Divided into seven thematic sections - London, Capital of the British Empire; The New World; Towards a National Iconography; The Heroic Age of the Portrait; On the Spot Landscape: the Success of Watercolour; Variations on Landscape; and Inside and Beyond Landscape: Constable and Turner - the exhibition explores how British art evolved from the continental painting traditions of the eighteenth century into an authentically new British school, with its own distinctly “modern” artistic identity, in the nineteenth century.
The City Seen through an Arch of Westminster Bridge
(Collection of the Duke of Northumberland)
There’s a wonderful portrait of Johann Christian Bach by Thomas Gainsborough in the second section, a room which celebrates the great and the good in a changing world order, where composers, such as Bach, but also painters, actors, boxers, scientists, industrialists, and explorers were all lauded through the genre of portraiture. Gazing upon Wright of Derby’s A Philosopher Giving a Lecture on the Orrery in which a Lamp is put in Place of the Sun is worth the entrance price alone.
William Hogarth’s hugely popular satirical paintings attacking the upper classes of eighteenth-century society - Marriage à-la-mode - were also engraved and achieved wide circulation as prints, so it is fitting that the Thomas Cook etchings are represented in the third section, while Henry Fuseli’s huge, and often nightmarish Shakespearean-themed paintings dominate the rest of the space.
Fra Giovanni Poggi Magnano
(Galleria degli Uffizi, Firenze)
The invention of watercolour painting and the immediacy and freedom to create “on the spot” landscape sketches is the focus of the fifth section, with several poetic Alpine and Italian views by watercolour pioneer John Robert Cozens, including the strange and atmospheric The castle of Sant' Elmo, Naples (1790). The inclusion of a Thomas Reeves & Sons early paintbox from 1790 is a delightful addition to this room.
The Valley of the Stour with Dedham in the distance
(Victoria and Albert Museum)
Tivoli, the Cascatelle
|Exhibition catalogue by Skira|
Hogarth, Reynolds, Turner: British Painting and the Rise of Modernity is curated by Carolina Brook and Valter Curzi and continues at the Museo Fondazione Roma, Palazzo Sciarra (entrance on Via Marco Minghetti) until Sunday 20 July, 2014.
Copyright on all images in this post as indicated (web-resolution, fair use rationale).