A Guide to Eighteenth Century Art

These Determinations to be pleas’d with any Forms, or Ideas which occur to our Observation, the Author choo ...

hedonism, or the pleasures of the physical senses, particularly the eye, which was to be entertained by “chas ...

paintings became exercises in his own creativity, as he invented stories, dialogues and witty anecdotes prompt ...

William Kent and others who sought familiarity with art without aspiring to the exclusive, specialist domain of t ...

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Figure 4.1 Johan Zoffany: Charles Townley and Friends in His Library at Park Street, Westminster, oil on canvas, ...

backgrounds who were tired of anodyne or elitist commentaries on art. Libelles thrived on parody, the burlesqu ...

academies. Most art criticism in France was related to the Salon exhibitions and these provided the main opportun ...

establishment could rally its support if under attack. La Font’s rare, virulent assault on contemporary art ...

Questions of Modernity The unprecedented growth in the eighteenth century of art criticism and aesthetics further e ...

5 Seeking a Moral Order: The Choice between Virtue and Pleasure Art as a School of Morals The process of viewing ...

the “superficial” pleasures of the senses and the deeper joys of moral consciousness. Further to this was the ...

increasingly divergent art market. As nations developed their empires, neoclassical values of beauty and mora ...

A sound and thorough Sense of Beauty, Greatness, and Order in Nature, in Life, or in the fine Arts, will ...

represented a partdraped female figure whose “dress” was considered indecent as it achieved little more than ...

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Figure 5.1 JeanAntoine Houdon: Winter, or The Chilly Woman, marble, height 145 cm, 1783. Musée Fabre, Montpellier. S ...

selfcentered forms of artifice, altering their physical appearance, for example, through fashion, hairdressin ...

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Figure 5.2 Goya (Francisco de Goya y Lucientes): Plate 41 from “Los Caprichos”: Neither more nor less ...