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ARTF2094
ARTF2094 Module Reading List

Art, Power and Portraiture, 2020/21, Semester 1
Dr Kerry Bristol
k.a.c.bristol@leeds.ac.uk
Tutor information is taken from the Module Catalogue

Adamson, John, ‘The Tudor and Stuart Courts 1509-1714’, in John Adamson (ed.), The Princely Courts of Europe (London: Weidenfeld and Nicolson, 1999), pp. 95-117

Aikema, Bernard (ed.), Renaissance Venice and the North: Crosscurrents in the time of Dürer, Bellini and Titian (London: Thames and Hudson, 1999)

Albinson, A. Cassandra and Mark Hallett, ‘Cornucopia: Royal Female Portraiture and the Imperatives of Reproduction’, in Enlightened Princesses. Caroline, Augusta, Charlotte, and the Shaping of the Modern World, ed. by Joanna Marschner, with David Bindman and Lisa L. Ford (New Haven and London: Yale University Press for the Yale Center for British Art and Historic Royal Palaces, 2017), pp. 76-107      Available as an Online Course Reading in Minerva 

Asch, Ronald, and Adolf Birke (eds), Princes, Patronage and the Nobility: The Court at the Beginning of the Modern Age, 1450-1650 (London: Oxford University Press, 1991)

Aston, Margaret, The King’s Bedpost: Reformation and Iconography in a Tudor Group Portrait (Cambridge: Cambridge University Press, 1993)

Baetschmann, Oskar, and Pascal Griener, Hans Holbein (London: Reaktion Books, 1997)

Baker, Malcolm, The Marble Index: Roubiliac and sculptural portraiture in eighteenth-century Britain (New Haven: Yale University Press, 2014)

Barlow, P., ‘Facing the past and present: the National Portrait Gallery and the search for ‘authentic’ portraiture’, in Joanna Woodall (ed.), Portraiture: Facing the Subject (Manchester: Manchester University Press, 1997), pp. 219-238

Barnes, Susan J., and Arthur K. Wheelock Jr (eds), Van Dyck 350 (Studies in the History of Art, 46), (Washington: National Gallery of Art, 1994)

Barnes, Susan, ‘Van Dyck and George Gage’, in David Howarth (ed.), Art and Patronage in the Caroline Courts (Cambridge: Cambridge University Press, 1993), pp. 1-11

Baumgärtel, Bettina, ‘Is the King Genderless? The Staging of the Female Regent as Minerva Pacifera’, in Women Who Ruled, ed. by Annette Dixon (London: Merrell, 2002), pp. 97-117    OCR REQUESTED BY LIBRARY (HT 03/08/2020) 

Belsey, Andrew, and Catherine Belsey, ‘Icons of Divinity: Portraits of Elizabeth I’, in Lucy Gent and Nigel Llewellyn (eds), Renaissance Bodies (London: Reaktion Books, 1990), pp. 11-35, notes pp. 242-244

Bennett, Shelley, ‘A Muse of Art in the Huntingdon Collection’, in Guilland Sutherland (ed.), British Art 1740-1820. Essays in Honour of Robert W. Wark (San Marino, CA: Henry E. Huntingdon Library and Art Gallery, 1992), pp. 57-80

Berger Jr., Harry, ‘Facing the Gaze in Early Modern Portraiture’, Representations, 46 (Spring 1994), 89-120     

Bignamini, Ilaria, ‘George Vertue, Art Historian, and Art Institutions in London, 1689-1768’, Walpole Society, 54 (1991), 1-148

Black, Jeremy, Italy and the Grand Tour (New Haven and London: Yale University Press, 2003)

Bowron, Egar Peters, and Peter Björn Kerber, Pompeo Batoni. Prince of Painters in Eighteenth- Century Rome (New Haven, London and Houston: Yale University Press, 2007), pp. 37-87

Bowron, Edgar Peters, and Joseph J. Rishel (eds), Art in Rome in the Eighteenth Century (Philadelphia: Philadelphia Museum of Art, 2000), pp. 295-303, 307-320, 405-414

Bowron, Edgar Peters, Pompeo Batoni (1708-87) and His British Patrons (London: Greater London Council, 1982)

Brewer, John, ‘Whose Grand Tour?’, in Maria Dolores Sánchez-Jáuregui and Scott Wilcox (eds), The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour (New Haven and Yale University Press, 2012), pp. 44-61    Available as an Online Course Reading in Minerva 

