The Reception of Titian in Britain from Reynolds to Ruskin
P. Humfrey (ed.)
This volume comprises sixteen essays on the reception of Titian by British painters, collectors and critics in the long nineteenth century. The main focus falls on the first three decades of the century, in the aftermath of the exhibition of the celebrated Orléans collection in London in 1798-99. But the chronology extends from Reynolds and his contemporaries, around the time of the founding of the Royal Academy in 1768, to the more diverse and complicated reactions of the Victorian age, and even into the twentieth century.
Peter Humfrey: Introduction: the Pre-History
Marin Postle: ‘That Titian of our times’: Sir Joshua Reynolds and the ‘Divine Titian’
Jonathan Yarker: Copies and the Taste for Titian in late eighteenth-Century Britain
Stephen Lloyd: ‘So much is Titian the rage’: Titian, Copies and Artist-Collectors in London c.1790-1830
Rosie Dias: Colour, Effect and the Formation of an English School of Painting
Linda Borean,: Sir Abraham Hume as Collector and Writer
Philippa Simpson: Titian in post-Orléans London
Anne Lyles: Constable and Titian
Tom Nichols: Hazlitt and Titian: Progress, Gusto and the (Dis)Pleasure of Painting
Godfrey Evans: ‘Vaulting ambition, which o’erleaps itself’: the Dukes of Hamilton and Titian
Caroline Campbell: Titian in nineteenth-Century British Fiction
William McKeown: Getting at ‘the mind of Titian’in Ruskin’s Modern Painters
Jason Rosenfeld: Millais and the ‘luster of Titian’
Jeremy Howard: Titian’s Rape of Europa: its Reception in England and Sale to America
Catherine Whistler: Merchants and Writers: the Ashmolean’s Titian Collection and some nineteenth-century Owners Susanna Avery-Quash: Titian at the National Gallery, London: an unchanging Reputation?
(…more at Brepols website…)