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The Art Institute of Chicago Joseph Wright of Derby: "Self-Portrait in a Fur Cap" Author(s): Judy Egerton Source: Art Institute of Chicago Museum Studies, Vol. 18, No. 2, British Art: Recent Acquisitions and Discoveries at the Art Institute (1992), pp. 112-123+183-184 Published by: The Art Institute of Chicago Stable URL: http://www.jstor.org/stable/4101556 . Accessed: 14/06/2014 07:10 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. . The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Institute of Chicago Museum Studies. http://www.jstor.org This content downloaded from 188.72.127.150 on Sat, 14 Jun 2014 07:10:56 AM All use subject to JSTOR Terms and Conditions

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The Art Institute of Chicago

Joseph Wright of Derby: "Self-Portrait in a Fur Cap"Author(s): Judy EgertonSource: Art Institute of Chicago Museum Studies, Vol. 18, No. 2, British Art: RecentAcquisitions and Discoveries at the Art Institute (1992), pp. 112-123+183-184Published by: The Art Institute of ChicagoStable URL: http://www.jstor.org/stable/4101556 .

Accessed: 14/06/2014 07:10

Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at .http://www.jstor.org/page/info/about/policies/terms.jsp

.JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range ofcontent in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new formsof scholarship. For more information about JSTOR, please contact [email protected].

.

The Art Institute of Chicago is collaborating with JSTOR to digitize, preserve and extend access to Art Instituteof Chicago Museum Studies.

http://www.jstor.org

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Joseph Wright of Derby: Self-Portrait in a Fur Cap

JUDY EGERTON

National Gallery, London

n his person he was rather above the middle size, and, when young, was FIGURE

I.

Joseph Wright of Derby (British, esteemed a handsome man; . . his eyes were prominent and very expres- 1734-1797). Self-Portrait in a Fur Cap, c.

sive,... he was mild, unassuming, modest to an extreme, generous and full 1765/70. Black chalk heightened with white e . g on blue-gray paper; 42.5 x 29.5 cm. The

of sensibility." So Joseph Wright of Derby was piously portrayed in words, Art Institute of Chicago, Clarence Buck- shortly after his death in 1797, by his friend and patron John Leigh Philips. ingham Collection (1990.141). This haunt-

A series of at least eleven self-portraits of the artist, in chalk or in oil, ing self-portrait was practically unknown

presents a more human and more credible picture. In some of his self-por- until its recent acquisition by the Art

traits, Wright seems to be conscious of his links with the great artists of the Institute. It is particularly distinguished for its masterful use of chalk, its subtle

past. In Self-Portrait at the Age of about Twenty, painted around 1753/54, play of light and shadow, and its subject's Wright depicts himself in Van Dyck dress, and with the solemnity of one enigmatic expression. who is privileged to follow a great tradition.' In Self-Portrait at the Age of about Forty (fig. 2), painted around 1772/73, the echoes are Rembrandtesque. Self-Portrait at the Age of about Fifty (fig. io), painted around 1782/85, is the most direct and unaffected of all of Wright's self-portraits, making no

attempt to conceal the toll that his depressive tendencies had taken of him. In addition to these portraits in oil, Wright made a series of informal self- portrait drawings in chalk in which he presented himself in exotic garb and in a romantic, escapist mood that he may have largely suppressed in real life. These chalk drawings offer images of the artist that are far from the "mild, unassuming, modest to an extreme" character of Philips's eulogy.

Wright's preoccupation with producing exotic images of himself may date back to a Portrait Study (fig. 3) probably drawn around I755, when he was just over twenty. It is one of seven recently rediscovered pages of por- trait studies, almost all of which are likely to have been drawn from mezzo- tint engravings, of which Wright had a wide knowledge. This Portrait Study may itself be at least partly based on an unidentified engraving; but, curi- ously, it also appears to be partly a self-portrait. The features are close to Wright's, and the strange headgear, whose feathers or fur echo the form of a laurel wreath, seems to foreshadow the fur hats of Wright's later self- portrait drawings.

The Self-Portrait in a Fur Cap (fig. I) was probably drawn when Wright was in his early to mid-thirties, or at some point between I765 and 1770. Until its recent acquisition by The Art Institute of Chicago, it was generally

II3

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FIGURE 2. Joseph Wright of Derby. Self- Portrait at the Age of about Forty, c.

1772/73. Oil on canvas; 76.2 x 63.5 cm.

England, private collection. The similarities between this self-portrait and Self-Portrait

4 in a Fur Cap (fig. i) indicate that Wright

. probably referred to the earlier work in

""chalk as he conceived the later work in oil.

known only through a small reproduction in Benedict Nicolson's pioneer- ing work Joseph Wright of Derby: Painter of Light; from that inadequate reproduction (perhaps made from an old photograph), the drawing appeared to be comparatively unexciting and in poor condition.2 It now proves to be one of the finest of Wright's self-portraits. It is also a particu- larly good example of his mastery of the medium of chalk, a mastery Wright largely gained through his loving study of mezzotint engravings.

In Self-Portrait in a Fur Cap, Wright used his chalks in the subtly gradu- ated tones of the mezzotinter, who works from dark to light. Using black

chalks, he suggested, with something of the richness of mezzotint burr, the sensuous texture of soft fur above his romantically loose hair. Fur circles his throat and edges his gown, allowing only a glimpse of a carelessly worn collar to show. White chalk heightens the effect of light playing over his face and

pinpointing his eyes. The image is at once Rembrandtesque and pre-Romantic. Within his exotic trappings, Wright turns to face his mirror (and us)

almost head-on. His gaze is steady, with little facial tension. In contempo- rary phraseology, we might say that the artist seems relaxed, were it not for a strangely private and introspective quality about this self-portrait. Wright seems to have retreated into a world of his own, in a lull from the pressures

ii4 EGERTON

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of satisfying sitters, or producing works to be packed off to London for exhibition. In Self-Portrait in a Black Feathered Hat (fig. 4), which must be close in date to the Art Institute drawing, Wright carried introspection to extremes, elaborating the fur cap of the Art Institute drawing into a fantasy of jet-black feathers and producing an extravagant, smoldering-eyed image of himself that seems to be the embodiment of Romantic melancholy.

Now that the Self-Portrait in a Fur Cap has been restored, it is evident that it is closely related to the finest of Wright's self-portraits in oil, the Self- Portrait at the Age of about Forty (fig. 2). There are too many differences for the drawing to be called a study for the oil; not only have the pose and costume changed but, more significantly, Wright looks considerably older in the oil, which may date from about 1772/73, probably at least five years after the chalk drawing. Nevertheless, it is reasonable to suppose that

Wright referred back to the Self-Portrait in a Fur Cap when painting his

Self-Portrait at the Age of about Forty. In the oil, the artist added a deliber-

FIGURE 3. Joseph Wright of Derby. Portrait Study, c. I755/60. Black and white chalk on blue paper; 38.7 x 28.2 cm. Photo courtesy of Agnew's, London.

