Painting Shakespeare: The Artist as Critic, 1720-1820Cambridge University Press, 2006 M02 23 - 337 pages Painting Shakespeare explores the tradition of critical and interpretive painting and engraving that developed when eighteenth-century artists rejected the depiction of Shakespeare's plays in performance to produce images based on the new scholarly editions. The opening chapter locates Shakespeare painting alongside contemporary performance, editing and criticism, and discusses its relation to art history and practice. The book proceeds to examine Hogarth's use of ironic allusion, and the development of this and other techniques of critical visualisation by artists of the succeeding decades. Later chapters discuss the arcane allusions and supernatural visions of Fuseli, the gestural immediacy of Romney, the fluid, critical mythologising of Blake, and the compound subtleties of Reynolds. The book concludes with a study of the Boydell Shakespeare Gallery and the radically new reading practices it constituted. |
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Contents
Placing Shakespeare painting | 1 |
Play iconography and social discourse in Hogarths Shakespeare | 37 |
Landscape readership and convention 174090 | 61 |
Fuseli and the uses of iconography | 98 |
George Romney meditations of a volatile fancy | 133 |
Shakespeare in riper years gave me his hand William Blake | 159 |
General ideas and the familiar pathetic NeoClassical Shakespeare and Joshua Reynolds | 186 |
Common terms and phrases
aesthetic Alexander Runciman apparent artist Blake's Boydell Shakespeare Gallery Boydell's Caliban century Chapter character classical collection comic complex composition concern contemporary convention Cordelia critical reading cultural depiction discourse discussion earlier edition eighteenth-century elements English engraving exploration fairy Falstaff figure Folger Shakespeare Library Francis Hayman Fuseli's Garrick George Romney Hamlet Hayley Hayman Henry Fuseli Hogarth iconographic iconographic allusion iconographic reference identity interpretive Jaques John John Boydell Joshua Reynolds King Lear Lady Macbeth landscape larger later literary London metaphor Mezzotint Midsummer Night's Dream Miranda moral narrative Neo-Classical Oberon offers onlooker painter perhaps Plate play's portraits present prints produced Prospero published Puck reveals Richard Romney's scene seen sexual Shakespeare imaging Shakespeare painting stage style suggests supernatural Tate Britain Tempest textual theatre theatrical Titania tradition treatment trope University Press Untraced Vauxhall visual criticism visualisation wash-drawings Washington D.C. watercolour William Blake witches Wootton's