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Volumn 46, Issue , 2003, Pages

Space, status and gender in English topographical paintings c. 1660-c. 1740

(1)  Laurence, Anne a  

a NONE

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EID: 61049187058     PISSN: 0066622X     EISSN: None     Source Type: Journal    
DOI: 10.2307/1568801     Document Type: Article
Times cited : (2)

References (31)
  • 1
    • 0003863149 scopus 로고
    • See, for example, Mark Girouard, Life in the English Country House: A Social and Architectural History (New Haven, 1978); Roy Strong, The Renaissance Garden in England (London, 1979); 'The Anglo-Dutch garden in the age of William and Mary', Journal of Garden History, 8, special issue, nos 2 and 3 (1988); Timothy Mowl and Brian Earnshaw, Architecture without Kings: The Rise of Puritan Classicism under Cromwell (Manchester, 1995); Richard Wilson and Alan Mackley, Creating Paradise: The Building of the English Country House 1660-1880 (London, 2000); David Jacques, 'Garden design in the mid-seventeenth-century', Architectural History, 44 (2001), pp. 364-76. An exemplary use of topographical paintings for architectural historical purposes is to be found in John Cornforth, 'Who used the front door?'. Country Life, 7 December 2000, pp. 116-21
    • (1978) Life in the English Country House: A Social and Architectural History
    • Girouard, M.1
  • 2
    • 61149151787 scopus 로고
    • The most important single collection is that at the Yale Center for British Art at New Haven, Conn., USA, described in Malcolm Cormack, Country Houses in Great Britain (New Haven, 1979). Other such paintings are documented in John Steegman, The Artist and the Country House: Descriptive Notes by Dorothy Stroud on the Houses Illustrated in the Paintings (London, 1969); John Harris, The Artist and the English Country House: A History of Country House and Garden View Painting in Britain 1540-1870 (London, 1979); and John Harris, The Artist and the Country House from the Fifteenth Century to the Present Day (London, 1996). A high proportion of these paintings remain in private hands
    • (1979) The Artist and the English Country House: A History of Country House and Garden View Painting in Britain 1540-1870
    • Harris, J.1
  • 3
    • 57349171886 scopus 로고
    • 'Godly prospects: English estate portraiture 1670-1730'
    • Stephen Daniels, 'Godly prospects: English estate portraiture 1670-1730', in Mapping the Landscape: Essays on Art and Cartography, ed. N. Alfrey and S. Daniels (Nottingham, 1990), pp. 9-12 (p. 9); John Barrell, The Dark Side of the Landscape: The Rural Poor in English Painting 1730-1840 (Cambridge, 1980), pp. 6,9
    • (1990) Mapping the Landscape: Essays on Art and Cartography , pp. 9-12
    • Daniels, S.1
  • 5
    • 79954158548 scopus 로고
    • 'The hanging and display of pictures'
    • ed. Gervase Jackson-Stops et al. (Hanover and London) (P. 133)
    • Steegman, The Artist and the Country House, p. 18; Francis Russell, 'The hanging and display of pictures', in The Fashioning and Functioning of the British Country House, ed. Gervase Jackson-Stops et al. (Hanover and London, 1989), pp. 133-54 (P. 133)
    • (1989) The Fashioning and Functioning of the British Country House , pp. 133-154
    • Russell, F.1
  • 6
    • 79954041719 scopus 로고
    • Daniels, 'Godly prospects', p. 10; Anthony Huxley, The Painted Garden: The Garden through the Artist's Eye (Windward, Leicester, 1988), p. 46; Cormack, Country Houses, pp. 7-9. Roy Strong discusses points of view in The Artist and the Garden (New Haven, 2000), pp. 11-12,144
    • (1988) The Painted Garden: The Garden through the Artist's Eye , pp. 46
    • Huxley, A.1
  • 8
    • 79952350625 scopus 로고
    • 'The uses of painting in garden history'
    • ed. John Dixon Hunt (Washington D.C.) (p. 198)
    • Linda Cabe Halpern, 'The uses of painting in garden history', in Garden History: Issues, Approaches, Methods, ed. John Dixon Hunt (Washington D.C., 1992), pp. 183-202 (p. 198)
    • (1992) Garden History: Issues, Approaches, Methods , pp. 183-202
    • Halpern, L.C.1
  • 12
    • 79954258734 scopus 로고    scopus 로고
    • 201
    • Christopher Christie suggests that patrons preferred to be reminded of the landscape of Italy than their own surroundings, turning in the later eighteenth century to painters such as Richard Wilson (1713-82) to provide idealized English landscapes. Christopher Christie, The British Country House in the Eighteenth Century (Manchester, 2000), pp. 199, 201
    • (2000) The British Country House in the Eighteenth Century Manchester , pp. 199
    • Christie, C.1
  • 13
    • 79954190815 scopus 로고    scopus 로고
    • The changing face of realism
    • Lyckle de Vries
    • See the essays in Art in History: History in Art, ed. by Freedberg and Vries, especially Lyckle de Vries, 'The changing face of realism', pp. 209-244
    • Art in History: History in Art , pp. 209-244
    • Freedberg1    Vries2
  • 14
    • 79953990383 scopus 로고
    • Towards a scriptural reading of seventeenth-century Dutch landscape paintings
    • ed. Peter C. Sutton London
