List of illustrations

  • The Royal Academy Exhibition of 1828
  • The Tribuna of the Uffizi
  • HRH George, Prince of Wales with a Black Servant
  • St. Mary's Church and Somerset House in the Strand
  • Somerset House from the Thames
  • Hôtel des Monnaies, Paris, from the river
  • Salon de 1767
  • Le guichet du Louvre
  • Vestibule, Somerset Place
  • Somerset House, the Great Room, looking north-west
  • Somerset House, west-wing staircase, looking up
  • Somerset House, inscription above the entrance to the Great Room
  • Vue du Salon du Louvre en l'année 1753
  • The Royal Academy Exhibition of 1792: The Great Room, East Wall
  • The Strand Front of Somerset House. Soane Lecture Diagram
  • The Royal Family at the Royal Academy
  • The Royal Academy Exhibition of 1784: The Great Room, North Wall
  • The Royal Academy Exhibition of 1784: The Great Room, East Wall
  • The Royal Academy Exhibition of 1784: The Great Room, West Wall
  • Lady Macbeth Sleepwalking
  • The Apotheosis of Prince Alfred and Prince Octavius
  • HRH George, Prince of Wales
  • John Philip Kemble as Coriolanus
  • Moses Receiving the Laws on Mount Sinai
  • The Royal Academy Exhibition of 1792: The Great Room, North Wall
  • The Royal Academy Exhibition of 1792: The Great Room, West Wall
  • The Royal Academy Exhibition of 1792: The Great Room, East Wall
  • A Lady of Fashion as La Penserosa
  • George III
  • The Celebrated Old Roman Tribune, Dentatus, Making his Last Desperate Effort against his own Soldiers, who Attacked and Murdered him in a Narrow Pass
  • The Exhibition of the Royal Academy of Painting in the Year 1771
  • Catalogue of the Royal Academy, Year MDCCLXXX
  • Preliminary study for Representation of the Exhibition, of Paintings, at Somerset House
  • Representation of the Exhibition, of Paintings, at Somerset House
  • The Exhibition of the Royal Academy, 1787
  • The Exhibition of the Royal Academy, 1787
  • Portraits of their Majesty's and the Royal Family Viewing the Exhibition of the Royal Academy, 1788
  • Portraits of their Majesty's and the Royal Family Viewing the Exhibition of the Royal Academy, 1788
  • Exhibition Room, Somerset House
  • A Shilling Well Laid Out: Tom and Jerry at the Exhibition of Pictures at the Royal Academy
  • The Exhibition Stare Case
  • The Four Continents: America
  • Theory
  • The Exhibition Stare Case
  • Morning Post, and Daily Advertiser, 2 May 1791, front page
  • Morning Chronicle, 8 May 1794, p. 3
  • A Candid Review of the Exhibition (Being the Twelfth) of the Royal Academy, pp. 14–15
  • Death on the Pale Horse
  • Lieutenant-Colonel Bannastre Tarleton
  • The Death of General Wolfe
  • Portraits Painted from Life, Representing Capt. Englefield with Eleven of his Crew Saving Themselves in the Pinnance, from the Wreck of the Centaur, of 74 Guns, Lost Sept. 1782
  • The Murder of Wat Tyler
  • The Nightmare
  • Percival Delivering Belisane from the Enchantment of Urma
  • The Death of Dido
  • The Death of Dido
  • Ixion
  • Perithous, the Son of Ixion, Destroyed by Cerberus
  • Dying Hercules
  • Samson Breaking his Bonds
  • George Canning
  • Returns of the Number of Works of Art Exhibited at the Royal Academy in each of the last ten years (1824 to 1833)
  • The Ladies Waldegrave
  • Self-portrait
  • Self-portrait of Reynolds
  • The Death [or Collapse] of the Earl of Chatham in the House of Lords, 7 July 1778
  • The Long Room, Gallery of Practical Science, Adelaide Street, Strand
  • Lord Grenville
  • Antonio Canova
  • Lord Byron in Albanian Costume
  • Master Lambton
  • William IV
  • The Royal Family
  • Prince Octavius
  • Poedua, Daughter of Oree, Chief of Ulaietea, of the Society Islands
  • Matthew Boulton
  • David Wilkie
  • Miss Croker
  • Lady Elizabeth Whitbread
  • Thomas Telford
  • George IV in his Coronation Robes
  • Sarah (Kemble) Siddons as the Tragic Muse
  • Sarah Siddons as Lady Macbeth and John Philip Kemble as Macbeth
  • Mrs. Jordan as the Comic Muse
  • Mrs. Robinson: Perdita
  • Mrs. Robinson
