Reynolds, Sir Joshua. The Letters of Sir Joshua Reynolds. Editors Ingamells, John and John Edgcumbe, Yale University Press.
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Connections Sort descending | Author name | Excerpt |
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Occupation | Emilie Barrington | EB
, who was artistically gifted, entered work for the Royal Academy
Exhibition in 1871, while pregnant with her second child, but was not accepted. She claimed to have taken art lessons from Ruskin
... |
Occupation | Mary Matilda Betham | MMB
wrote later that many people thought her a singular, and perhaps imprudent person, because I rhymed, and ventured into the world as an artist; but I belonged to a large family, and dreaded dependence... |
Occupation | Frances Reynolds | She was also already a painter on her own account. She had done a portrait of Joshua around 1746 (now in the Cottonian Collection in the city museum and art gallery of Plymouth) Reynolds, Sir Joshua. The Letters of Sir Joshua Reynolds. Editors Ingamells, John and John Edgcumbe, Yale University Press. 264 |
Occupation | Kate Greenaway | By 1873, KG
began receiving offers to illustrate popular books and magazines; she left school to pursue a career as an illustrator, while hoping to become a published author. Her pictures for greetings cards for... |
Reception | Joanna Baillie | Charles Landseer
(brother of Sir Edwin Landseer
) exhibited at the Royal Academy
a painting from JB
's De Monfort; he had already painted Samuel Richardson
's Clarissa. Baillie, Joanna. The Collected Letters of Joanna Baillie. Editor Slagle, Judith Bailey, Fairleigh Dickinson University Press. 1: 511 |
Residence | Elizabeth Strutt | |
Textual Features | Catharine Amy Dawson Scott | The Headland was strongly influenced by the writing of Dorothy Richardson
, whom Dawson Scott had met in Cornwall during the first world war. Its story takes three chapters for three cataclysmic days. The protagonist... |
Textual Features | Ella Hepworth Dixon | EHD
's heroine, Mary Erle, struggles to negotiate contemporary notions of femininity, marriage, and motherhood with her own desire to live independently and to pursue her own profession. After her father's death, she faces the... |
Textual Production | Anne Damer | AD
began exhibiting her sculpture at the annual Royal Academy
show in London; she was a regular contributor to this event until 1818. Bakewell, Susan. “A Muse on the Move: The Hon. Anne Seymour Damer, from England to Italy (via France, Germany, Spain, and Portugal), 1762-1799”. American Society for Eighteenth-Century Studies (ASECS) Conference, Providence, RI. |
Textual Production | Anna Mary Howitt | AMH
exhibited for the only time at the Royal Academy
, with a picture entitled The Castaway, which depicts a fallen woman or prostitute. McMaster, Juliet. That Mighty Art of Black-and-White. Linley Sambourne, <span data-tei-ns-tag="tei_title" data-tei-title-lvl="j">Punch</span>, and the Royal Academy. Ad Hoc Press. 3 Graves, Algernon. The Royal Academy of Art. Henry Graves and George Bell. |
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