    • Josua Bruyn, 'Towards a scriptural reading of seventeenth-century Dutch landscape paintings', in Masters of Seventeenth-Century Dutch Landscape Painting, ed. Peter C. Sutton (London, 1987), pp. 85-100
    • (1987) Masters of Seventeenth-Century Dutch Landscape Painting , pp. 85-100
    • Bruyn, J.1
  • 16
    • 79953953784 scopus 로고
    • For an exception, see Siberechts, 'Cheveley, Cambridgeshire', 1681, which shows a woman riding in the foreground, in Strong, The Artist and the Garden, pp. 158-59
    • (1681) 'Cheveley, Cambridgeshire' , pp. 158-159
    • Siberechts1
  • 18
    • 0011631470 scopus 로고
    • Sickles and scythes: Women's work and men's work at harvest time'
    • Michael Roberts, 'Sickles and scythes: women's work and men's work at harvest time', History Workshop Journal, 7 (1979), pp. 3-28
    • (1979) History Workshop Journal , vol.7 , pp. 3-28
    • Roberts, M.1
  • 19
    • 77956454741 scopus 로고
    • George Gascoigne, The Noble Art of Venerie (London, 1575), pp. 90,130 shows Queen Elizabeth at a hunting feast and watching a deer being cut up. Later editions, probably after the queen's death, replaced the female figure with a man. John Wootton (16787-1765) painted a number of scenes including women hunting, for example, 'Lady Henrietta Harley Hunting with Harriers', c. 1740, as did James Seymour (1702-52), for example, 'A Coursing Scene' and 'Stag Hunting'. See David Coombs,Sport and the Countryside in English Paintings, Watercolours and Prints (Oxford, 1978), pp. 32-33, 20, 39; Anthony Vandervell and Charles Coles, Game and the English Landscape (London, 1980), pp. 28,35
    • (1575) The Noble Art of Venerie , pp. 90
    • Gascoigne, G.1
  • 20
    • 67649461251 scopus 로고
    • London
    • J. Bernes, A Jewell for Gentrie (London, 1614), pp. 80,112, shows the queen, attendants and falcons attacking a heron
    • (1614) A Jewell for Gentrie , pp. 80-112
    • Bernes, J.1
  • 21
    • 0000979624 scopus 로고    scopus 로고
    • 'Farm labourers'
    • Alan Everitt, 'Farm labourers', in The Agrarian History of England and Wales, 4,1500-1640, ed. Joan Thirsk (Cambridge, 1967), pp. 396-465 (pp. 430-35). Wage rates were set by local magistrates, see Historical Manuscripts Commission, Various Collections, 1 (1901), pp. 162-63, ^4' 1&9' 174;Historical Manuscripts Commission, Rutland, 1, pp. 460-62 respectively for Wiltshire (1602-85) ar|d Lincolnshire (1621) wage rates
    • The Agrarian History of England and Wales , vol.4 , pp. 1500-1640
    • Everitt, A.1
  • 23
    • 79954399912 scopus 로고
    • The Earl of Cardigan, 'Domestic expenses of a nobleman's household: 1678'
    • The Earl of Cardigan, 'Domestic expenses of a nobleman's household: 1678', Bedfordshire Historical Record Society, 32 (1951), pp. 108-42 (pp. 110-14); Selections from the Household Books of Lord William Howard ofNaworlh Castle, 1612-1640, Surtees Society, 68 (1878), pp. 36-41
    • (1951) Bedfordshire Historical Record Society , vol.32 , pp. 108-142
  • 24
    • 79954053870 scopus 로고    scopus 로고
    • Anon., Averham Park, Notts in Harris, The Artist and the English Country House, p. 139; Kirkleatham, Yorks inBritannia Uluslrata or Vieivs of Several of the Queens Palaces as also of the Principal Seats of the Nobility and Gentry of Great Britain, Curiously Engraven on 80 Copper Plates (London, 1714) (1st edn, 1707)
    • Anon., Averham Park, Notts in Harris, The Artist and the English Country House , pp. 139
  • 25
    • 79954017360 scopus 로고    scopus 로고
    • For example, the various series depicting Ledstone Hall, Yorkshire; Hampton Court, Herefordshire and Dixton Manor, Gloucestershire in Harris,The Artist and the English Country House, pp. 192-93, col. pis xv-xvib, p. 270 and col. pi. xxiv
    • The Artist and the English Country House , pp. 192-193
  • 26
    • 0022199967 scopus 로고    scopus 로고
    • 'Agricultural innovations and their diffusion'
    • Joan Thirsk, 'Agricultural innovations and their diffusion', in The Agrarian History of England and Wales, ed. Joan Thirsk, vol. 5, ii, 1640-1750 (Cambridge, 1985), pp. 533-89 (p. 533). See also Joan Thirsk, Alternative Agriculture: A History (Oxford, 1997), pp. 43-71
    • The Agrarian History of England and Wales , vol.5 , Issue.2 , pp. 1640-1750
    • Thirsk, J.1
  • 28
    • 79954134159 scopus 로고    scopus 로고
    • Barley, 'Rural building in England', p. 168. For the anonymous 'Denham House', see Harris,The Artist and the Englisli Country House, col. pi. XIV, and Setterington, 'South elevation of ledstone hall', see Harris, The Artist and the Country House, p. 54, col. pi. 26
    • 'Rural building in England' , pp. 168
    • Barley1
  • 30
    • 28244481306 scopus 로고    scopus 로고
    • Architecture, authority, and the female gaze: Planning and representation in the early modern country house
    • Alice T. Friedman, 'Architecture, authority, and the female gaze: planning and representation in the early modern country house', Assemblage, 18 (1992), pp. 41-61 (p. 44)
    • (1992) Assemblage , vol.18 , pp. 41-61
    • Friedman, A.T.1


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