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Without becoming flamboyant, a new, lighter look infused English art. The third great 18th-century British painter was William Hogarth. The woodblock prints of William Hogarth — caricature upper-class Englishmen. Hogarth was one of the few artists of the period who used his talent to critique and mock the upper classes: their excesses, extravagance, and moral depravity. He had trained to become an engraver and later switched to painting.

But the engraver in him never died. In fact, he made engravings of some of his paintings so he could sell multiple copies of them. Smart guy. He created series of paintings that tell stories like cartoon strips; each painting is a chapter in the story. It was a sensation. The series chronicles the conversion of a country bumpkin into a city prostitute and follows her gradual decline. This painted story follows the moral collapse of Tom Rakewell.

In one of the episodes, The Orgy, Tom drinks himself into a stupor at a brothel. Though a prostitute caresses his chest, he looks too nauseated to notice. In the dark background, a servant holding out a candle looks on aghast at the scene. The final painting in the series finds Tom Rakewell in a lunatic asylum. Souvenirs and mementos became an important element as they could demonstrate the specifics of which location was visited and what was seen or acquired.

Their popularity created an industry of sorts, and prices rose with the growth of the trend. Some Grand Tourists invited artists from home to accompany them throughout their travels, painting views specific to their personal itineraries. Despite the political upheaval, 18th century Rome remained a desirable destination. The city became a nexus for these tourists as well as the merchants and industries that resulted from their patronage.

It became a symbol of wealth and freedom to go on the Grand Tour and to have something to show for it displayed in your home. A popular souvenir of the Grand Tour was a portrait of the tourists themselves, often painted amidst the architecture, or famous art works of a particular European location.

The artist Pompeo Batoni, made a career of painting portraits of English tourists posed among Roman antiquities. He became very popular in Rome and his portraits of the British traveling through the city were in very high demand. There are records of over portraits of visiting British patrons standing amidst ruins and great works of art by Batoni. A portrait by Pompeo Batoni : A popular souvenir of the Grand Tour was a portrait of the tourists themselves, like this one, painted amidst the architecture or famous art works of a particular European location.

Privacy Policy. Skip to main content. European and American Art in the 18th and 19th Centuries. Search for:. The Enlightenment. Learning Objectives Describe the shifts in thinking and artwork that characterized the Enlightenment. The austerity and sobriety of Neoclassicism echoed the spirit of the French Revolution. That after several decades of ground-breaking research, and strategic challenges to disciplinary prejudice against the very idea of British art, we fear a loss of momentum, a shifting of attention, even an obsolescence of the questions and discoveries that have so energized the field?

If this is the case, then I am not sure that arguing the point all over again is the right way forward. British art matters. The case has been made. The problem surely has to do with the larger one of academic specialization, the absence of a general conversation across isolated fields of enquiry, and the limitations of a traditional model of national schools in a curriculum that is moving towards a global history of art. The challenge becomes one of connection, and of finding a place in that global dialogue, in its radical sense as a mapping of transnational contacts and networks, rather than as a compilation of local case studies.

In such a forum, values adjust.

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The qualities that can make British art seem so nebulous—so provisional, contingent, peripheral, even derivative—become the most interesting thing about it. Maybe it has indeed become redundant. Or maybe our motion is less a provocation to British art studies, than a blueprint for its future direction. The categorization sometimes mattered to the artists themselves. Concepts of nationality can function as both stick and carrot. Graham Sutherland, Black Landscape , , oil paint and sand on canvas, 81 x We are left with one all-purpose question: how, where if anywhere , and why did some particular sense of British identity or tradition enter into the making or reception of specific works of art?

For British, one could substitute all sorts of other things, which might or might not be more interesting in specific cases. Artists are indeed affected by things which come to them from all over the place. They absorb what they need at a given time. The devil, as always, is in the detail. Adrian George, Deputy Director and Senior Curator of the Government Art Collection, joins the debate with a filmed response that reflects on his own position as a curator and draws on varied works from the Collection.

It demonstrates how Anglo-Irish relations can still be marked by a sense of condescension albeit benign , and resultant indignation. Whilst in the past, British colonialists insisted on the absolute and hierarchical difference between themselves and the Native Irish, the idea that today, when it concerns successful Irish people, they can be neatly subsumed into British identity is anathema to many Irish people and provokes a visceral response.

