A Guide to Eighteenth Century Art

Reynolds was among those prepared to concede that the association of white skin with beauty was merely c ...

which the virtuous black heroine, Yarico, falls victim to the machinations of the wicked Englishman, Inkle. ...

demonstrates an unusual naturalism. The sculpture “Bust of a Man” (1758) by Francis Harwood (active 1748–1783) ...

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Figure 3.7 John Singleton Copley: Head of a Negro, oil on canvas, 53.3 × 41.3 cm, c.1777–1778. Detroit ...

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Figure 3.8 Studio of Francis Harwood: Bust of a Man, black limestone on a yellow marble socle, overall: ...

Weston, 2011, 152–163). Black subjects were consigned, like many female figures, to decorative or eroti ...

101–132). Figure 3.9 John Raphael Smith, after George Morland: Execrable Human Traffic or The Affectionate Slave ...

Cummins, McCrea and Weston, 2011, 288–297). In this respect, however, there was little or no advance on ...

relativist conceptions of “nobility,” “civilization” and “barbarity” in a sideways attack on the European fashion for ...

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Figure 3.10 Johannes or Jan Verelst: No Nee Yeath Tan no Ton, King of the Generath, oil on canvas, 1710 ...

audiences (Quilley, 2011, 42–44). European artists informed their domestic audiences of new additions to B ...

feminine (as well as unBritish) associations with “ornament” (Guest, 1992, 101–134; 2007, 21–22, 68– 69). ...

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Figure 3.11 Sir Joshua Reynolds: Portrait of Omai, oil on canvas, 236 × 145.5 cm, c. 1776. Private collecti ...

Global exploration and the dissemination through art of scenes representing the world beyond Europe were in many ...

4 Taste, Criticism and Journalism Identifying Beauty and Good Taste The concept of taste acquired great signifi ...

isolated, spontaneous responses to art but must evolve as an intellectual attribute, the senses nourishing the m ...