Brewer, John, The Pleasures of the Imagination: English Culture in the Eighteenth Century (London: HarperCollins, 1997), pp. 201-321

Brilliant, Richard, Portraiture (London: Reaktion Books, 1991)

Brotton, Jerry, The Sale of the Late King’s Goods: Charles I and his Art Collection (London: Macmillan, 2006)

Brown, Christopher, Van Dyck (Oxford: Phaidon, 1982)

Brown, Christopher, and Hans Vlieghe (eds), Van Dyck 1599-1641 (London and Antwerp: Royal Academy of Arts and Antwerpen Open/New York: Rizzoli, 1999)

Brown, Jonathan, Kings and Connoisseurs: Collecting Art in Seventeenth-century Europe (New Haven and London: Yale University Press, 1995), pp. 10-58, 227-247

Brown, Jonathan, and John Elliott, The Sale of the Century: Artistic Relations between Spain and Great Britain, 1604-1655 (New Haven and London: Yale University Press, 2002)

Bryson, Anna, ‘The Rhetoric of Status: Gesture, Demeanour and the Image of the Gentleman in Sixteenth- and Seventeenth-Century England’, in Renaissance Bodies, ed. by Lucy Gent and Nigel Llewellyn (London: Reaktion, 1990), pp. 136-153     

Buck, Stephanie, and Jochen Sander, Hans Holbein the Younger: Painter at the Court of Henry VIII (London: Thames and Hudson, 2003)

Campbell, Lorne, ‘Portraiture’, in Jane Turner (ed.), The Grove Dictionary of Art (London: Macmillan, 1996), 25, pp. 273-287

Castiglione, Baldesar, The Courtier, trans. by G. Bull (Harmondsworth: Penguin Books, 1967/1976), pp. 65-70 and 96-104    Available as an Online Course Reading in Minerva 

Cherry, Deborah, and Jennifer Harris, ‘Eighteenth-century Portraiture and the Seventeenth-century Past’, 5, no.3 Art History (1982), 287-309    OCR REQUESTED BY LIBRARY (HT 03/08/2020) 

Clark, Peter, British Clubs and Societies 1580-1800: The Origins of an Associational World (Oxford: Clarendon Press, 2000)

Clayton, Timothy, ‘The Role of Prints and Printmakers in the Diffusion of Portraiture’, in Citizens and Kings (London: Royal Academy of Arts, 2007), pp. 50-56

Cohen, Sarah R., ‘Rubens’s France: Gender and Personification in the Marie de Médici Cycle’, Art Bulletin, 5, no.3 (September 2003), 490-522

Coope, Rosalys, ‘The Long Gallery: its Origins, Development, Use and Decoration’, Architectural History, 1986, 43-84     

Cooper, Tarnya, Citizen Portrait. Portrait Painting and the Urban Elite of Tudor and Jacobean England and Wales (New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2012)

Corner, John, ‘Mediated politics, promotional culture and the idea of ‘propaganda’, Media, Culture and Society, 29, no.4 (July 2007), 669-677     

Cropper, Elizabeth, ‘The Beauty of Woman: Problems in the Rhetoric of Renaissance Portraiture’, in Margaret W. Ferguson, Maureen Quilligan and Nancy Vickers (eds), Rewriting the Renaissance. The Discourses of Sexual Difference in Early Modern Europe (Chicago and London: University of Chicago Press, 1986), pp. 175-190

Cuddy, Neil, ‘Dynasties and Display: Politics and Painting in England’, in Karen Hearn (ed.), Dynasties: Painting in Tudor and Jacobean England 1530-1630 (London: Tate Gallery, 1995), pp. 11-20

de Piles, Roger, ‘Of Portraiture’, The Principles of Painting (London: J. Osborn, 1743), pp. 159-183. See also Translator’s Preface, pp. iii-xii     

Dias, Rosie, ‘‘A world of pictures’: Pall Mall and the topography of display, 1780-99, in Miles Ogborn and Charles W.J. Withers, eds, Georgian Geographies. Essays on space, place and landscape in the eighteenth century (Manchester and New York: Manchester University Press, 2004), pp. 92-113

Donald, Diana, ‘’Caracters and Caricatures’: the satirical view’, in Nicholas Penny (ed.), Reynolds (London: Royal Academy of Arts in association with Weidenfeld & Nicolson, 1986), pp. 355-363

Donovan, Fiona, Rubens and England (New Haven and London: Yale University Press, 2004)

