Bibliographie
BALLEW Neff Emily (ed.), John Singleton Copley in England, London : Merrell Holberton Publishers, 1995.
BEATTIE James, An Essay on the Nature and Immutability of Truth, in Opposition to Sophistry and Scepticism, Edinburgh, 1776.
BEHN Aphra, Oroonoko, 1688, Oroonoko and Other Writings, Paul Salzman (ed.), Oxford : Oxford University Press, 1994.
BINDMAN David, “ A Voluptuous Alliance between Africa and Europe : Hogarth’s Africans” in Bernadette FORT and Angela Rosenthal (eds.), The Other Hogarth, Princeton : Princeton University Press, 2001, 260-269.
Bernadette FORT and Angela Rosenthal (eds.), Ape to Apollo : Aesthetics and the Idea of Race in the Eighteenth Century, Ithaca (NY) : Cornell University Press, 2002.
Bernadette FORT and Angela Rosenthal (eds.), Mind-Forg’d Manacles : William Blake and Slavery, London : Hayward Gallery Publishing, 2007.
BOIME Albert, The Art of Exclusion : Representing Blacks in the Nineteenth Century, Washington : Smithsonian Institution Press, 1990.
BOSWELL James, Life of Johnson, 1791, R.W. Chapman (ed.), Oxford : Oxford University Press, 1998.
COZENS Alexander, Principles of Beauty Relative to the Human Head, London, 1778.
DABYDEEN David, Hogarth’s Blacks : Images of Blacks in Eighteenth-Century English Art, Kingston upon Thames : Dangaroo Press, 1985.
DANIELS Stephen, Joseph Wright, London : Tate Gallery Publishings, n.d.
DAY Thomas, The Dying Negro, London, 1773.
FORT Bernadette and Angela ROSENTHAL (eds.), The Other Hogarth, Princeton : Princeton University Press, 2001.
FORSTER Georg, A Voyage round the World, 2 vols., London, 1777, vol.1.
FOWKES Tobin Beth, Picturing Imperial Power : Colonial Subjects in Eighteenth-Century British Painting, Durham and London : Duke University Press, 1999.
GAUNT William, Turner, London : Phaidon Press, 1971.
GUEST Harriet,“Curiously Marked : Tattoing, Masculinity and Nationality in Eighteenth-Century British Perception of the South Pacific”, in John BARREL (ed.), Paintings and the Politics of Culture: New Essays on British Art 1700-1850, Oxford : Oxford University Press, 1982, 101-134.
HONOUR Hugh, L’Image du noir dans l’art occidental, Marie-Geneviève de La Coste Messelière (trad.), Paris : Gallimard, 1989.
ISRAEL Calvin (ed.), Discoveries and Considerations : Essays on Early American Literature and Aesthetics, Albany : State University of New York Press, 1976.
JAFFE Irma B., “John Singleton Copley’s Watson and the Shark”, The American Art Journal, IX-1, May 1977, 15-25.
KRIZ Kay Dian, Slavery, Sugar, and the Culture of Refinement: Picturing the British West Indies, 1700-1840, New Haven : Yale UP, 2008.
MACKENZIE Henry, The Man of Feeling, 2nd ed., 1771, Brian Vickers (ed.), Oxford : Oxford University Press, 2001.
MANNINGS David (ed.), Joshua Reynolds: a Complete Catalogue of his Paintings, 2 vols., New Haven : Yale University Press, 2000.
MULLAN John, Sentiment and Sociability : the Language of Feeling in the Eighteenth Century, Oxford : Clarendon Press, 1988.
PARKER Elizabeth and Alex KIDSON (eds.), Joseph Wright of Derby in Liverpool, New Haven : Yale University Press, 2008.
PARKER Elizabeth, “Swallowing up all the Business : Joseph Wright of Derby in Liverpool”, in Elizabeth PARKER and Alex KIDSON (eds.), Joseph Wright of Derby in Liverpool, New Haven : Yale University Press, 2008, 41-83.
PARSONS Sarah, “A Conversation of Girls : Wright and British Visual Culture of Slavery 1760-1800”, in Elizabeth Parker and Alex Kidson (eds.), Joseph Wright of Derby in Liverpool, New Haven : Yale UP, 2008, 105-120.
PAULSON Ronald, Hogarth’s Graphic Works, London : The Print Room, 1989.
POSTLE Martin (ed.), Joshua Reynolds : the Creation of Celebrity, London : Tate Publishing, 2005.
REYNOLDS Joshua, Works, 2nd ed., 3 vols., London, 1798.
ROSCOE William, The Wrongs of Africa : a Poem, London, 1787.
ROSCOE William, A General view of the African Slave Trade, London, 1788.
ROSENTHAL Michael and Martin Myrone, “Thomas Gainsborough : Art, Society, Sociability”, in Michael Rosenthal and Martin Myrone (eds.), Gainsborough, London : Tate Publishing, 2002.
