A Guide to Eighteenth Century Art

among the printmakers who parodied such representations of Academy crowds; for example, by creating a caricature ...

publication in 1747 of La Font de Saint Yenne’s Reflexions (see Chapter 2) the role of the public as activ ...

eighteenthcentury social practices such as the salons: informal gatherings held in private drawing rooms, of ...

would not admit men of commerce to his company. Ironically, it was precisely the burgeoning mercantile classes t ...

The discourses of “politeness” served to unify hitherto disparate elements of the public. The merging of ranks ...

Public consensus on matters of taste remained a fragile, and perhaps unattainable, ideal. This was particul ...

Women at Royal Academy exhibitions were often marginalized as viewers of art, even though they were bec ...

differences and anthropological distinctiveness. Art “publics” were increasingly aware of the colonial territories ...

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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