumun geniş kesimleri tarafından benimsendiği saptanmıştır. İngiltere özelinde 18. yüzyıl suluboya peyzaj resminin bu bakış açısıyla incelendiği bir çalışmanın Türkçe literatürdeki eksikliği de araştırmanın yapılmasındaki sebeplerden biridir. Çalışmanın konu üzerine derinlemesine araştırma yapmak isteyen araştırmacılara yol gösterici olması hedeflenmektedir.

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Copyright of Darbai ir Dienos is the property of Vytautas Magnus University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A Tudor portrait in Hull was for many years wrongly identified as John Smith, mayor of Hull, but is in fact of John Smythson, Master Cook to Elizabeth I. Smythson was a man of some substance, reasonable wealth and social standing. He lived in Eltham in Kent and several details of his career can be uncovered. The portrait, which is the first surviving picture of a Royal Master Cook, was painted by an accomplished artist who was probably associated with the Court. [ABSTRACT FROM AUTHOR]

This paper considers the painting Any Wintry Afternoon in England (1930) (AWA) by the prominent artist and social commentator C.R.W. Nevinson (1889–1946). The painting is one of few, and perhaps the best-known, by an English fine artist to take football as its subject matter during the first 40 years of that sport's professional existence. The paper concentrates on gaining an understanding of this painting within the context of Nevinson's biography. Of course, a painting may well be admired by viewers without any knowledge of the painter at all, and no issue is taken in the paper with the possibility of totally independent readings. But from an art-history and cultural-history perspective, knowledge of a painter's biography is significant in allowing for consideration of the artwork as a product of its time. In the case of AWA, knowledge of Nevinson's hostility to sport supports the view of a leading critic, on the occasion its of its exhibition, that the painting was intended as a satire on the mass popularity of football in England in the 1920s. Forearmed with this knowledge, wariness can be taken against subsequent attempts to locate AWA within a genre of ‘football paintings’ that represent an enthusiasm for the game. Nevinson's earlier involvement with Futurism had acquainted him with that movement's tendency to take aspects of popular culture as inspiration for art. But Nevinson took football as a derisory subject matter rather than inspiration and in doing so put AWA at odds with the contemporaneous visual representations of football that had begun to appear in popular mediums such as postcards and film. Yet, contrary to some wishful interpretations though it may be, AWA, owing to its very contrariness, remains an important historical image in the visual representation of football as popular culture. [ABSTRACT FROM PUBLISHER]

In this article, the author engages with the belief of French philosopher Henri Bergson that intuition should form the basis of philosophical methodology. More specifically, the author relates Bergson's notions concerning the relationship between intuition and perception to the work of English post-impressionist painters. The implications of Bergson's views on intuition and consciousness to the study of art history and art history writing are also examined. The author's discussion is also broadly informed by British author Virginia Woolf's thoughts on creative writing as made evident in the story "The Mark on the Wall."

The article focuses on "An Optician with His Attendant," a painting in the British Royal Collection of art by painter Johan Zoffany. It discusses the depiction of trade and tradesmen in 18th-century art in Great Britain, opticians Peter Dollond and John Cuff, and the role of the Royal Collection in misinterpreting the work of tradesmen. The article also explores the Royal Society, portraiture, and naturalism in painting.

The article focuses on the painting of English painter William Hogarth which is "A Rake's Progress". It mentions that the painting portrays the downfall of Tom Rakewell who is a son and heir of a rich merchant. It notes that Rakewell's vices, the viciousness of society and destiny conjure in his end. It presents several scenes that depict the life of the merchant's son which include his success in winning the lottery, marriage and arrest. Furthermore, it says that Hogarth relates the story of Rakewell to the fall of the Roman Empire.

Grappling with the complex problem of how to represent history through the experience of ordinary people, William Holman Hunt's London Bridge of 1864 combined a modern urban crowd scene, a careful choice of depicted location, and an unusual deployment of light effects to create a painting about Victorian perceptions of time itself. By portraying a night-time scene lit by the gas illuminations on the bridge in honour of the wedding of the Prince and Princess of Wales, Hunt drew on the traditional aesthetic of the sublime to create a spectacle of an historic event – a royal marriage – that inspired both wonder and fear. Juxtaposing the flame-lit city with the moonlit Thames at the charged site of London Bridge allowed the artist to set in play the common Victorian framework one might term the ‘moralizing sublime’. This pervasive mode of thought involved reading the mighty strivings of man and the modern industrial city as puny, transitory glimmers in comparison with the infinite onward rush of time; paradoxically, it also permitted the wilful overlooking of any negative yet ephemeral consequences of modernity. These ideas were underscored by the original exhibition of London Bridge with another work by Hunt in which light plays a key role in producing meaning: The Afterglow in Egypt. [ABSTRACT FROM AUTHOR]

The article discusses Joshua Reynolds' 1786 portrait painting of John Barker, chairman of Ramsgate Harbour in Kent, England. An overview of Barker's life and career is provided. Barker sat for Reynold's painting on February 15, 23 and 24, and again on March 9 and 17, with a final session on April 7. Being an enlightened, philanthropist, and a patron of the arts who dedicated almost his whole life to a wide range of marine affairs, the portrait of Barker represents a man of considerable personality and influence.