SELF-PORTRAIT INA FUR CAP I I5

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ate allusion to his practice as a draftsman: he portrayed himself holding a porte-crayon with black chalk at one end and white at the other.

Wright probably drew the Self-Portrait in a Fur Cap sometime between 1765 and 1770. These were the years in which Wright achieved fame, particu- larly through the series of dramatically lit subjects that he exhibited in London at the Society of Artists between 1765 and 1769, which became popularly known as "Mr Wright's candlelights."3 The first to be exhibited, in 1765, was Three Persons Viewing the Gladiator by Candlelight. But the two that received (and still receive) the greatest acclaim were A Philosopher Giving that Lecture on the Orrery, in which a Lamp is put in the place of the Sun, exhib- ited in 1766 (now in the Derby Museum and Art Gallery), and An Experiment on a Bird in the Air Pump, exhibited in 1768 (now in the National Gallery, London). These two works depart strikingly from the polite preoccupations of contemporary conversation pieces; instead, each depicts the varying reac- tions of ordinary people to the demonstration of scientific laws. The art histo- rian Ellis Waterhouse rightly considered An Experiment on a Bird in the Air Pump to be "one of the wholly original masterpieces of British art."4 Both paintings are complex and deeply interesting, and much has been written about them. Here we can pause only over that aspect of these paintings that is directly relevant to the Self Portrait in a Fur Cap-their dramatic lighting.

From the beginning of his career as a professional portraitist in about 1757, Wright had responded lovingly to the play of light over details observed in the normal course of portraiture-a wrinkled sleeve, a lace shawl, or a gleaming sword-hilt.5 His "candlelight" pictures carried this pre- occupation with light and shade much further. In these, Wright deliberately orchestrated chiaroscuro effects throughout an entire subject. By restricting the source of light to a candle or a small lamp (often half concealed), he was able to depict dramatic contrasts of light and shadow on facial expressions, costume, textures, and objects. Sometimes, as in An Experiment on a Bird in the Air Pump he called the moon into play as a secondary source of light. The results might have been merely theatrical, but Wright's observations of light enabled him to harmonize the chiaroscuro effects throughout his pic- tures in a manner that was not only exciting but also credible. It was the lighting in An Experiment on a Bird in the Air Pump that particularly impressed the London Gazetteer's reviewer, who wrote on May 23, 1768, "Mr Wright of Derby is a very great and uncommon genius, in a peculiar way. Nothing can be better understood, or more freely represented, than the effect of candle-light diffused through his great picture."

Similar effects pervade his chalk drawings of the same period. Wright's love of chiaroscuro, in his paintings and drawings alike, was largely derived from his knowledge of engravings. He was particularly drawn toward mezzo-

FIGURE 4. Joseph Wright of Derby. Self- tints, with their strongly contrasted light and shadow. Like many other Portrait in a Black Feathered Hat, c. artists, he taught himself to draw by copying prints. His charcoal copy of a 1765/70. Charcoal heightened with white portrait mezzotint after Allan Ramsay, made at the age of sixteen, skillfully chalk on blue-gray paper; 53.5 x 36.8 cm. emulates the mezzotint technique of working from dark to light tones.6 Derby Art Museum and Gallery. With its Two chalk drawings after Giovanni Battista Piazzetta that Wright made in subtle gradations of light and dark tones and its incorporation of exotic headgear, 1751 must also derive from prints.7 Wright may have been able to study the this drawing has much in common with the very large collection of prints owned by the artist Thomas Smith of Derby.8 Art Institute self-portrait (fig. I). Wright Wright later drew on a wide variety of prints as sources for ideas. His own portrayed himself as introspective in both dramatically lit paintings, particularly the "candlelights" and An Iron Forge of these drawings, but the melancholy and A Blacksmith's Shop of a few years later, in turn inspired engravers such atmosphere of Self-Portrait in a

Blacka Feathered Hat sets it apart from the less as William Pether and Valentine Green to produce some of the very finest somber Self-Portrait in a Fur Cap. mezzotints of the eighteenth century.9

II16 EGERTON

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FIGURE 5. Thomas Frye (British, 1710-1762). Man in a Turban with His Hands Clasped over an Upright Book, 176o. Mezzotint; 50.7 x 35.2 cm. London, private collection.

Frye was a master of the mezzotint whose use of candlelight and exotic clothing in his portraits was a major influence on Wright.

The strongest influence on Wright's work of the 1760s, both on his "candlelight" paintings and on his chalk drawings, was that of Thomas Frye, whom the ceramic manufacturer Josiah Wedgwood described in 1769 as "famous for doing heads in Mezzotinto."'o Frye's eighteen large mez- zotint Heads (the first twelve were published in 1760, and six more were

published in 1761-62) had a powerful influence on Wright. Frye himself advertised his Heads as "drawn from Nature, and as large as the Life, from

Designs in the manner of Piazzetta" (an artist whom Wright already admired). Frye's Heads were in fact more like half-lengths. They lie wholly outside the mainstream of English eighteenth-century portrait engravings. Though drawn from life, the Heads remain anonymous, free from the constraints of portraiture. Most of them are dramatically lit (two by visible candles). In some, the heads are inclined, as if absorbed in study or in the theater, as the mezzotint cataloguer Chaloner Smith suggested (it has more

recently been shown that the theater did indeed influence Wright)."11 In others, exotic attire lends an element of mystery and fantasy.

II8 EGERTON

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Benedict Nicolson illustrated various ways in which Frye's mezzotints

provided Wright with ideas for the construction of heads and gestures for A

Philosopher Giving that Lecture on the Orrery and An Experiment on a Bird in the Air Pump.12 Frye's mezzotints must also have helped to inspire Wright's earlier candlelight pictures, such as Girl Reading a Letter by Candlelight, with a Young Man Peering over Her Shoulder (c. I760-62).13 It seems equally evident that Frye's mezzotints strongly influenced Wright's chalk drawings of the 1760s. Wright may first have encountered Frye's work at the Society of Artists in 1760, when Frye exhibited A Head as Large as

Life; in Mezzotinto, and some portraits in chalk or crayon (all now uniden-

tifiable). If Wright bought (or had access to) some or most of the prints soon after their publication in 1760-62, then his chalk drawings, so power- fully echoing Frye, may be several years earlier than the date of c. 1765-70 so far generally assigned to them. Frye's Man in a Turban with His Hands FIGURE 6. Joseph Wright of Derby. Study of a Young Girl in a Turban and Frilled Clasped over an Upright Book (fig. 5) from the 1760 series is particularly Collar, c. 1768. Black and white chalk with likely to have inspired both the manner and the mood in which Wright stumping on gray paper; 43.8 x 29.2 cm.

approached his own Self-Portrait in a Fur Cap. England, private collection. Three more chalk drawings by Wright, probably also made between

about 1765 and 1770, are close in manner, in mood, and in exotic costume to FIGUR 7. Joseph Wright of Derby. Study ofa Man in a Turban, c. I765/70. Black

the Fur Cap and Feathered Hat self-portraits, and they further illustrate chalk heightened with white on paper; Wright's mastery of the chalk medium. Study of a Young Girl with Feathers 36.2 x 29.9 cm. Yale Center for British Art, in Her Hairl4 is probably related to the painting Two Girls Dressing a Paul Mellon Collection.