SANCHO Ignatius, Letters, 2 vols., London, 1782.
SPENCE Joseph, Crito, London, 1752.
STAITI Paul, “Accounting for Copley”in Carrie Rebora and Paul Staiti (eds.), John Singleton Copley in America, New York : Metropolitan Museum of Art, 1995, 25-51.
STEIN Roger B., “Copley’s Watson and the Shark and Aesthetics in the 1770s”, in Calvin Israel (ed.), Discoveries and Considerations : Essays on Early American Literature and Aesthetics, Albany : State University of New York Press, 1976.
STERNE Laurence, The Life and Opinions of Tristram Shandy, 1759-1767, Harmondsworth : Penguin, 1991.
TROMANS Nicholas (ed.), The Lure of the East : British Orientalist Painting, London : Tate Publishing, 2008.
UGLOW Jenny, The Lunar Men : the Friends who Made the Future 1730-1810, London : Faber and Faber, 2002.
UHRY ABRAMS Ann, “Politics, Prints, and John Singleton Copley’s Watson and the Shark”, The Art Bulletin, 61, n°2 (June 1979) : 265-276.
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Notes
David Dabydeen, Hogarth’s Blacks : Images of Blacks in Eighteenth-Century English Art, Kingston upon Thames : Dangaroo Press, 1985, 36.
See Nicholas Tromans (ed.), The Lure of the East : British Orientalist Painting, London: Tate Publishing, 2008, 72.
Beth Fowkes Tobin, Picturing Imperial Power : Colonial Subjects in Eighteenth-Century British Painting, Durham and London: Duke UP, 1999, 21.
David Bindman, “A Voluptuous Alliance between Africa and Europe: Hogarth’s Africans”, in Bernadette Fort and Angela Rosenthal (eds.), The Other Hogarth, Princeton : Princeton UP, 2001, 264.
Ronald Paulson, Hogarth’s Graphic Works, 3rd ed., London : The Print Room, 1989, 344.
Aphra Behn, Oroonoko [1688] in Oroonoko and Other Writings, Paul Salzman (ed.), Oxford : Oxford UP, 1994, 13.
Joseph Spence, Crito, London, 1752.
Alexander Cozens, Principles of Beauty Relative to the Human Head, London, 1778, 7.
Henry Mackenzie, The Man of Feeling, 2nd ed., 1771, Brian Vickers (ed.), Oxford : Oxford UP, 2001, 13.
Ibidem, 73.
John Mullan, Sentiment and Sociability : the Language of Feeling in the Eighteenth Century, Oxford : Clarendon Press, 1988, 30.
James Boswell, Life of Johnson, 1791, R.W. Chapman (ed.), Oxford : Oxford UP, 1998, 878.
Ignatius Sancho, Letters, 2 vols., London, 1782, vol. 1, II.
Ibidem, XV.
Ibid., IX.
Ibid., 99.
Ibid., 91.
Ibid., 9, 111-113, 117.
Ibid., 174-175.
Laurence Sterne, The Life and Opinions of Tristram Shandy, 1759-1767, Harmondsworth : Penguin, 1991, 518.
Michael Rosenthal and Martin Myrone, “Thomas Gainsborough: Art, Society, Sociability”, in M. Rosenthal and M. Myrone (eds.), Gainsborough, London : Tate Publishing , 2002, 19.
Thomas Gainsborough, Ignatius Sancho, 1768, National Gallery of Canada, Ottawa. See M. Rosenthal and M. Myrone (eds.), Gainsborough, op. cit., 210.
Quoted by M. Rosenthal and M. Myrone, ibid., 13.
Ibid., 183.
Ibid., 211.
Ibid., 128.
Ibid., 127, 187, 195.
Ibid., 128, 211.
Sarah Parsons, “A Conversation of Girls : Wright and British Visual Culture of Slavery 1760-1800”, in Elizabeth Parker and Alex Kidson (eds.), Joseph Wright of Derby in Liverpool, New Haven : Yale UP, 2008, 105-120, 108.
E. Parker and A. Kidson, Joseph Wright of Derby in Liverpool, op. cit., 4, 135, 147, 150.
The name “lunar” means that the members met once a month on the Monday nearest to the full moon. About Wedgwood’s role see Jenny Uglow, The Lunar Men : the Friends who Made the Future 1730-1810, London : Faber and Faber, 2002, 411-412.
Thomas Day, The Dying Negro, London, 1773, 4.
T. Day, The Dying Negro, 1793 edition, 73.
Ibidem, 76.
James Beattie, An Essay on the Nature and Immutability of Truth, in Opposition to Sophistry and Scepticism, 2nd ed., Edinburgh, 1776, 509, 512.
William Roscoe, The Wrongs of Africa : a Poem, London, 1787, 2.
William Roscoe, A General view of the African Slave Trade, London, 1788, 8.
Joseph Wright of Derby, A Conversation of Girls, 1769, Private Collection. See E. Barker and A. Kidson, (eds.), 155.
