Painting Shakespeare: The Artist as Critic, 1720-1820
Cambridge University Press, 23.02.2006 - 337 Seiten
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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Placing Shakespeare painting
Play iconography and social discourse in Hogarths Shakespeare
Landscape readership and convention 174090
Fuseli and the uses of iconography
George Romney meditations of a volatile fancy
Shakespeare in riper years gave me his hand William Blake
General ideas and the familiar pathetic NeoClassical Shakespeare and Joshua Reynolds
action allusion apparent approach artist becomes Blake Boydell British century Chapter character classical clear close collection combination complete composition concern contemporary convention critical depiction detail developed direct discussion drawing earlier edition effect elements English engraving established exploration fairy figure Folger Shakespeare Library force further Fuseli Fuseli's Gallery Garrick George hand head Henry Henry Fuseli Hogarth iconographic idea identity illustrated images immediate important individual interpretive John kind King landscape larger later Lear lines London Macbeth meaning moral move Museum narrative nature offers original painting passage performance perhaps Plate play play's political practice present prints produced published reading reference relation reveals Reynolds Richard Romney scene seen setting Shakespeare Shakespeare painting significant single social stage style suggests supernatural textual theatre Titania tradition treatment University visual visualisation witches