Duro, Paul, ‘Introduction’, in Paul Duro (ed.), The Rhetoric of the Frame: Essays on the Boundaries of the Artwork (Cambridge: Cambridge University Press, 1996), pp. 1-10

Egerton, Judith, Wright of Derby (London: Tate Gallery, 1990)

Eichberger, Dagmar, and Lisa Beaven, ‘Family Members and Political Allies: The Portrait Collection of Margaret of Austria’, Art Bulletin, 77, no.2 (June 1995), 225-248

Esterly, David, Grinling Gibbons and the Art of Carving (London: Victoria and Albert Museum, 1998), especially pp. 68-129

Filipczak, Zirka Zaremba, Picturing Art in Antwerp 1550-1700 (Princeton and Guildford: Princeton University Press, 1987)

Fischlin, Daniel, ‘Political allegory, absolutist ideology and the ‘Rainbow Portrait’ of Queen Elizabeth 1’, Renaissance Quarterly, 50 (Spring 1997), 175-206

Foister, Susan, Holbein and England (New Haven and London: Yale University Press, 2004)

Foister, Susan, Holbein’s Ambassadors: Making and Meaning (London: National Gallery, 1997)

Foister, Susan, ‘Foreigners at Court: Holbein, Van Dyck and the Painter-Stainers Company’, in David Howarth (ed.), Art and Patronage in the Caroline Courts (Cambridge: Cambridge University Press, 1993), pp. 32-42

Ford, Brinsley, ‘Portraits of the English abroad in countries other than Italy’, in Gervase Jackson-Stops, Gordon J. Schochet, Lena Cowen Orlin, Elisabeth Blair MacDougall (eds),The Fashioning and Functioning of the British Country House (Washington: National Gallery of Art, 1989), pp. 95-119

Ford, Brinsley, ‘The Grand Tour’, Apollo, vol. 114 (December 1981), 390-400    Available as an Online Course Reading in Minerva 

Freedman, Luba, Titian’s Portraits Through Aretino’s Lens (Philadelphia: Pennsylvania State University Press, 1995)

Freedman, Luba, ‘Titian’s Portrait of Clarissa Strozzi: The State Portrait of a Child’, Jahrbuch der Berliner Museen, 31 (1989), 165-180

Frye, Susan, Elizabeth I: The Competition for Representation (New York and Oxford: Oxford University Press, 1993)

Gibson-Wood, Carol, Jonathan Richardson: Art Theorist of the English Enlightenment (New Haven and London: Yale University Press, 2000)

Gibson-Wood, Carol, ‘Jonathan Richardson and the Rationalization of Connoisseurship’, Art History, 7:1 (1984), 38-56

Gilman, E.B., ‘Madagascar on my mind: The Earl of Arundel and the Arts of Colonization’, in Peter Erickson and Clark Hulse (eds), Early Modern Visual Culture: Representation, Race and Empire in Renaissance England (Philadelphia: University of Pennsylvania Press, 2000), pp. 284-314

Goldberg, Jonathan, ‘Fatherly Authority: The Politics of Stuart Family Images’, in Margaret W. Ferguson, Maureen Quilligan and Nancy Vickers (eds), Rewriting the Renaissance. The Discourses of Sexual Difference in Early Modern Europe (Chicago and London: University of Chicago Press, 1986), pp. 3-32

Gombrich, Ernst, The Image and The Eye (Oxford: Phaidon, 1982), pp. 105-136    OCR REQUESTED BY LIBRARY (HT 04/08/2020) 

Gombrich, Ernst, Norm and Form: Studies in the Art of the Renaissance (London: Phaidon, second edition, 1971), 129-134, notes pp. 154-155

Gordenker, Emilie, Anthony van Dyck and the Representation of Dress in Seventeenth-century Portraiture (Turnhout: Brepols, 2001)

Gould, Cecil, Titian (Feltham: Hamlyn, 1985)

Greenblatt, Steven, Renaissance Self-Fashioning from More to Shakespeare (Chicago and London: University of Chicago Press, 1980), esp. pp. 11-33

Griffey, Erin, Henrietta Maria: Piety, Politics and Patronage (Aldershot: Ashgate, 2008)

Hallam, Jennifer L., ‘All the Queen’s Women: Female Double Portraits in the Caroline Court’, Women and Portraits in Early Modern Europe, ed., Andrea Pearson (Aldershot: Ashgate, 2008, pp. 137-160

Hallett, Mark, Reynolds: Portraiture in Action (New Haven and London: Yale University Press, 2014), pp. 25-50    Available as an Online Course Reading in Minerva 

