RIN’s summer event took place on one of the hottest evenings of the year, but a great crowd turned out to hear Frederick Burwick’s public lecture ‘Staging Shakespeare: picturing Shakespeare’s plays in the 18th and 21st centuries’.
A renowned expert on the Boydell Shakespeare Gallery, Burwick’s starting point was the question: what relevance are the Boydell prints to the staging of Shakespeare?
His answer, in contrast to Richard Altick’s (in Painting From Books, 1985) is: quite a lot.
Burwick picked out 27 images which showed that many (not all) of the Boydell prints in fact have a close affinity with what a London audience might have witnessed on stage at the end of the 1700s.
He showed that, because many of the original paintings were done by artists who were also scene painters, the prints are a useful guide to what the 18th century stage would have looked like. Northcott and others asked actors such as Kemble to pose in their studios in role, and the paintings conform to the language of gesture in use on the stage at that time.
Indeed, Burwick’s lecture made it clear that the Boydell images remained an influence on subsequent Shakespeare productions, as Burwick drew comparisons with 20th and 21st century stagings.
RIN member Fred Burwick will share his expert knowledge of the Boydell Shakespeare Gallery, opened in Pall Mall in 1789. The talk will examine the extent to which any of the scenes in the Boydell Gallery might be presumed to represent how Shakespeare was actually performed during the period, and also consider present-day models of representation.
Prints from the Gallery will be on view, as well as a display about Shakespeare.
To book, contact: City of Westminster Archives Centre, 10 St Ann’s St,London, SW1P 2DE
Tel: 020 7641 5180
Ian Hislop, satirist, broadcaster, historian, and editor of Private Eye, chats to Roehampton’s Dr Mary L. Shannon about his new radio play ‘Trial by Laughter’ (co-written with Nick Newman) which dramatizes the trial of William Hone for libel in 1817, press freedom, and the importance of satirical images in the nineteenth century.
Click here to access the podcast and to get the full story.
Published jointly by the Paul Mellon Centre for Studies in British Art and the Yale Centre for Studies in British Art, British Art Studiesis a new online, open access, peer-reviewed journal for new research and scholarship of the highest quality on all aspects of British art, architecture and visual culture in their most diverse and international contexts.
British Art Studies is one of the few completely open access journals in the field of art history, providing a forum for the growing debate about digital scholarship, publication and copyright. The Editorial of the first issue is an interesting summary of the aims and digital strategies of the journal.
Birkbeck Forum for Nineteenth-Century Studies Spring 2016 Programme
The first event of the spring term for the Birkbeck Forum for Nineteenth-Century Studies will feature Marta Weiss (Victoria & Albert Museum) presenting on ‘Julia Margaret Cameron: New Discoveries’ with Colin Ford (Former head of the National Museum of Photography, Film and Television) responding. This event is presented in collaboration with the History and Theory of Photography Research Centre at Birkbeck, and will take place Tuesday 26 January 2016 from 6.00pm to 8.00pm in the Keynes Library, 43 Gordon Square, London, WC1H 0PD.
This seminar will explore the new material Martha Weiss discovered while researching the current must-see exhibition at the Victoria and Albert Museum, marking the bicentenary of the birth of Julia Margaret Cameron, 150 years after she first exhibited her work there. Colin Ford has worked extensively on this important photographer, most notably in the comprehensive catalogue Julia Margaret Cameron: Complete Photos (Getty, 2002).
The session is free and all are welcome, but since the venue has limited space it will be first come, first seated.
Romantic London is a research project by Dr Matthew Sangster (Birmingham) exploring life and culture in London around the turn of the nineteenth century using Richard Horwood’s pioneering ‘PLAN of the Cities of LONDON and WESTMINSTER the Borough of SOUTHWARK, and PARTS adjoining Shewing every HOUSE’ (published between 1792 and 1799). It considers the ways in which the writers and works later grouped under the umbrella of Romanticism interacted with London’s communities and institutions while also examining a wide range of alternative approaches to representing and organising urban existence.