SELF-PORTRAITINA FUR CAP I I 9

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Kitten by Candlelight of c. 1768/70. The Study of a Young Girl in a Turban and Frilled Collar (fig. 6) is inscribed (in a contemporary hand, though not Wright's own) ". ..1768" on its original backboard. Such "facts" help, though imprecisely, in dating Wright's chalk studies.

Although its subject is more resolute, Young Girl in a Turban and Frilled Collar (fig. 6)15 seems to share the meditative mood of Wright's Fur Cap self-portrait. Her delicately rippling collar with its thick, soft fringe must have been deeply satisfying to draw. This fringed collar probably came from a drapery chest in Wright's studio, since he used it for each of the young students in his Academy by Lamplight (Yale Center for British Art, Paul Mellon Collection) of 1769, and it appears, with a fringed muslin tur- ban, in the next drawing to be considered here.

The Study of a Man in a Turban (fig. 7) was catalogued by Nicolson among Wright's self-portraits, but the generally heavier face and larger nose are unlike Wright's own features. Man in a Turban is more likely to be related, at least indirectly, to the large picture (90o inches high) that Wright exhibited in 1767 as Portrait of a Gentleman: an image of manliness and roving enterprise, with almost equal elements of fantasy and portraiture, it quickly became known as The Indian Captain. This painting reappeared in

FIGURE 8. Rembrandt Harmensz. van Rijn (Dutch, 1606-i669). Self-Portrait Leaning on a Stone Sill, 1639. Etching; 21 x 16.5 cm. The Art Institute of Chicago, Clarence

Buckingham Collection (1938.1791). Rembrandt was an important influence on British portraiture in the eighteenth century. While Wright may not have seen Rembrandt's paintings, he was probably familiar with the Dutch master's etched

self-portraits, particularly Self-Portrait Leaning on a Stone Sill, which bears a remarkable resemblance to Wright's Self- Portrait at the Age of about Forty (fig. 2).

120 EGERTON

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1971, after the publication of Nicolson's work on Wright; it is now in the collection of the Yale Center for British Art, with the Study of a Man in a Turban. Perhaps all of Wright's chalk portrait studies should be considered as partly anonymous "heads" in Frye's manner. They may be to some extent derived from a model (including the artist himself), but are imbued with a large element of fantasy or romantic license. Some may, in turn, have given him ideas for paintings.

The Self-Portrait at the Age of about Forty (fig. 2) has generally been called "Rembrandtesque,"'16 a term that also applies to the Self-Portrait in a Fur Cap. In both, the pose, costume, and somber lighting suggest the inspi- ration of Rembrandt's self-portraits. Though Wright may never have seen any of the painted versions, he probably knew at least some of the Dutch master's etched self-portraits: his own self-portrait in oil is perhaps closest to Rembrandt's etched Self-Portrait Leaning on a Stone Sill of i639 (fig. 8).17

Wright was not of course alone among eighteenth-century British por- traitists in deriving inspiration from Rembrandt. The exhibition catalogue Rembrandt in Eighteenth-Century England discusses and illustrates numerous examples (though none by Wright) of Rembrandt's continuing influence on British portraits and self-portraits throughout the eighteenth

FIGURE 9. Wallerant Vaillant (Dutch, 1623-1677). Self-Portrait, c. 165o. Oil on canvas; 73.5 x 59.5 cm. Private collection. Photo courtesy of Colnaghi's, London. If

Wright did not see the works of Rembrandt himself, he may have been influenced by the artist through contact with the works of Vaillant. The affinities between the works of Vaillant and Wright are striking, particularly in the comparison of this self-portrait and Wright's Self-Portrait at the Age of about

Forty (fig. 2).

SELF-PORTRAIT IN A FUR CAP 1 21

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century.'s Rembrandt's influence on Wright is thus likely to have been less direct than indirect, through the "Rembrandtesque" work of Wright's British contemporaries, or near-contemporaries. One probable influence on Wright was William Hogarth's portrait of John Pine, engraved in mezzotint by James McArdell in 1755, with the inscription "painted by Mr Hogarth in imitation of Rembrandt."19 Hogarth portrayed Pine in a dark cap and fur- lined coat. The costume and the somber tones (but not of course the pudgy face) are echoed in Wright's Fur Cap self-portrait drawing and painting. The fur cap and fur-edged gown of Wright's drawing, as well as the striped and fringed scarf that he winds about his fur cap in the oil painting, also reflect a prevailing taste for "Persian" or "Turkish" costume, which Aileen Ribeiro identified most interestingly in other contemporary portraiture.20 Wright's taste for "Persian" attire can be seen in several of the chalk draw- ings illustrated here, and also in his painting of the turbaned and misguided young nobleman in Miravan Breaking Open the Tomb of His Ancestors (1772; Derby Art Museum and Gallery), for which Wright's literary source remains unidentified.21

Rembrandt's influence was of course even stronger on Dutch artists. A self-portrait by Wallerant Vaillant (fig. 9) seems to have such an affinity with Wright's oil self-portrait (fig. 2) that it might be thought to have trans- mitted Rembrandtesque influences to Wright.22 But could Wright have seen it? His only excursion abroad was to Italy, in 1773-75; and though Vaillant's self-portrait is known to have been in England at least since 19io, its earlier history is unknown. But Wright evidently knew some of Wallerant Vaillant's engraved work, for Vaillant's mezzotints of boys drawing from classical statues almost certainly inspired Wright's Academy by Lamplight.23 Wright may well have known other self-portraits by Wallerant Vaillant that were engraved in mezzotint, but the self-portrait reproduced here is not known to have been engraved. The stylistic similarity between the self-por- traits of two artists working a century apart may reflect no more than a response by each of them to the stimulus of Rembrandt.

After 1770, Wright's perception of the effects of light remained acute, but he turned to different subject matter: first to industrial scenes such as An Iron Forge or A Blacksmith's Shop, then (during and after his visit to Italy) to paintings of Vesuvius and the fireworks in Rome, and later to rather more softly lit subjects drawn from literature. In the 1770s, Wright found new sat- isfaction in painting landscapes observed under varying skies.24 He seems to have made no more large chalk portrait or self-portrait drawings in the man- ner of those discussed earlier. The Art Institute of Chicago's acquisition of the Self-Portrait in a Fur Cap can thus be acclaimed not only because it is a finely executed drawing, but also because it is a rare example of a portrait of the artist during the most formative and original period of his career.