  • Grace Dalrymple
  • Giovanna Baccelli
  • Sarah Siddons as Isabella
  • Mrs. Siddons as Euphrasia in The Grecian Daughter
  • Mrs. Abington as Roxalana
  • Sarah Siddons with the Emblems of Tragedy
  • The Court for the Trial of Queen Katherine
  • Mrs. Jordan as Hippolita in She Would and She Would Not
  • Westminster and Lambeth
  • The Thames from Westminster to Somerset House
  • Section of the Rotonda, Leicester Square, in which is exhibited two panorama's on two different floors
  • Plan and Section for Arrowsmith's Diorama Building, London
  • Diorama: Effect of Snow Seen through a Ruined Gothic Colonnade
  • The Eidophusikon
  • A View of Coalbrook Dale by Night
  • Kirkstall Abbey
  • The Beach at Brighton, the Chain Pier in the Distance
  • South-western view of Loch Lomond
  • South-western view of Ben Lomond
  • Dedham Vale: Morning
  • Rome, from the Vatican. Raffaelle, accompanied by La Fornarina, preparing his Pictures for the Decoration of the Loggia
  • Alpine Scene: Morning
  • Alpine Scene: Night
  • Mortlake Terrace, the Seat of William Moffatt, Esq., Summer's Evening
  • Seat of William Moffatt, Esq., at Mortlake. Early (Summer's) Morning
  • An Attempt to Illustrate the Opening of the Sixth Seal
  • Snow Storm: Hannibal and his Army Crossing the Alps
  • Decline of the Carthaginian Empire – Rome being determined on the overthrow of her Hated Rival, demanded from her such Terms as might either force her into War, or ruin her by Compliance: the Enervated Carthaginians, in their Anxiety for Peace, consented to give up their Arms and their Children
  • Ulysses Deriding Polyphemus – Homer's Odyssey
  • J. M. W. Turner Painting in Somerset House
  • Dido Building Carthage, or the Rise of the Carthaginian Empire
  • The Burning of the Houses of Lords and Commons, 16 October 1834
  • Venice from the Dogana
  • Bridge of Sighs, Ducal Palace and Custom-House, Venice: Canaletti Painting
  • Helvoetsluys
  • The Opening of Waterloo Bridge (Whitehall Stairs, June 18th 1817)
  • Salisbury Cathedral from the Meadows
  • Van Goyen Looking Out for a Subject
  • Watteau Study by Fresnoy's Rules
  • Jessica
  • The Opening of London Bridge
  • The Opening of London Bridge
  • The Truants Discovered
  • The Benevolent Sportsman
  • Theh Village Politicians
  • The Blind Fiddler
  • The Card Players
  • Rent Day
  • The Cut Finger
  • Returning from the Ale-House
  • The Reading of the Will Concluded
  • The Fight Interrupted
  • Blind Man's Buff
  • The Reading of the Will
  • Distraining for Rent
  • Chelsea Pensioners receiving the London Gazette Extraordinary of Thursday June 22nd, 1815, Announcing the Battle of Waterloo!!!
  • Figure of a Child
  • Princess Charlotte
  • A Sketch for a Colossal Statue of Britannia Triumphant, Proposed to be Erected upon Greenwich Hill
  • Model for a monument to the late Josiah Webbe, Esq.
  • Instruct the Ignorant
  • Pastoral Apollo
  • The Progress of Navigation
  • Satan Overcome by St. Michael
  • John Horne Tooke
  • The Flaxman Room, Duchess Street
  • Maternal Leave
  • Hebe
  • The Sleeping Children
  • Bowler
  • Peasant Girl
  • Monument to Dr. James Anderson
  • Affection
  • The Dream of Horace
  • The Brave Burghers of Calais
  • Caernarvon Castle
  • Beddgellert
  • The Bishop of Durham
  • Detail of The Exhibition of the Royal Academy 1787
  • The Royal Academy Exhibition of 1792: The Great Room, East Wall
  • Sir Francis Chantrey
  • Lord Paget
  • Ancient Beech Tree
  • Exhibition of Water Coloured Drawings, Old Bond Street
  • The Library at Tottenham, the Seat of B. G. Windus, Esq., Showing His Collection of Turner Watercolors
  • The Gatehouse of Battle Abbey
  • Queen Square, London
  • Fronts and Section of a Nobleman's Country Seat
  • The Tomb of Merlin
  • A Casine for a Gentleman's Park
  • A Design for a Bridge, in the Manner of the Palladian Bridge . . . at Wilton
  • Elevation of a Mausoleum
  • Plan of a Mausoleum
  • South-east View of the House now Building at Roseneath, Dumbartonshire . . .