Hallett, Mark, ‘A Monument to Intimacy: Joshua Reynolds’s The Marlborough Family’, Art History, 31, no. 5 (November 2008), 691-720

Hallett, Mark, ‘Reynolds, Celebrity and the Exhibition Space’, in Martin Postle (ed.), Joshua Reynolds: The Creation of Celebrity (London: Tate Publishing, 2005), pp. 35-47    OCR REQUESTED BY LIBRARY (HT 04/08/2020) 

Hanning, Robert, ‘Castiglione’s Verbal Portrait: Structures and Strategies’, in Robert W. Hanning and David Rosand (eds), Castiglione: The Ideal and the Real in Renaissance Culture (New Haven: Yale University Press, 1983), pp. 131-141

Hayes, John (ed.), The Letters of Thomas Gainsborough (New Haven and London: Yale University Press, 2001)

Hearn, Karen (ed.), Van Dyck and Britain (London: Tate Gallery, 2009), esp. pp. 64-124

Hearn, Karen (ed.), Dynasties: Painting in Tudor and Jacobean England 1530-1630 (London: Tate Publishing, 1995)

Held, Julius, ‘Le Roi à la Ciasse’, The Art Bulletin, 40, no.2 (June 1958), 139-149

Herrmann, Frank, The English as Collectors. A Documentary Sourcebook (London: John Murray, 1999)

Hille, Christiane, Visions of the Courtly Body: The Patronage of George Villiers, First Duke of Buckingham, and the Triumph of Painting at the Stuart Court (Berlin, Akademie Verlag, 2012), pp. 1-16, 126-144, 175-187     

Hilliard, Nicholas, A Treatise Concerning the Arte of Limning, ed. by R.K.R Thornton and T.G.S Cain (Ashington: Mid Northumberland Arts Group in association with Carcanet New Press, 1981)

Hoock, Holger, The King’s Artists: The Royal Academy of Arts and the Politics of British Culture (Oxford: Clarendon Press, 2003), pp. 52-79, 136-179 and 203-222

Hogarth, William, The Analysis of Beauty (New Haven and London: Yale University Press, 1997), ch. XV and XVI

Hope, Charles, Titian (London: Jupiter, 1980)

Hope, Charles, ‘Titian as a Court Painter’, Oxford Art Journal, 2, no.2 (1979), 7-11

 

Howarth, David, Images of Rule: Art and Politics in the English Renaissance, 1485-1649 (Berkeley: University of California Press, 1996), pp. 1-10, 120-152    OCR REQUESTED BY LIBRARY (HT 04/08/2020) 

 

Howarth, David (ed.), Art and Patronage in the Caroline Courts: Essays in Honour of Sir Oliver Millar (Cambridge: Cambridge University Press, 1993)

Howarth, David, Lord Arundel and his Circle (New Haven and London: Yale University Press, 1985)

Hyde, Melissa, and Jennifer Milam (eds), Women, Art and the Politics of Identity in Eighteenth-century Europe (Aldershot: Ashgate, 2003)

Jaffé, Michael, ‘The Picture of the Secretary of Titian’, Burlington Magazine, 108, no. 756 (March 1966), 114-126

Jenkins, Ian, and Kim Sloan, Vases and Volcanoes. Sir William Hamilton and his Collection (London: British Museum, 1996)

Johannesson, Kurt, ‘The Portrait of the Prince as Rhetorical Genre’, in Allan Ellenius (ed.), Iconography, Propaganda, and Legitimation (Oxford: Clarendon Press, 1998), pp. 11-36

Johns, Christopher M.S., ‘Portraiture and the making of Cultural Identity: Pompeo Batoni’s The Honorable Colonel William Gordon (1765-66) in Italy and North Britain’, Art History, 27, no. 3 (2004), 382-411

Johns, Christopher, ‘Politics, Nationalism and Friendship in Van Dyck’s Le Roi à la Ciasse’, Zeitschrift fűr Kunstgeschichte, 51, no. 2 (1988), 243-261

Johnson, Geraldine, ‘’Pictures Fit for a Queen’: Peter Paul Rubens and the Maria de’ Medici Cycle’, Art History, 16, no. 3 (1993), 447-469

Johnson, Geraldine, ‘Imagining Images of Powerful Women: Marie de’ Medici’s Patronage of Art and Architecture’, in Cynthia Lawrence (ed.), Women and Art in Early Modern Europe: Patrons, Collectors and Connoisseurs (Philadelphia: Pennsylvania State University Press, 1997), pp. 125-153