FIGURE IO. Joseph Wright of Derby.

Self-Portrait at the Age of about Fifty, c. 1782/85. Oil on canvas; 61.6 x 52.7 cm.

London, National Portrait Gallery.

122 EGERTON

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SELF-PORTRAITINA FUR CAP I23

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Notes

EGERTON, "Joseph Wright of Derby: Self-Portrait in a Fur Cap," pp. 112-123.

i. The Self-Portrait of c. 1753/54 is in the collection of the Derby Museum and Art Gallery, and is reproduced in Benedict Nicolson, Joseph Wright of Derby: Painter of Light (London, 1968), vol. 2, pl. 6; and in London, Tate Gallery, Wright of Derby, exh. cat. by Judy Egerton et al. (i99o), no. I. The pencil study for this self-portrait is in the collection of the Syndics of the Fitzwilliam Museum, Cambridge, Eng., and is reproduced in Nicolson, vol. 2, pl. 7, and in London, Tate Gallery, p. 30. The Self-Portrait of c. 1782/85 (fig. Io in the present essay) is reproduced in London, Tate Gallery, p. 228, no. 149.

Nicolson lists nine self-portraits by Wright (see pp. 229-30, nos.

164-72), with the Art Institute's Self-Portrait in a Fur Cap listed as no. 165. To Nicolson's list should be added: Portrait Study (fig. 3 in the present essay); Self-Portrait at the Age of about Fifty (fig. io in the present essay) (see London, Tate Gallery, p. 228, for the sugges- tion that Nicolson omitted this inadvertently); and probably Self- Portrait in Van Dyck Dress (c. 1760), sold at Sotheby's, London, on Nov. I6, 1983 (see Sotheby's, London, Sixteenth, Seventeenth, Eighteenth, and Nineteenth Century British Paintings [Nov. 16, 1983: lot 45], p. 75, ill.).

Three of the self-portraits listed by Nicolson are untraced, although his no. 170 is known through James Ward's mezzotint of

1807, reproduced in London, Tate Gallery ("Catalogue of

Engraved Works," no. P43), p. 257. Nicolson's no. 166, Study of a Man in a Turban, is unlikely to be a self-portrait (see fig. 7 in the

present essay).

2. In 1968, the drawing was in the collection of James Ricau, who also owned Wright's painting The Dead Soldier, which is now on

long-term loan to the Brooklyn Museum.

3. For pictures exhibited by Wright, see Nicolson (note i), vol. I, app. A, pp. 273-78. London, Tate Gallery (note I) includes color

reproductions of A Girl Reading a Letter by Candlelight, with a

Young Man Peering over Her Shoulder (c. 1760/62), no. 14; Three Persons Viewing the Gladiator by Candlelight (exhibited in 1765), no. 22; A Philosopher Giving that Lecture on the Orrery, in which a Lamp is put in the place of the Sun, exhibited in 1766 (no. i8); An

Experiment on a Bird in the Air Pump (exhibited in 1768), no. 21; A Girl Reading a Letter, with an Old Man Reading over Her Shoulder (c. 1767/80), no. Iy; Two Boys Fighting over a Bladder (c. 1767/7o), no. 16; Two Girls Dressing a Kitten by Candlelight (c. 1768/70), no. 17; and An Academy by Lamplight (exhibited in

1769), no. 23.

4. Ellis Waterhouse, Painting in Britain: I53 o-z790, 2nd ed. (Harmondsworth, 1962), p. 198.

5. Some examples of the effects of light in Wright's portraits of the

I760s, all reproduced in London, Tate Gallery (note I), are Nicholas Heath, no. 7; William Rastall, no. 20; Mrs. Catherine Swindell, no. 3o; and, in United States collections, Mrs. Andrew Lindington, no. 2o; Cornet Sir George Cooke, no. 33; and Portrait ofa Lady with Her Lacework, no. 34.

Notes

EGERTON, "Joseph Wright of Derby: Self-Portrait in a Fur Cap," pp. 112-123.

i. The Self-Portrait of c. 1753/54 is in the collection of the Derby Museum and Art Gallery, and is reproduced in Benedict Nicolson, Joseph Wright of Derby: Painter of Light (London, 1968), vol. 2, pl. 6; and in London, Tate Gallery, Wright of Derby, exh. cat. by Judy Egerton et al. (i99o), no. I. The pencil study for this self-portrait is in the collection of the Syndics of the Fitzwilliam Museum, Cambridge, Eng., and is reproduced in Nicolson, vol. 2, pl. 7, and in London, Tate Gallery, p. 30. The Self-Portrait of c. 1782/85 (fig. Io in the present essay) is reproduced in London, Tate Gallery, p. 228, no. 149.

Nicolson lists nine self-portraits by Wright (see pp. 229-30, nos.

164-72), with the Art Institute's Self-Portrait in a Fur Cap listed as no. 165. To Nicolson's list should be added: Portrait Study (fig. 3 in the present essay); Self-Portrait at the Age of about Fifty (fig. io in the present essay) (see London, Tate Gallery, p. 228, for the sugges- tion that Nicolson omitted this inadvertently); and probably Self- Portrait in Van Dyck Dress (c. 1760), sold at Sotheby's, London, on Nov. I6, 1983 (see Sotheby's, London, Sixteenth, Seventeenth, Eighteenth, and Nineteenth Century British Paintings [Nov. 16, 1983: lot 45], p. 75, ill.).

Three of the self-portraits listed by Nicolson are untraced, although his no. 170 is known through James Ward's mezzotint of

1807, reproduced in London, Tate Gallery ("Catalogue of

Engraved Works," no. P43), p. 257. Nicolson's no. 166, Study of a Man in a Turban, is unlikely to be a self-portrait (see fig. 7 in the

present essay).

2. In 1968, the drawing was in the collection of James Ricau, who also owned Wright's painting The Dead Soldier, which is now on

long-term loan to the Brooklyn Museum.

3. For pictures exhibited by Wright, see Nicolson (note i), vol. I, app. A, pp. 273-78. London, Tate Gallery (note I) includes color

reproductions of A Girl Reading a Letter by Candlelight, with a

Young Man Peering over Her Shoulder (c. 1760/62), no. 14; Three Persons Viewing the Gladiator by Candlelight (exhibited in 1765), no. 22; A Philosopher Giving that Lecture on the Orrery, in which a Lamp is put in the place of the Sun, exhibited in 1766 (no. i8); An

Experiment on a Bird in the Air Pump (exhibited in 1768), no. 21; A Girl Reading a Letter, with an Old Man Reading over Her Shoulder (c. 1767/80), no. Iy; Two Boys Fighting over a Bladder (c. 1767/7o), no. 16; Two Girls Dressing a Kitten by Candlelight (c. 1768/70), no. 17; and An Academy by Lamplight (exhibited in

1769), no. 23.

