Diaporama

Conférence

Notice

Langue :

Anglais

Crédits

Jean JIMENEZ (Réalisation), Université Toulouse-Jean Jaurès-campus Mirail (Production), SCPAM / Université Toulouse-Jean Jaurès-campus Mirail (Publication), John Chu (Intervention)

Conditions d'utilisation

DOI : 10.60527/z44g-ed42

Citer cette ressource :

John Chu. UT2J. (2015, 3 décembre). The many peopled wall: Fancy Pictures and Annual Exhibitions in Eighteenth-Century London / John Chu , in Fancy-Fantaisie-Capriccio: Diversions and Distractions in the Eighteenth Century. [Vidéo]. Canal-U. https://doi.org/10.60527/z44g-ed42. (Consultée le 3 juin 2024)

The many peopled wall: Fancy Pictures and Annual Exhibitions in Eighteenth-Century London / John Chu

Réalisation : 3 décembre 2015 - Mise en ligne : 15 octobre 2016

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Descriptif

The many peopled wall: Fancy Pictures and Annual Exhibitions in Eighteenth-Century London / John Chu, in colloque international organisé, sous la responsabilité scientifique de Muriel Adrien, Melissa Percival et Axel Hémery, par l’Université Toulouse Jean Jaurès et l’Université d’Exeter. Toulouse, Musée Paul-Dupuy, 3-4 décembre 2015.

One of the defining developments of metropolitan visual culture in the eighteenth century was the advent of regular exhibitions of art presenting large numbers of pictures for perusal by a leisured public. This paper explores the impact of this burgeoning exhibiting culture on the art of the English fancy picture. Through a close reading of three fancy pictures exhibited in a single year soon after the establishment of such showcases in London, an account is provided of the ways in which painters on this format responded to the challenges and opportunities of this new situation. One of these works, namely Joseph Wright of Derby’s Lecture on the Orrery (Derby Museum and Art Gallery), is extremely well known while the other two – Nathaniel Hone’s Boy deliberating on his drawing (Ulster Museum) and Henry Morland’s Lady reading by a lampshade (Yale Center for British Art) – will be unfamiliar to many. Visual comparison and contrast between these art works and analysis of associated documentation will provide answers to a series of interconnected questions. What, for example, prompted artists to turn to this art form in these highly competitive circumstances in the first place? How were the public encouraged to distinguish fancy pictures from other closely related art forms? And what link can be made between the thematic and stylistic departures taken by the English fancy picture at this date and these vibrant but unpredictable new forums for artistic appreciation and entertainment?

Intervention

Chu

John

Conservateur au National Trust en Grande Bretagne (2015)

Thème

Disciplines :

Documentation

Références documentaires

CHU, John (2015). Les fenêtres du possible : la figure de fantaisie et l’esprit d’entreprise au début du XVIIIème siècle, in Melissa Percival, Axel Hémery, Figures de fantaisie [catalogue], Toulouse, Musée des Augustins, 2015.

Musée des Augustins (2015). Ceci n'est pas un portrait. Figures de fantaisie de Murillo, Fragonard, Tiepolo..., dossier de presse de l'exposition. Toulouse, Musée des Augustins, novembre 2015-mars 2016, 29 p. [En ligne : http://www.augustins.org/documents/10180/26194115/Dossier_presse_figures_fantaisie.pdf].

PERCIVAL, Melissa (2012). Fragonard and the Fantasy Figure: Painting the Imagination. Farnham (UK), Ashgate Publishing Limited, 304 p.

> Voir aussi la bibliographie à télécharger dans l'onglet "Documents".

Liens

Le website dédié au colloque "Fancy-Fantaisie-Capriccio: Diversions and Distractions in the Eighteenth Century" (Toulouse
3-4 décembre 2015).