The article focuses on the paintings of Joseph Wright that portray the geological research made in Derbyshire, England, particularly the study made by John Whitehurst. Wright and Whitehurst had been household friends and their relationship shapes the success of their destiny. In the later years, Whitehurst published his research literature "An Inquiry into the Original State and Formation of the Earth," in 1778. It depicts his enquiry on earth's strata that became Wright's subject of interest.

The article cites English topographical paintings in the period of 1660-1740. The topographical paintings of English country houses were said to have appeared in considerable numbers in the second half of the 17th and the first half of the 18th centuries. Such paintings are said to have provided architectural historians with valuable evidence of architectural schemes and gardens. The paintings depicted houses, gardens, and sometimes the surrounding demesne. The space, status and gender in English topographical paintings during the period are discussed.

The article explores the sub-category of the rural poor, mainly in terms of the way it was constructed from the viewpoint of elite culture, that is, in art. It examines artistic social preferences in the representation of the dress of the rural poor in London, England. It discusses the advantages of paintings as an important source of information for the historian of dress over other visual sources, such as newspaper illustrations and most prints. The article also focuses on two important principles, which include the aesthetic, nostalgic preference for the picturesque.

Analyzes William Holman Hunt's painting 'The Hireling Shepherd.' Moral values of the painting; Portrayal of the rural society in the painting; Aesthetic and ideological framework of the painting.

Discusses the background of the creation of the painting, 'Harlot's Progress,' by 18th-century English artist, William Hogarth. Indications that every step Hogarth took in the early stages of his career have been calculated to encourage the aristocracy's interest in him; Hints at a reversal in the artist's fortunes which probably should be understood by art historians as the sudden falling-off of conversation piece commissions.

The article focuses on the reviews of English prints in German journals, from 1750 to 1800. It states that the discovery of an unnoticed series of reviews of these prints in the "Bibliothek der schönen Wissenschaften und der freyen Künste" (Bibliothek) provides the information needed to study English prints in the context of contemporary publications. A list several German journals which published reviews of the latest English prints in the second half of the eighteenth century is presented. It is inferred that a more common complaint among German reviewers concerned the prices of English prints. According to the article, the reviews published in the "Bibliothek" are a graphic illustration of the extent and nature of German appreciation of the English school of painting.

The article focuses on Jonathan Richardson's collection of paintings, on Lord Somers' collection of drawings and on the early art-historical writings in England. It is said that Richardson's collection features the attitudes in collecting during the early eighteenth century and is arranged just the same as Lord Somers' collection. It is stated by the author that Lord Somers has become a serious collector of drawings only towards the end of his life and that literature had been his primary leisure interest. The author also suggests that the progress of painting and drawing that was particularly of British preoccupation is also manifest in English art-writings of the late seventeenth and early eighteenth centuries.

The article focuses on the Elizabethan manuscript programs for allegorical paintings in the Sloane collection of the British Library in London, England. It is said that the manuscript programs have been known to historians of Tudorian visual arts from their listing in the manuscript catalogue of the Sloane Collection as instruction to painters. According to the author, although none of the manuscripts is expressly dated, still the topical references, costumes, furnishings, watermarks and handwritings are all logical with a provisional dating for the Sloane collection group of 1575-1600. Discussions on the manuscripts and their principal features are presented.

The article discusses the different picture frames used for various rooms at Ham House. The earliest frame at Ham is the small tondo, which is said to be from the late sixteenth century. In the Restoration period, gilded frames were said to be favored for portraits, such as the Sunderland frames in the Long Gallery at Ham, while mythological paintings used carved oak frames. In the 1670s, various rooms at Ham, such as the Queen's Bedchamber and Queen's Closet used gilded frames, whereas other rooms used grained or marbled frames to conform with the panelling. The frames at the staircase and the Inner Hall are of carved stained oak, which is said to complement the carvings on the staircase.

The article presents a reading of "To Tirzah," a late addition to the "Songs of Innocence and of Experience," in order to apprehend William Blake's sublime aesthetic in plates 1, 25, 91 and 95. It also presents "The Slaveship: Slavers Throwing Overboard the Dead and Dying: Typhoon Coming On," by J. M. W. Turner as an exemplar of the sublime in English painting. It mentions that one can clearly discern an attempt to portray all the physical force and emotional impact of the instant of the sublime in Turner's The Slaveship. The sublime of Burke can be thought of as having two components including a sublime object that is materially unquantifiable and a subject that feels terror at the sight of the object.

Discusses the similarities in the works of English painter William Hogarth and American author Stephen Crane. Focus on the element of slum life and intemperance; Observation on the mental and physical degeneration of the parents.