4. Ellis Waterhouse, Painting in Britain: I53 o-z790, 2nd ed. (Harmondsworth, 1962), p. 198.

5. Some examples of the effects of light in Wright's portraits of the

I760s, all reproduced in London, Tate Gallery (note I), are Nicholas Heath, no. 7; William Rastall, no. 20; Mrs. Catherine Swindell, no. 3o; and, in United States collections, Mrs. Andrew Lindington, no. 2o; Cornet Sir George Cooke, no. 33; and Portrait ofa Lady with Her Lacework, no. 34.

6. Engraved by John Faber, Jr., after Allan Ramsay, Master John Prideaux Bassett (c. 1750). Wright's charcoal and stump copy is in the collection of the Derby Museum and Art Gallery, and is repro- duced in London, Tate Gallery (note I), p. 70.

7. Wright's chalk Head of Judith, from Piazzetta's Judith and

Holofernes is reproduced in Nicolson (note I), pl. 3.

8. The four-night sale of the large collection of prints owned

by the artist Thomas Smith of Derby (d. 1767) was conducted by Darres, Jan. 13-16, 1768. It included "heads" by Piazzetta, but none

by Frye.

9. An Iron Forge is in the Broadlands Collection (Lord Romsey). There are two versions of A Blacksmith's Shop: the first is in the Yale Center for British Art, New Haven, Conn., and the second is in the Derby Museum and Art Gallery. Engravings after Wright are

catalogued by Tim Clayton in London, Tate Gallery (note i), pp. 231-58. See also Clayton's essay, "The Engraving and Publication of Prints of Joseph Wright's Paintings," idem, pp. 25-29.

io. For Thomas Frye, see Michael Wynne, "Thomas Frye

(710o-1762)," Burlington Magazine 114 (Feb. 1972), pp. 79-84. Wynne reproduced (besides oil portraits) three of Frye's chalk drawings, of which the most relevant here is a study (now in the collection of the Seattle Art Museum) for the mezzotint Head entitled Man in a Turban with His Hands Clasped over an Upright Book (see fig. 4 in the present essay). Wedgwood's comment on Frye occurs in a letter to Thomas Bentley of June 25, 1769 (see A. Finer and G. Savage, eds., Selected Letters of Josiah Wedgwood [London, 1965], p. 75). Frye's Heads are catalogued in John Chaloner Smith, British Mezzotinto Portraits, vol. 2 (London, 1883), pp. 519-22, nos. 9-25.

ii. Lance Bertelsen, "David Garrick and English Painting," Eighteenth-Century Studies 11 (1977-78), pp. 320-24.

12. Nicolson (note I), vol. I, pp. 42-44, figs. 41, 42, 46, 48; pp. 48-49, fig. 57.

13. London, Tate Gallery (note i), p. 5o, no. 14, ill.

14. Ibid., p. 136, no. 71, ill.

Is. Ibid., p. 137, no. 72, ill.

16. Nicolson (note i) called it "a magnificent Rembrandtesque, almost Poussinesque, image of Wright" (vol. I, p. 38), and repro- duced it as the frontispiece to his volume of plates and, in detail, as the frontispiece to his volume of text and catalogue. See also London, National Gallery, Wright of Derby: Mr. & Mrs. Coltman, exh. cat. by Allan Braham (1986), p. 12.

17. See Christopher White, Rembrandt as an Etcher: A Study of the Artist at Work (London, 1969), pl. i58 (B.2I i).

18. New Haven, Conn., Yale Center for British Art, Rembrandt in Eighteenth-Century England, exh. cat. by Christopher White et al. (1983), esp. pp. 20-24.

NOTES FOR PAGES 113-122 1 83

6. Engraved by John Faber, Jr., after Allan Ramsay, Master John Prideaux Bassett (c. 1750). Wright's charcoal and stump copy is in the collection of the Derby Museum and Art Gallery, and is repro- duced in London, Tate Gallery (note I), p. 70.

7. Wright's chalk Head of Judith, from Piazzetta's Judith and

Holofernes is reproduced in Nicolson (note I), pl. 3.

8. The four-night sale of the large collection of prints owned

by the artist Thomas Smith of Derby (d. 1767) was conducted by Darres, Jan. 13-16, 1768. It included "heads" by Piazzetta, but none

by Frye.

9. An Iron Forge is in the Broadlands Collection (Lord Romsey). There are two versions of A Blacksmith's Shop: the first is in the Yale Center for British Art, New Haven, Conn., and the second is in the Derby Museum and Art Gallery. Engravings after Wright are

catalogued by Tim Clayton in London, Tate Gallery (note i), pp. 231-58. See also Clayton's essay, "The Engraving and Publication of Prints of Joseph Wright's Paintings," idem, pp. 25-29.

io. For Thomas Frye, see Michael Wynne, "Thomas Frye

(710o-1762)," Burlington Magazine 114 (Feb. 1972), pp. 79-84. Wynne reproduced (besides oil portraits) three of Frye's chalk drawings, of which the most relevant here is a study (now in the collection of the Seattle Art Museum) for the mezzotint Head entitled Man in a Turban with His Hands Clasped over an Upright Book (see fig. 4 in the present essay). Wedgwood's comment on Frye occurs in a letter to Thomas Bentley of June 25, 1769 (see A. Finer and G. Savage, eds., Selected Letters of Josiah Wedgwood [London, 1965], p. 75). Frye's Heads are catalogued in John Chaloner Smith, British Mezzotinto Portraits, vol. 2 (London, 1883), pp. 519-22, nos. 9-25.

ii. Lance Bertelsen, "David Garrick and English Painting," Eighteenth-Century Studies 11 (1977-78), pp. 320-24.

12. Nicolson (note I), vol. I, pp. 42-44, figs. 41, 42, 46, 48; pp. 48-49, fig. 57.

13. London, Tate Gallery (note i), p. 5o, no. 14, ill.

14. Ibid., p. 136, no. 71, ill.

Is. Ibid., p. 137, no. 72, ill.

16. Nicolson (note i) called it "a magnificent Rembrandtesque, almost Poussinesque, image of Wright" (vol. I, p. 38), and repro- duced it as the frontispiece to his volume of plates and, in detail, as the frontispiece to his volume of text and catalogue. See also London, National Gallery, Wright of Derby: Mr. & Mrs. Coltman, exh. cat. by Allan Braham (1986), p. 12.

17. See Christopher White, Rembrandt as an Etcher: A Study of the Artist at Work (London, 1969), pl. i58 (B.2I i).

18. New Haven, Conn., Yale Center for British Art, Rembrandt in Eighteenth-Century England, exh. cat. by Christopher White et al. (1983), esp. pp. 20-24.

