Enfilade

Distributed by Yale UP:

Mark Hallett, Nigel Llewellyn, and Martin Myrone, eds., Court, Country, City: British Art and Architecture, 1660–1735 (New Haven: Yale Center for British Art, 2016), 544 pages, ISBN: 978-0300214802, £55 / $85.

The late 17th and early 18th centuries saw profound changes in Britain and in its visual arts. This volume provides fresh perspectives on the art of the late Stuart and early Georgian periods, focusing on the concepts, spaces, and audiences of court, country, and city as reflected in an array of objects, materials, and places.

The essays discuss the revolutionary political and economic circumstances of the period, which not only forged a new nation-state but also provided a structural setting for artistic production and reception. Contributions from nineteen authors and the three editors cover such diverse topics as tapestry in the age of Charles II and painting in the court of Queen Anne; male friendship portraits; mezzotint and the exchange between painting and print; the interpretation of genres such as still life and marine painting; the concept of remembered places; courtly fashion and furnishing; the codification of rules for painting; and the development of aesthetic theory.

Mark Hallett is director of studies at the Paul Mellon Centre for Studies in British Art. Nigel Llewellyn is former head of research, and Martin Myrone is lead curator, pre-1800 British art, at Tate Britain.

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C O N T E N T S

Acknowledgments

Introduction
• Mark Hallett, Through Vertue’s Eyes: Looking Again at British Art and Architecture, 1660–1735

Spaces, Stages, Arenas
• Richard Stephens, The Palace of Westminster and the London Market for Pictures
• Christine Stevenson, Making Empire Visible at the Second Royal Exchange, London
• Anya Matthews, Honour, Ornament, and Frugality: The Reconstruction of London’s Livery Halls after the Great Fire
• Sebastian Edwards, Fashioning and Furnishing for Performance: The Rise and Fall of the State Bedchamber in the English Royal Palace
• Anthony Geraghty, Castle Howard and the Interpretation of English Baroque Architecture

Kings, Queens, Commanders
• Richard Johns, Antonio Verrio and the Triumph of Painting at the Restoration Court
• Matthew Hargraves, The Public Image of John Churchill, First Duke of Marlborough, 1702–1708
• Lydia Hamlett, Rupture through Realism: Sarah Churchill and Louis Laguerre’s Murals at Marlborough House
• Tabitha Barber, ‘All the World is ambitious of seeing the Picture of so Great a Queen’: Kneller’s State Portraits of Queen Anne and the Pictorial Currency of Friendship
• Claudine van Hensbergen, Public Sculpture of Queen Anne: The Minehead Commission (1715)
• David Solkin, The English Revolution and the Revolution of History Painting: The Bowles Brothers’ Life of
Charles I

Networks, Shared Practices, Communities
• Diana Dethloff, Lely, Drawing, and the Training of Artists
• Helen Pierce, ‘This Ingenious young Gent and excellent artist’: William Lodge (1649–1689) and the York Virtuosi
• Tim Batchelor, ‘Deceives in an acceptable, amusing, and praiseworthy fashion’: Still Life, Illusion, and Deception
• Jacqueline Riding, ‘As Session of Painters’: Legacy, Succession, and the Prospects for British Portraiture after Kneller

Prospects, Print, Empire
• John Bonehill, The View from the Gentleman’s Seat
• Emily Mann, Thirty Different Drafts of Guinea: A Printed Prospectus of Trade and Territory in West Africa
• Peter Moore, Dialogues in Paint and Print: Mezzotint Portraiture and Intermedial Exchange

Theory, Artwords, Periodization
• Caroline Good, A Royal Subject: William Sanderson’s Guide to Painting on the Eve of the Restoration
• Martin Myrone, Engraving’s Third Dimension
• Nigel Llewellyn, A Taxonomy for the Invisible: Categories for English Funeral Monuments

Notes on Contributors
Credits
Index