Stephen Daniels, Joseph Wright, London : Tate Gallery Publishings, n.d., 32.
E. Parker and A. Kidson (eds.), Joseph Wright of Derby in Liverpool, op.cit., 150.
Ibidem, 108.
E. Parker , “Swallowing up all the Business : Joseph Wright of Derby in Liverpool”, in E. Parker and A. Kidson (eds.), Joseph Wright of Derby in Liverpool, op.cit., 62.
E. Parker and A. Kidson, ibidem, 160-161.
Ibid., 164-165.
The kneeling black man is a topos of anti-slavery literature.
The urn is an element of classicism such as those used in Reynolds’s portraits, aiming at giving portraiture some of the dignity of history painting.
Joshua Reynolds, Idler, 82 (1759) in Works, 2nd ed., 3 vols., London, 1798, vol.2, 235-243, 240-241.
See David Mannings (ed.), Joshua Reynolds: a Complete Catalogue of his Paintings, 2 vols., New Haven : Yale University Press, 2000.
Martin Postle (ed.), Joshua Reynolds : the Creation of Celebrity, London: Tate Publishing, 2005, 138. As David Bindman puts it,“the chattel slave in grand portraits is both savage and ceremonial object, who might notionally return to nature if the trappings of civility were removed”. See D. Bindman, Ape to Apollo: Aesthetics and the Idea of Race in the Eighteenth Century, Ithaca (NY): Cornell UP, 2002, 42.
Joshua Reynolds, Omai, c.1776, Private Collection. See Martin Postle, The Creation of Celebrity, op. cit., 218.
See David Mannings, A Complete Catalogue, op. cit., vol. 1, 357.
James Boswell, Life of Johnson [1791], R.W. Chapman (ed.), Oxford : Oxford University Press, 1998, 723.
Georg Forster, A Voyage round the World, 2 vols., London, 1777, vol.1, 388-389.
Martin Postle, The Creation of Celebrity, op. cit., 215.
David Mannings, A Complete Catalogue, op. cit., vol.1, 408.
Harriet Guest,“Curiously Marked: Tattoing, Masculinity and Nationality in Eighteenth-Century British Perception of the South Pacific”, Paintings and the Politics of Culture : New Essays on British Art 1700-1850, John Barrell (ed.), Oxford : Oxford University Press, 1982, 101, 106.
G. Forster, A Voyage, op. cit., vol.1, 388.
Ibidem, vol.1, 389.
David Mannings, A Complete Catalogue, op. cit., vol.1, 357.
Ibidem, vol.1, 357.
G. Forster, A Voyage round the World, op. cit., 389.
Quoted by Paul Staiti, “Accounting for Copley”, in Carrie Rebora and Paul Staiti (eds.), John Singleton Copley in America, New York : Metropolitan Museum of Art, 1995, 40.
Ann Uhry Abrams,“Politics, Prints, and John Singleton Copley’s Watson and the Shark”, The Art Bulletin, LXI-2, June 1979, 265-276, 268.
John Singleton Copley, Watson and the Shark, 1778, National Gallery of Art, Washington. See Emily Ballew Neff (ed.), John Singleton Copley in England, London : Merrell Holberton Publishers, 1995, 105.
Roger B. Stein, “Copley’s Watson and the Shark and Aesthetics in the 1770s”, Discoveries and Considerations: Essays on Early American Literature and Aesthetics, in Calvin Israel (ed.), Albany : State University of New York Press, 1976, 122.
E. Ballew Neff, John Singleton Copley, op. cit., 107.
Ibidem, 141.
R. Stein, “Copley’s Watson and the Shark and Aesthetics in the 1770s” in Discoveries and Considerations, op. cit., 112. This is emphasized by the horizontality of the picture, which is no longer the case in a later, vertical version.
Quoted in E. Ballew Neff, John Singleton Copley, op. cit., 81.
Albert Boime, The Art of Exclusion: Representing Blacks in the Nineteenth Century, Washington : Smithsonian Institution Press, 1990, 21.
Irma B. Jaffe, “John Singleton Copley’s Watson and the Shark”, The American Art Journal, IX-1, May 1977, 15-25, 19.
Hugh Honour, L’Image du noir dans l’art occidental, Marie-Geneviève de La Coste Messelière (trad.), Paris : Gallimard, 1989, 38 ;
David Dabyden, Hogarth’s Blacks : Images of Blacks in Eighteenth-Century English Art, Kingston upon Thames : Dangaroo Press, 1985, 44.
Kay Dian Kriz, Slavery, Sugar, and the Culture of Refinement : Picturing the British West Indies, 1700-1840, New Haven : Yale University Press, 2008, 99.
David Bindman, Mind-Forg’d Manacles:William Blake and Slavery, London : Hayward Gallery Publishing, 2007, 39.
William Gaunt, Turner, London : Phaidon Press, 1971, 43.
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