NOTES FOR PAGES 113-122 1 83

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19. See ibid., no. 14, pl. 9.

20. Aileen Ribeiro, The Dress Worn at Masquerades in England, 1730 to 179o, and Its Relation to Fancy Dress in Portraiture (New York, 1984), esp. chap. 4, pp. 217-48.

21. London, Tate Gallery (note I), p. 93, no. 42, ill. Whether

Wright's source was a historical account, a legend, or a literary tale has never been discovered.

22. For Vaillant's self-portraits, see H. W. Grohn, "Ein neuerwer- benes Bildnis der Niedersachsischen Landesgalerie Hannover und die Selbstportrats des Wallerant Vaillant," Niederdeutsche Beitrage zur Kunstgeschichte 19 (1980), pp. 137-54. Vaillant's Self-Portrait reproduced here (fig. 9 in the present essay) is also reproduced in

Grohn, p. 141, fig. 5 (a version in Berlin is reproduced in Grohn, P. 139, fig. 3). Its presence in England is first recorded in a sale at Christie's, London, on July 18, 1910 (lot 123, as "unknown"); it

reappeared at Christie's, London, correctly attributed, on Dec. 14, 1990 (lot 121, reproduced in color). An "early" (probably eigh- teenth-century) copy by an unknown British artist has been noted

by Jeremy Howard of Colnaghi's, London. For a report by George Vertue that Vaillant visited England, see

his "Notebooks" (c. 1713-21) in Walpole Society i8 (1930), p. 33. For mezzotints after Vaillant, see Hollstein's Dutch and Flemish

Etchings, Engravings and Woodcuts, vol. 31, ed. G. Luijten (Amsterdam, 1987), pp. 59-213, nos. 1-132; most of these mezzot- ints are reproduced in this volume.

23. Those that probably inspired Wright are cited in Hollstein (note 22) as nos. 96-98 and 102.

24. See London, Tate Gallery (note i) for examples, all repro- duced: A Blacksmith's Shop (two versions) and An Iron Forge, nos.

47-50; Vesuvius and Fireworks subjects, nos. 102-o6; and land-

scapes, nos. 107-25, 138-39.

19. See ibid., no. 14, pl. 9.

20. Aileen Ribeiro, The Dress Worn at Masquerades in England, 1730 to 179o, and Its Relation to Fancy Dress in Portraiture (New York, 1984), esp. chap. 4, pp. 217-48.

21. London, Tate Gallery (note I), p. 93, no. 42, ill. Whether

Wright's source was a historical account, a legend, or a literary tale has never been discovered.

22. For Vaillant's self-portraits, see H. W. Grohn, "Ein neuerwer- benes Bildnis der Niedersachsischen Landesgalerie Hannover und die Selbstportrats des Wallerant Vaillant," Niederdeutsche Beitrage zur Kunstgeschichte 19 (1980), pp. 137-54. Vaillant's Self-Portrait reproduced here (fig. 9 in the present essay) is also reproduced in

Grohn, p. 141, fig. 5 (a version in Berlin is reproduced in Grohn, P. 139, fig. 3). Its presence in England is first recorded in a sale at Christie's, London, on July 18, 1910 (lot 123, as "unknown"); it

reappeared at Christie's, London, correctly attributed, on Dec. 14, 1990 (lot 121, reproduced in color). An "early" (probably eigh- teenth-century) copy by an unknown British artist has been noted

by Jeremy Howard of Colnaghi's, London. For a report by George Vertue that Vaillant visited England, see

his "Notebooks" (c. 1713-21) in Walpole Society i8 (1930), p. 33. For mezzotints after Vaillant, see Hollstein's Dutch and Flemish

Etchings, Engravings and Woodcuts, vol. 31, ed. G. Luijten (Amsterdam, 1987), pp. 59-213, nos. 1-132; most of these mezzot- ints are reproduced in this volume.

23. Those that probably inspired Wright are cited in Hollstein (note 22) as nos. 96-98 and 102.

24. See London, Tate Gallery (note i) for examples, all repro- duced: A Blacksmith's Shop (two versions) and An Iron Forge, nos.

47-50; Vesuvius and Fireworks subjects, nos. 102-o6; and land-

scapes, nos. 107-25, 138-39.

19. See ibid., no. 14, pl. 9.

20. Aileen Ribeiro, The Dress Worn at Masquerades in England, 1730 to 179o, and Its Relation to Fancy Dress in Portraiture (New York, 1984), esp. chap. 4, pp. 217-48.

21. London, Tate Gallery (note I), p. 93, no. 42, ill. Whether

Wright's source was a historical account, a legend, or a literary tale has never been discovered.

22. For Vaillant's self-portraits, see H. W. Grohn, "Ein neuerwer- benes Bildnis der Niedersachsischen Landesgalerie Hannover und die Selbstportrats des Wallerant Vaillant," Niederdeutsche Beitrage zur Kunstgeschichte 19 (1980), pp. 137-54. Vaillant's Self-Portrait reproduced here (fig. 9 in the present essay) is also reproduced in

Grohn, p. 141, fig. 5 (a version in Berlin is reproduced in Grohn, P. 139, fig. 3). Its presence in England is first recorded in a sale at Christie's, London, on July 18, 1910 (lot 123, as "unknown"); it

reappeared at Christie's, London, correctly attributed, on Dec. 14, 1990 (lot 121, reproduced in color). An "early" (probably eigh- teenth-century) copy by an unknown British artist has been noted

by Jeremy Howard of Colnaghi's, London. For a report by George Vertue that Vaillant visited England, see

his "Notebooks" (c. 1713-21) in Walpole Society i8 (1930), p. 33. For mezzotints after Vaillant, see Hollstein's Dutch and Flemish

Etchings, Engravings and Woodcuts, vol. 31, ed. G. Luijten (Amsterdam, 1987), pp. 59-213, nos. 1-132; most of these mezzot- ints are reproduced in this volume.

23. Those that probably inspired Wright are cited in Hollstein (note 22) as nos. 96-98 and 102.

24. See London, Tate Gallery (note i) for examples, all repro- duced: A Blacksmith's Shop (two versions) and An Iron Forge, nos.

47-50; Vesuvius and Fireworks subjects, nos. 102-o6; and land-

scapes, nos. 107-25, 138-39.

GROOM, "Art, Illustration, and Enterprise in Late Eighteenth- Century English Art: A Painting by Philippe Jacques de

Loutherbourg," pp. 124-135.

I. Throughout his career, the artist was listed under several varia- tions of his name. He added the aristocratic "de" to his surname sometime between 1767 and 1768, and thereafter can be found under both "de" and "Loutherbourg." In the first exhibitions for the Royal Academy, he exhibited as P-J de Loutherbourg. Later, he was classed under Philip or Phillip James. Interestingly, he was never considered a "foreigner," as designated in the Royal Academy catalogues by the italicized initials "R.A." (see Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contrib- utors...in 1769 to 1904, vol. 2 [London, 1905], pp. 299-302).