The site is based around a digital version of Horwood’s Plan laid over and georeferenced to modern maps of the city; this allows for detailed examinations and comparisons. As well as considering the Plan and its creator, the site is using Horwood’s work as a means of thinking about the ways in which writers, publishers and artists sought to communicate insights into London’s general character and particularities. By using Horwood’s Plan as a base map and adding other kinds of information to it using annotated markers, the site reflects upon the social, geographical and aesthetic assumptions made in late eighteenth- and early nineteenth-century attempts to make sense and art of the burgeoning metropolis.
Texts brought into conversation with Horwood’s Plan on the site at present include:
•Entries from the dual-language New Guide for Foreigners prepared around 1790 and sold by the printseller S.W. Fores from his shop opposite the Paris Diligence office.
•Descriptions and images from Modern London, an 1804 publication put together by the radical publisher Richard Phillips, which included two sets of plates of the city, one showing major landmarks, the other showing itinerant traders hawking their wares in more out-of-the-way locations.
•The lavish aquatints from Rudolf Ackermann’s Microcosm of London (1808-10), engraved from collaborations between the artist and architectural draftsman Auguste Charles Pugin and the uproarious caricaturist Thomas Rowlandson.
•The text of the 1788 edition of Harris’s List of Covent-Garden Ladies, a disreputable register of London prostitutes.
The site at present is a work in progress; there are a great number of additions still to be made. You can follow the changes and developments on the site’s blog.
The William Blake Archive is pleased to announce a new wing of the Archive, which contains searchable HTML and PDF editions of thirty-nine past issues of Blake/An Illustrated Quarterly <http://www.blakearchive.org/blake/main.html> published from 2000 through 2009. These issues are accessible via the second entry on the home page, just below “Works in the Archive.” The PDF versions present the journal as originally published, but the HTML versions are re-implemented with many full-colour images from the Blake Archive, making it possible for users to link directly to the Archive for those works that have been published in the Archive.
This publication is the first installment of the Archive’s ongoing project of making freely available and fully searchable over four decades of past issues of Blake/An Illustrated Quarterly, thus making public some of the most important scholarly work done in Blake studies over the past half-century. Issues published within five years of the current issue will remain available only to those who subscribe to the journal <http://blake.lib.rochester.edu/blakeojs/index.php/blake>.
As always, the William Blake Archive is a free site, imposing no access restrictions and charging no subscription fees. The site is made possible by the University of North Carolina at Chapel Hill with the University of Rochester, the continuing support of the Library of Congress, and the cooperation of the international array of libraries and museums that have generously given us permission to reproduce works from their collections in the Archive.
Morris Eaves, Robert N. Essick, and Joseph Viscomi, editors Joseph Fletcher, project manager, Michael Fox, technical editor The William Blake Archive
This volume is dedicated to both excavating the Romantic genealogies of visuality and charting directions for the ways in which the study of Romantic visual culture may redraw the geographic, temporal, and
disciplinary bounds of Romanticism, bringing diverse, and in some instances
new, objects and their ethical, political, and aesthetic stakes into view.
The essays investigate three broad inquiries: 1) technologies of vision and
objectivity’s slippages; 2) the indigenous or transplanted fruits of
visuality’s New World Genealogies and 3) the role of proto-photography,
panopticism, and slavery in the spectral formation of Romantic visuality.
Emphasizing the ways we interpret visuality in romantic culture, the volume
invites reconsideration of media, practices, and discourses that would seem
to belong to earlier and later periods—from the artifacts and modes of
viewing attached to curiosity and to technologies and ways of imaging and
imagining that have become aligned with photography and the digital. The
volume includes an editor’s introduction by Theresa M. Kelley and Jill H. Casid, with essays by Sophie Thomas, Marcus Wood, Matthew Francis Rarey, Kay Dian Kriz,, and Lucy Kamiko Hawkinson Traverse.