  • Design for Laverstoke Parl, Hampshire, for Henry Portal
  • Projected Design for Fonthill Abbey, Wiltshire
  • Vestibule, at the Bank of England; the Great Hall, Bentley Priory; and the Withdrawing Room at Wimpole
  • The Elevation, Plan . . . Section and other Parts of a Design for a National Monument . . .
  • An Architectural Study: Subject, the Picture Gallery and Mausoleum of the Late Sir Francis Bourgeois, at Dulwich
  • A Groupe of Churches, to Illustrate Different Styles of Architecture
  • A Design for a National Entrance into the Metropolis, Intended to Combine the Classical Simplicity of the Grecian Architecture, the Magnificence of the Roman Architecture, and the Fanciful Intricacy and Playful Effects of the Gothic Architecture
  • Designs to Combine in the Same Uniform Style of Architecture, the Entrances into Hyde Park, St. James's Park, and the Western Entrance into the Metropolis . . .
  • Sketch of the First Design for a New State-Paper Office, to be Erected in Duke-Street, Westminster
  • A Bridge of Magnificence: View from the Entrance on the Bridge
  • A Bird's-Eye View of the Bank of England
  • Architectural Visions of Early Fancy, in the Gay Morning of Youth; and Dreams in the Evening of Life
  • Architectural Ruins, – a Vision
  • The Death of Major Peirson
  • Georgiana, Duchess of Devonshire as Cynthia
  • The Death of Chatham
  • The Death of Lord Viscount Nelson
  • The Dead Soldier
  • Apollo (Attended by the Muses) Granting Long Life to the Cumean Sibyl
  • The Duke of Wellington on Horseback
  • Mrs. Siddons in the Character of the Tragic Muse
  • Portraits of HRH the Princess of Wales and Princess Charlotte
  • Scene from The Tempest
  • Countess Lieven
  • Samson Breaking his Bands
  • A Midsummer Afternoon with a Methodist Preacher
  • Sir William Chambers, Joseph Wilton and Sir Joshua Reynolds
  • Detail of The Royal Academy Exhibition of 1784: The Great Room, North Wall
  • Detail of The Exhibition of the Royal Academy, 1787
  • View of Windermere near the Ferry – a Sunset
  • Decisive Battle of Alexandria, Fought on 21st March, 1801
  • Landing of the British Troops in the Bay of Aboukir . . . On the 8th of March, 1801
  • Admiral Lord Rodney
  • Portrait of the Artist in his Studio
  • Sarah Sophia, Countess of Jersey
  • Lady Callander and her Son, John Kearney
  • The Murder of the Bishop of Liège
  • The Parish Beadle
  • A Peasant Woman Fainting from the Bite of a Serpent
  • View of Trent in the Tyrol
  • Pilgrims Arriving in Sight of Rome
Free
Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
~THIS BOOK, TOGETHER WITH THE EXHIBITION that it accompanies, examines the history of the Royal Academy exhibitions that took place annually in Somerset House between 1780 and 1836. These years were in many ways the crucial period for British art, a period spanning the last phase of Gainsborough’s career, the Discourses of Sir Joshua...
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
~THIS BOOK WAS WRITTEN to complement a major exhibition at the Courtauld Institute Gallery, which took up residence in Somerset House in 1990. For a variety of reasons – but mainly because the Gallery’s project focused on the Royal Academy exhibitions and not on the individual works that they contained – the decision was made at an early...