2. The exhibition was held by the Greater London Council at

Kenwood, Eng., The Iveagh Bequest, June 2-Aug. 13, 1973. See

Riidiger Joppien, Philippe Jacques de Loutherbourg, 1740-1812, exh. cat. (London, 1973). At the time of the exhibition, Dr. Joppien was involved in assembling a catalogue raisonn6 for the artist, a

project that has apparently not been completed.

3. Joseph Farington, The Farington Diary, ed. James Greig, vol. 2

(London, 1923-28), p. 222 (Apr. 7, 1804).

GROOM, "Art, Illustration, and Enterprise in Late Eighteenth- Century English Art: A Painting by Philippe Jacques de

Loutherbourg," pp. 124-135.

I. Throughout his career, the artist was listed under several varia- tions of his name. He added the aristocratic "de" to his surname sometime between 1767 and 1768, and thereafter can be found under both "de" and "Loutherbourg." In the first exhibitions for the Royal Academy, he exhibited as P-J de Loutherbourg. Later, he was classed under Philip or Phillip James. Interestingly, he was never considered a "foreigner," as designated in the Royal Academy catalogues by the italicized initials "R.A." (see Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contrib- utors...in 1769 to 1904, vol. 2 [London, 1905], pp. 299-302).

2. The exhibition was held by the Greater London Council at

Kenwood, Eng., The Iveagh Bequest, June 2-Aug. 13, 1973. See

Riidiger Joppien, Philippe Jacques de Loutherbourg, 1740-1812, exh. cat. (London, 1973). At the time of the exhibition, Dr. Joppien was involved in assembling a catalogue raisonn6 for the artist, a

project that has apparently not been completed.

3. Joseph Farington, The Farington Diary, ed. James Greig, vol. 2

(London, 1923-28), p. 222 (Apr. 7, 1804).

GROOM, "Art, Illustration, and Enterprise in Late Eighteenth- Century English Art: A Painting by Philippe Jacques de

Loutherbourg," pp. 124-135.

I. Throughout his career, the artist was listed under several varia- tions of his name. He added the aristocratic "de" to his surname sometime between 1767 and 1768, and thereafter can be found under both "de" and "Loutherbourg." In the first exhibitions for the Royal Academy, he exhibited as P-J de Loutherbourg. Later, he was classed under Philip or Phillip James. Interestingly, he was never considered a "foreigner," as designated in the Royal Academy catalogues by the italicized initials "R.A." (see Algernon Graves, The Royal Academy of Arts: A Complete Dictionary of Contrib- utors...in 1769 to 1904, vol. 2 [London, 1905], pp. 299-302).

2. The exhibition was held by the Greater London Council at

Kenwood, Eng., The Iveagh Bequest, June 2-Aug. 13, 1973. See

Riidiger Joppien, Philippe Jacques de Loutherbourg, 1740-1812, exh. cat. (London, 1973). At the time of the exhibition, Dr. Joppien was involved in assembling a catalogue raisonn6 for the artist, a

project that has apparently not been completed.

3. Joseph Farington, The Farington Diary, ed. James Greig, vol. 2

(London, 1923-28), p. 222 (Apr. 7, 1804).

4. The categories listed in Joppien (note 2) are as follows:

"Shipwrecks," "Banditti," "Caricature and Humor," "Topography," "Work and Industry," "Theater," and "Mythology, Religion, and History."

5. De Loutherbourg deliberately obfuscated details regarding his

nationality and early life. In one account, he claimed that his fam-

ily was of noble descent, and had lived in Lithuania before settling in Berne, Switzerland. In his conversations with Farington, de

Loutherbourg claimed Basel, Switzerland, as his birthplace; see

Farington (note 3), vol. 2, p. 222 (Apr. 7, 1804). Austin Dobson listed Fulda, Prussia, as de Loutherbourg's native town; see Dobson, At Prior Park and Other Papers (London, 1912), p. 94. For corrected biographical information, see Genevieve Levallet-

Haug, "Notice biographique," in her "Philippe Jacques de

Loutherbourg (1740-1813)," in Trois Sitcles d'art alsacien

(Strasbourg and Paris, 1948; reprint, Amsterdam,1964), pp. 77-94- See also Andre Girodie, "Notes biographiques sur les peintres Loutherbourg" and "Annexes," Archives alsaciennes d'histoire de l'art 14 (I935), pp. 249 and 255. For early biographical information, see Dobson, pp. 94-127; and C. H. S. John, Bartolozzi, Zoffany and Kaufman, ed. S. C. Kaines Smith (London, 1924), pp. 116-21.

6. Joppien (note 2), n.p.

7. These paintings of natural settings were considered an antidote to the classical and Italianate landscapes of Poussin, Claude, and their early eighteenth-century followers. See Joseph Burke, "The

Picturesque and the Transition to Romanticism," in English Art,

1714-1800 (Oxford, 1976), pp. 374-400.

8. Denis Diderot, Salons, vol. 3, cited in Levallet-Haug (note 5), pp. 79-80; and in Joppien (note 2), "Pastorals," n.p.

9. See Joppien (note 2), no. 2.

Io. Two years after encouraging de Loutherbourg to persevere in his chosen genre, Diderot criticized the artist's style as limited and advised him to devote more time to the study of nature out of doors: "Although he has seen much of Nature, it is not 'chez elle'; it is in visits to Berchem, Wouverman and Joseph Vernet" (quoted in Dobson [note 51, p. 99). Later, Diderot wrote that de

Loutherbourg's landscapes often failed to hold his attention because the artist "knows only how to include shepherds and ani- mals in his compositions" (see Ian Lochhead, The Spectator and the Landscape in the Art Criticism of Diderot and His

Contemporaries, Studies in the Fine Arts: Criticism, no. 14 [Ann Arbor, Mich., 1982], pp. 11-12).

ii. He was elected to the Paris Academie with the painting Combat sur terre, which he had completed for his diploma. See Dobson (note 5), p. 99; and Levallet-Haug (note 5), p. 80.

12. "M. Loutherbourg-Academicien" (with several entries exhib- ited in pairs), in "Explication des peintures, sculptures, et graveurs ...Paris, 177I," nos. 9o-Ioo, in H. W. Janson, ed., Catalogues of the

Paris Salon (1765, 1767, 1769, 1771, 1773) (New York, I977).

I3. De Loutherbourg was careful to omit any information about his earlier family and situation in the summary of his life that he recounted to Farington; see Farington (note 3), vol. 2, pp. 222-23. On later complications with his French family, see Girodie (note 5), PP. 253-54.

4. The categories listed in Joppien (note 2) are as follows:

"Shipwrecks," "Banditti," "Caricature and Humor," "Topography," "Work and Industry," "Theater," and "Mythology, Religion, and History."

