LAYING SIEGE TO THE ROYAL ACADEMY: WRIGHT OF DERBY'S <i>VIEW OF GIBRALTAR</i> AT ROBINS'S ROOMS, COVENT GARDEN, APRIL 1785

Bonehill, John

doi:10.1111/j.1467-8365.2007.00561.x

Cited by 4 publications

(1 citation statement)

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“…But it points up, too, the kinds of authenticating detail that was now expected in the portrayal of military subjects. 31 Though his surviving field studies do not include any of Warley Common, the artist was evidently aware that such demands for exactness also extended to the portrayal of the setting, Loutherbourg's final paintings demonstrating a detailed knowledge of the local terrain.…”

Section: Warley Common Essexmentioning

confidence: 99%

Staging Grounds: Loutherbourg and Warley

Bonehill

2023

Art History

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In 1778, Philippe‐Jacques de Loutherbourg began work on a pair of companion pictures marking George III's attendance at a spectacular military review on the broad expanse of Essex wasteland that was Warley Common. Scholars of the painter's art have largely overlooked these ambitious, large‐scale landscapes, but their commission and subsequent display at the Royal Academy played a key role in advancing Loutherbourg's career. Strikingly novel, the paintings attracted a good deal of critical attention for their curious mix of the patriotic and the satirical, the topographic and the scenographic. Taking its cue from this latter stage set‐like quality, this essay situates Loutherbourg’s Warley scenes in relation to a series of dramatic spaces, moving from the ‘battlefield’ depicted to the London stage to the Academy exhibition room, highlighting a series of connections and interactions that shed new light on the performativity of Georgian art, culture and spaces of display.

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Section: Warley Common Essexmentioning

confidence: 99%

Staging Grounds: Loutherbourg and Warley

Bonehill

2023

Art History

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Nathaniel Hone's 1775 Exhibition: The First Single-Artist Retrospective

Stefanis¹

2013

Visual Culture in Britain

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Making Gibraltar British in the Eighteenth Century

Plank

2013

History

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The conquest and retention of Gibraltar was a challenge for Britain in the eighteenth century, not only militarily and diplomatically, but also in the context of domestic politics and culture. Gibraltar was a British imperial possession on the edge of Europe, an imposing but isolated outpost, and the centre of a trade network dominated by Muslim Africans and Sephardic Jews. Its largest ethnic group was Catholic and Genoese. Never well understood by most Britons, Gibraltar became an object of fantasy. The British fantasies are revealing, providing evidence, for example, on popular understandings of Anglo‐Muslim relations, the place of Jews within the British empire and Britain's relationship with the European continent. Gibraltar defied easy classification and forced the Britons who commanded there, resided there, or contemplated the outpost from afar to reconsider the importance of Protestantism, European heritage and British identity within the framework of the empire. Before 1748 most British commentary on Gibraltar associated the place with Africans, but after the middle of the century it was increasingly viewed as a bastion defending one frontier of Europe. Following the unsuccessful Spanish siege of 1779–83, Gibraltar became a symbol of British strength and endurance, with Britons standing alone against the rest of the world.

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LAYING SIEGE TO THE ROYAL ACADEMY: WRIGHT OF DERBY'S VIEW OF GIBRALTAR AT ROBINS'S ROOMS, COVENT GARDEN, APRIL 1785

Cited by 4 publications

References 1 publication

Staging Grounds: Loutherbourg and Warley

Staging Grounds: Loutherbourg and Warley

Nathaniel Hone's 1775 Exhibition: The First Single-Artist Retrospective

Making Gibraltar British in the Eighteenth Century

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