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
THE YEAR 1780 MARKED THE BEGINNING OF an important new chapter in the history of England’s Royal Academy of Arts, founded in December 1768. For the first eleven years of its existence the Academy had held its annual exhibitions in rented premises in Pall Mall, while conducting its pedagogical and administrative operations in a run-down suite of rooms in Old Somerset House...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
AT THE FIRST ROYAL ACADEMY EXHIBITION to be held in Somerset House, few works generated more curiosity than Johann Zoffany’s view of the Tribuna of the Uffizi (fig. 2), the opulent hexagonal gallery built to hold the...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
NEW SOMERSET HOUSE WAS A BUILDING with a programme. At a practical level it was intended primarily for the housing of public offices, the need for which was the result of a growth in the machinery of government characteristic of modernizing states in the later seventeenth and eighteenth...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
PUTTING ON THE ANNUAL Royal Academy exhibitions in Somerset House proved more often than not to be a highly complicated business, dogged by practical difficulties, poor organization, and more than the occasional personal crisis. Huge numbers of exhibits were involved: the 489 works shown in 1780 had grown to...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
THE ADVENT OF ANNUAL ART EXHIBITIONS IN England during the second half of the eighteenth century helped stimulate certain fundamental shifts in the nature of contemporary artistic production; but their impact on the development of the viewing public proved at least equally profound. Exhibitions provided their spectators with ideological and aesthetic instruction, in part by generating a...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
THOMAS ROWLANDSON’S DRAWING, The Exhibition Stare Case (c.1800;The drawing has been dated c.1800 by John Hayes, in The Art of Thomas Rowlandson, Alexandria, Virginia 1990, 72. fig. 41), is surely one of the wittiest images ever produced on the subject of...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
ON TUESDAY, 27 APRIL 1784, the Public Advertiser joined a host of other London newspapers in announcing that ‘the EXHIBITION’ – by which it meant the Royal Academy exhibition –...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
THE OPENING OF THE NEW ROYAL ACADEMY at Somerset House in 1780 can be seen as a moment of triumph for officially ordained high culture in Britain. With its exuberant and sophisticated use of the classical orders, the building itself constituted an exultant proclamation of the Academy’s privileged relationship with the elevated cultural traditions of ancient Greece and Rome,...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
PORTRAITURE WAS THE ROYAL ACADEMY’S source of sustenance and its pervasive poison. Blamed for the failure of history painting and viewed as a sign of...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
IN THE WINTER OF 1782/83 the actress Sarah Siddons marked her return to the Drury Lane Theatre by appearing eighty times in seven different parts. She opened in one of her most famous roles, as Isabella, the heroine of Garrick’s eponymous...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
REMARKING ON THE SIZE OF SOME of the entries in the Academy’s exhibition at Somerset House in 1818, the reviewer for the Literary Gazette...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
Three days or more according to the convenience of the arrangement… shall be allowed to all Members of the Royal Academy...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
THE HISTORY OF REGULAR PUBLIC ART EXHIBITIONS in London began in the early 1760s with scenes of turbulent confusion. Not only were there too many people, but there were too many viewers of the wrong sort; writing on behalf of the artistic...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
ALAS, POOR SCULPTURE! Relegated to the nether regions of the Royal Academy exhibitions, sculpture suffered greatly by comparison with the sister art of painting, whose virtual monopoly of the Great Room also ensured that...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
THOUGH THE TITLE OF THIS CHAPTER may sound simple and straightforward, it is, in fact, fraught with problems of definition. Specifically, the term ‘watercolourist’ is generally understood today to cover those fine artists who specialize in using the watercolour medium on paper, but this meaning did not...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
ON FRIDAY, 3 MAY 1776 the Morning Post, and Daily Advertiser carried a remarkable column-length introduction to a review by ‘Philo-Architectus’ of ‘the architectural Designs now exhibiting at the Royal Academy in Pall Mall’.I am indebted to Anne...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
WHAT HAS COME TO BE CALLED ‘the engravers’ battle’ is a fairly well-known episode in the history of British art: the newly founded Royal Academy refused to grant full academic status to engravers, sparking...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
AT LEAST 250 FOREIGN EXHIBITORS CONTRIBUTED to the Royal Academy exhibitions at Somerset House (for a breakdown see p. 253, Tables 1 and 2). Though a small proportion of the overall number of contributors, their presence raises a number of...

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
NO JUDICIOUS FRIEND OF THE ARTIST would maintain, that the voice of the public is the voice of true taste, or that a fickle and partial multitude would be likely to encourage the artist to attempt the nobler departments of painting.’Johann David Passavant, Tour of a German Artist in England, trans....

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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
Tables
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
Wall Diagrams
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
Photograph Credits
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Description: Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
Index
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Art on the Line: The Royal Academy Exhibitions at Somerset House 1780–1836
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