5. De Loutherbourg deliberately obfuscated details regarding his

nationality and early life. In one account, he claimed that his fam-

ily was of noble descent, and had lived in Lithuania before settling in Berne, Switzerland. In his conversations with Farington, de

Loutherbourg claimed Basel, Switzerland, as his birthplace; see

Farington (note 3), vol. 2, p. 222 (Apr. 7, 1804). Austin Dobson listed Fulda, Prussia, as de Loutherbourg's native town; see Dobson, At Prior Park and Other Papers (London, 1912), p. 94. For corrected biographical information, see Genevieve Levallet-

Haug, "Notice biographique," in her "Philippe Jacques de

Loutherbourg (1740-1813)," in Trois Sitcles d'art alsacien

(Strasbourg and Paris, 1948; reprint, Amsterdam,1964), pp. 77-94- See also Andre Girodie, "Notes biographiques sur les peintres Loutherbourg" and "Annexes," Archives alsaciennes d'histoire de l'art 14 (I935), pp. 249 and 255. For early biographical information, see Dobson, pp. 94-127; and C. H. S. John, Bartolozzi, Zoffany and Kaufman, ed. S. C. Kaines Smith (London, 1924), pp. 116-21.

6. Joppien (note 2), n.p.

7. These paintings of natural settings were considered an antidote to the classical and Italianate landscapes of Poussin, Claude, and their early eighteenth-century followers. See Joseph Burke, "The

Picturesque and the Transition to Romanticism," in English Art,

1714-1800 (Oxford, 1976), pp. 374-400.

8. Denis Diderot, Salons, vol. 3, cited in Levallet-Haug (note 5), pp. 79-80; and in Joppien (note 2), "Pastorals," n.p.

9. See Joppien (note 2), no. 2.

Io. Two years after encouraging de Loutherbourg to persevere in his chosen genre, Diderot criticized the artist's style as limited and advised him to devote more time to the study of nature out of doors: "Although he has seen much of Nature, it is not 'chez elle'; it is in visits to Berchem, Wouverman and Joseph Vernet" (quoted in Dobson [note 51, p. 99). Later, Diderot wrote that de

Loutherbourg's landscapes often failed to hold his attention because the artist "knows only how to include shepherds and ani- mals in his compositions" (see Ian Lochhead, The Spectator and the Landscape in the Art Criticism of Diderot and His

Contemporaries, Studies in the Fine Arts: Criticism, no. 14 [Ann Arbor, Mich., 1982], pp. 11-12).

ii. He was elected to the Paris Academie with the painting Combat sur terre, which he had completed for his diploma. See Dobson (note 5), p. 99; and Levallet-Haug (note 5), p. 80.

12. "M. Loutherbourg-Academicien" (with several entries exhib- ited in pairs), in "Explication des peintures, sculptures, et graveurs ...Paris, 177I," nos. 9o-Ioo, in H. W. Janson, ed., Catalogues of the

Paris Salon (1765, 1767, 1769, 1771, 1773) (New York, I977).

I3. De Loutherbourg was careful to omit any information about his earlier family and situation in the summary of his life that he recounted to Farington; see Farington (note 3), vol. 2, pp. 222-23. On later complications with his French family, see Girodie (note 5), PP. 253-54.

4. The categories listed in Joppien (note 2) are as follows:

"Shipwrecks," "Banditti," "Caricature and Humor," "Topography," "Work and Industry," "Theater," and "Mythology, Religion, and History."

5. De Loutherbourg deliberately obfuscated details regarding his

nationality and early life. In one account, he claimed that his fam-

ily was of noble descent, and had lived in Lithuania before settling in Berne, Switzerland. In his conversations with Farington, de

Loutherbourg claimed Basel, Switzerland, as his birthplace; see

Farington (note 3), vol. 2, p. 222 (Apr. 7, 1804). Austin Dobson listed Fulda, Prussia, as de Loutherbourg's native town; see Dobson, At Prior Park and Other Papers (London, 1912), p. 94. For corrected biographical information, see Genevieve Levallet-

Haug, "Notice biographique," in her "Philippe Jacques de

Loutherbourg (1740-1813)," in Trois Sitcles d'art alsacien

(Strasbourg and Paris, 1948; reprint, Amsterdam,1964), pp. 77-94- See also Andre Girodie, "Notes biographiques sur les peintres Loutherbourg" and "Annexes," Archives alsaciennes d'histoire de l'art 14 (I935), pp. 249 and 255. For early biographical information, see Dobson, pp. 94-127; and C. H. S. John, Bartolozzi, Zoffany and Kaufman, ed. S. C. Kaines Smith (London, 1924), pp. 116-21.

6. Joppien (note 2), n.p.

7. These paintings of natural settings were considered an antidote to the classical and Italianate landscapes of Poussin, Claude, and their early eighteenth-century followers. See Joseph Burke, "The

Picturesque and the Transition to Romanticism," in English Art,

1714-1800 (Oxford, 1976), pp. 374-400.

8. Denis Diderot, Salons, vol. 3, cited in Levallet-Haug (note 5), pp. 79-80; and in Joppien (note 2), "Pastorals," n.p.

9. See Joppien (note 2), no. 2.

Io. Two years after encouraging de Loutherbourg to persevere in his chosen genre, Diderot criticized the artist's style as limited and advised him to devote more time to the study of nature out of doors: "Although he has seen much of Nature, it is not 'chez elle'; it is in visits to Berchem, Wouverman and Joseph Vernet" (quoted in Dobson [note 51, p. 99). Later, Diderot wrote that de

Loutherbourg's landscapes often failed to hold his attention because the artist "knows only how to include shepherds and ani- mals in his compositions" (see Ian Lochhead, The Spectator and the Landscape in the Art Criticism of Diderot and His

Contemporaries, Studies in the Fine Arts: Criticism, no. 14 [Ann Arbor, Mich., 1982], pp. 11-12).

ii. He was elected to the Paris Academie with the painting Combat sur terre, which he had completed for his diploma. See Dobson (note 5), p. 99; and Levallet-Haug (note 5), p. 80.

12. "M. Loutherbourg-Academicien" (with several entries exhib- ited in pairs), in "Explication des peintures, sculptures, et graveurs ...Paris, 177I," nos. 9o-Ioo, in H. W. Janson, ed., Catalogues of the

Paris Salon (1765, 1767, 1769, 1771, 1773) (New York, I977).

I3. De Loutherbourg was careful to omit any information about his earlier family and situation in the summary of his life that he recounted to Farington; see Farington (note 3), vol. 2, pp. 222-23. On later complications with his French family, see Girodie (note 5), PP. 253-54.

184 NOTES FOR PAGES 122-127 184 NOTES FOR PAGES 122-127 184 NOTES FOR PAGES 122-127

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