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When it comes to the question of British art, and of who can be classified as a British artist, from an Irish perspective this is controversial. In the sixteenth and seventeenth centuries, British art was dominated by successful foreigners. But from the s Hogarth flourished and became a dominant figure, followed by Gainsborough, Reynolds, Turner, Constable and Blake—each of whom ranks among the most original geniuses of British art.

However, if we go solely by nationality, two of the great British history painters, James Barry and Daniel Maclise, were both Irish-born. The three towering figures of twentieth-century British figurative painting, Lucian Freud, Frank Auerbach and Francis Bacon, were all born outside Britain. Yet all these artists fall within the category of British art. Does it promulgate a sense of exclusivity rather than inclusivity?

Undoubtedly, the question prompts a contentious debate, but can it not also be a progressive one that encourages us to explore the contemporary importance of national boundaries and identities in terms of art? And given the current arrangement of the 39 Lane paintings shared with the National Gallery, London, it is one that still resonates.

The founder, Hugh Lane — was born in Ireland, brought up in Britain and lived in London, where he became a highly successful art dealer and collector. Lane embarked on a mission to provide access for the Irish public to international art and to promote a distinctive school of Irish art. In late , he offered his art collection to the city of Dublin and garnered the support of an eclectic group of individuals, including nationalists, unionists, artists, poets, journalists and scientists, to assist in the foundation of a gallery of modern art.

This arrangement was significant given that it pre-dated Ireland becoming an independent state in One of the most significant acquisitions of recent times is the studio of the Dublin-born artist Francis Bacon. It has inevitably raised the question of whether Bacon is an Irish or British artist.

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Since the gallery has also had a permanent display of paintings by Sean Scully. He was also born in Dublin, but left Ireland at the age of four when his family emigrated for financial reasons. Whilst Scully spent his formative years in England, he strongly asserts his Irish identity. John Singer Sargent, Hugh Lane , , oil on canvas, You might as well talk of English mathematics! Art is art and mathematics is mathematics.

It can be explorative rather than definitive, inclusive rather than exclusive in scope. There is certainly such a thing as British art; it is contained and restrained, boxed and categorised but not fixed; still fluid. To understand British art as an artist, learn to know your place.

It is certainly fashioned on the British class system but is not an exact model. There are artist equivalents of self-assured aristocrats, military men, visiting diplomats, society women, all of whom seem to know each other and who can often be seen gently, easily moving to and fro, encouraging and reassuring each other. There are thousands of busy and eager-to-please strivers, making marvellous work of quality but who must earn their living supporting the intricate infrastructures hidden in the corridors of power.

Then there are the artist equivalents of the desperate, the homeless and the poorly educated, who have never been taught that all is not what it seems. They do not know that critics, curators and collectors are human beings who form friendships with artists; who sometimes go on holiday together, have dinner together and live in the same streets in the same cities. British art is fully able and happy to be critical of the questionable political structures and falsely constructed art histories which underpin it. At the same time it rewards and seeks to celebrate an entitlement of belonging.

An acceptable art work may demonstrate a sophisticated awareness of both the inevitable magnificence and unavoidable hysteria of work made anywhere else. British Art is slightly flawed, casually disciplined, still and patient, hard-working with plenty of sweat and dirt, grey and brown. Greys: warm and light infused with yellow, or dark and icy with blue running through.

Browns: laced with burgundy, or verging on green or leaning softly on the edge of orange. British Art speaks English well and acknowledges the importance of English literature and history, the Scottish and Welsh landscape, German classical music, French food and wine, Italian ice cream and architecture, Spanish painters, Brazilian heat, American men and Irish hospitality. Richard Johns is Lecturer in the History of Art. His research centres on art and visual culture in Britain during the long eighteenth century, with a special interest in grand-scale decorative history painting.

He joined the department in , having previously worked as a curator of art at the National Maritime Museum, London. See T. Bovey Leeds: Maney Publishing, , — Press, Pollock London and New York: Routledge, , We use cookies to improve our service and to create more quality, relevant content for users. You can manage your cookie settings via your browser configuration at any time. To learn more about how we use cookies, please see our Cookie policy. Downloads Information The conversation will develop as more respondents enter the debate. Readers can also join in by adding a response at the bottom of the page.