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Author: Susan Jenkins Publisher: Routledge ISBN: 1351909886 Category : History Languages : en Pages : 406
Book Description
Once described as 'England's Apollo' James Brydges, first Duke of Chandos (1674-1744) was an outstanding patron of the arts during the first half of the eighteenth century. Having acquired great wealth and influence as Paymaster-General of Queen Anne's forces abroad, Chandos commissioned work from leading artists, architects, poets and composers including Godfrey Kneller, William Talman, Sir John Vanbrugh, Sir James Thornhill, John Gay and George Frederick Handel. Despite his associations with such renowned figures, Chandos soon gained a reputation for tasteless extravagance. This reputation was not helped by the publication in 1731 of Alexander Pope's poem 'Of Taste' which was widely regarded as a satire upon Chandos and Cannons, the new house he was building near Edgware. The poem destroyed Chandos's reputation as a patron of the arts and ensured that he was remembered as a man lacking in taste. Yet, as this book shows, such a judgement is plainly unfair when the Duke's patronage is considered in more depth and understood within the artistic context of his age. By investigating the patronage and collections of the Duke, through an examination of documentary sources and contemporary accounts, it is possible to paint a very different picture of the man. Rather than the epitome of bad taste described by his enemies, it is clear that Chandos was an enlightened patron who embraced new ideas, and strove to establish a taste for the Palladian in England, which was to define the Georgian era.
Author: Susan Jenkins Publisher: Routledge ISBN: 1351909886 Category : History Languages : en Pages : 406
Book Description
Once described as 'England's Apollo' James Brydges, first Duke of Chandos (1674-1744) was an outstanding patron of the arts during the first half of the eighteenth century. Having acquired great wealth and influence as Paymaster-General of Queen Anne's forces abroad, Chandos commissioned work from leading artists, architects, poets and composers including Godfrey Kneller, William Talman, Sir John Vanbrugh, Sir James Thornhill, John Gay and George Frederick Handel. Despite his associations with such renowned figures, Chandos soon gained a reputation for tasteless extravagance. This reputation was not helped by the publication in 1731 of Alexander Pope's poem 'Of Taste' which was widely regarded as a satire upon Chandos and Cannons, the new house he was building near Edgware. The poem destroyed Chandos's reputation as a patron of the arts and ensured that he was remembered as a man lacking in taste. Yet, as this book shows, such a judgement is plainly unfair when the Duke's patronage is considered in more depth and understood within the artistic context of his age. By investigating the patronage and collections of the Duke, through an examination of documentary sources and contemporary accounts, it is possible to paint a very different picture of the man. Rather than the epitome of bad taste described by his enemies, it is clear that Chandos was an enlightened patron who embraced new ideas, and strove to establish a taste for the Palladian in England, which was to define the Georgian era.
Author: Tim Bonyhady Publisher: Pantheon ISBN: 0307906817 Category : History Languages : en Pages : 409
Book Description
Vienna and its Secessionist movement at the turn of the last century is the focus of this extraordinary social portrait told through an eminent Viennese family, headed by Hermine and Moriz Gallia, who were among the great patrons of early-twentieth-century Viennese culture at its peak. Good Living Street takes us from the Gallias’ middle-class prosperity in the provinces of central Europe to their arrival in Vienna, following the provision of Emperor Franz Joseph in 1848 that gave Jews freedom of movement and residence, legalized their religious services, opened public service and professions up to them, and allowed them to marry. The Gallias, like so many hundreds of thousands of others, came from across the Hapsburg Empire to Vienna, and for the next two decades the city that became theirs was Europe’s center of art, music, and ideas. The Gallias lived beyond the Ringstrasse in Vienna’s Fourth District on the Wohllebengasse (translation: Good Living Street), named after Vienna’s first nineteenth-century mayor. In this extraordinary book we see the amassing of the Gallias’ rarefied collections of art and design; their cosmopolitan society; we see their religious life and their efforts to circumvent the city’s rampant anti-Semitism by the family’s conversion to Catholicism along with other prominent intellectual Jews, among them Gustav Mahler. While conversion did not free Jews from anti-Semitism, it allowed them to secure positions otherwise barred to them. Two decades later, as Kristallnacht raged and Vienna burned, the Gallias were having movers pack up the contents of their extraordinary apartment designed by Josef Hoffmann. The family successfully fled to Australia, bringing with them the best private collection of art and design to escape Nazi Austria; included were paintings, furniture, three sets of silver cutlery, chandeliers, letters, diaries, books and bookcases, furs—chinchilla, sable, sealskin—and even two pianos, one upright and one Steinway. Not since the publication of Carl Schorske’s acclaimed portrait of Viennese modernism, Fin-de-Siècle Vienna, has a book so brilliantly—and completely—given us this kind of close-up look at turn-of-the-last-century Viennese culture, art, and daily life—when the Hapsburg Empire was fading and modernism and a new order were coming to the fore. Good Living Street re-creates its world, atmosphere, people, energy, and spirit, and brings it all to vivid life.
Author: Publisher: Penn State Press ISBN: 9780271048147 Category : Art Languages : en Pages : 304
Book Description
To whom should we ascribe the great flowering of the arts in Renaissance Italy? Artists like Botticelli and Michelangelo? Or wealthy, discerning patrons like Cosimo de' Medici? In recent years, scholars have attributed great importance to the role played by patrons, arguing that some should even be regarded as artists in their own right. This approach receives sharp challenge in Jill Burke's Changing Patrons, a book that draws heavily upon the author's discoveries in Florentine archives, tracing the many profound transformations in patrons' relations to the visual world of fifteenth-century Florence. Looking closely at two of the city's upwardly mobile families, Burke demonstrates that they approached the visual arts from within a grid of social, political, and religious concerns. Art for them often served as a mediator of social difference and a potent means of signifying status and identity. Changing Patrons combines visual analysis with history and anthropology to propose new interpretations of the art created by, among others, Botticelli, Filippino Lippi, and Raphael. Genuinely interdisciplinary, the book also casts light on broad issues of identity, power relations, and the visual arts in Florence, the cradle of the Renaissance.
Author: Susan Jenkins
Author: Susan Jenkins
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