Jones, Ann Rosalind, and Peter Stallybrass, Renaissance Clothing and the Materials of Memory (Cambridge: Cambridge University Press, 2000), pp. 34-58, endnotes pp. 286-291    Available as an Online Course Reading in Minerva 

Jones, Robert W., ‘’Such Strange and Unwanted Softness to Excuse’: Judgement and Indulgence in Sir Joshua Reynolds’ Portrait of Elizabeth Gunning, Duchess of Argyle’, Oxford Art Journal, 18, no. 1 (1995) 29-43

King, John N., ‘Queen Elizabeth I: Representations of the Virgin Queen’, Renaissance Quarterly, 43, no. 1 (Spring 1990), 30-74

Klinger Aleci, Linda, ‘Images of Identity: Italian Portrait Collections of the Fifteenth and Sixteenth Centuries’, in Nicholas Mann and Luke Syson (eds), The Image of the Individual: Portraits in the Renaissance (London: British Museum Press, 1998), pp. 67-79, 204-213  

Laing, Alastair, and Nino Strachey, ‘Lord Hobart’s Gallery’, in Andrew Moore and Charlotte Crawley (eds), Family and Friends: A Regional Survey of British Portraiture (London: HMSO, 1992), pp. 39-46

Leppert, Richard, Music and Image: domesticity, ideology and socio-cultural formation in eighteenth-century England (Cambridge: Cambridge University Press, 1988), pp. 1-10

Levin, Carole, Joe Carney, and Debra Barrett-Graves, Elizabeth I: always her own free woman (Aldershot: Ashgate, 2003)

Lippincott, Louise, ‘Expanding on portraiture. The market, the public and the hierarchy of genres in Eighteenth-century Britain’, in John Brewer and Anne Bermingham (eds), The Consumption of Culture (London: Routledge, 1995), pp. 75-88

Loh, Maria H., Still Lives: Death, Desire, and the Portrait of the Old Master (Princeton: Princeton University Press, 2015)

Lloyd, Christopher, ‘King, Queen and family’, in George III & Queen Charlotte. Patronage, Collecting and Court Taste, ed. by Jane Roberts (London: Royal Collection Enterprises, 2004) pp. 8-41      Available as an Online Course Reading in Minerva   

MacLeod, Catharine, and Julia Marciari Alexander (eds), Painted Ladies: Women at the Court of Charles II (London and New Haven: National Portrait Gallery and Yale University Press, 2001), pp. 10-71

Magurn, Ruth, The Letters of Peter Paul Rubens (Cambridge, MA: Harvard University Press, 1971)

Marrow, Deborah, The Art Patronage of Marie de’ Medici (Ann Arbor: UMI Research Press, 1982)

Matthews, P. G., ‘Jakob Seisenegger’s Portraits of Charles V 1530-32’, Burlington Magazine, 143, no. 1175 (February 2001), 86-90

McGrath, Elizabeth, ‘Tact and Topical Reference in Rubens’s Medici Cycle’, Oxford Art Journal, 3, no. 2 (October 1980), 11-17

Meyer, A., ‘Redressing Classical Statuary: the Eighteenth-century ‘Hand in the Waistcoat’ portrait’, Art Bulletin, 77, no. 1 (1995), 45-63

Milam, Jennifer, ‘Patronage and the Direction of Sisterhood: Portraits of Madame Adélaïde’, in Melissa Hyde and Jennifer Milam (eds), Women, Art and the Politics of Identity in Eighteenth-century Europe (Aldershot: Ashgate, 2003), pp. 115-138

Millen, Ronald Forsyth, and Robert Erich Wolf, Heroic Deeds and Mystic Figures: A New Reading of Rubens’ Life of Maria de’ Medici (Princeton: Princeton University Press, 1989)

Millar, Oliver, Van Dyck in England (London: National Portrait Gallery, 1982)

Millar, Oliver, Zoffany and his Tribuna (London: Routledge and Kegan Paul, 1967)

Moffitt, John, ‘’Le Roi à la ciasse’?: Kings, Christian Knights and Van Dyck’s Singular ‘Dismounted Equestrian-Portrait’ of Charles I’, Artibus et Historiae, 7, no. 4 (1983), 79-99

Montagu, Jennifer, ‘Titian as a painter of portraits’, in David Jaffé (ed.), Titian (London: National Gallery, 2003), pp. 31-42

Moore, Andrew, ‘Hanging the Family Portraits’, in Andrew Moore and Charlotte Crawley (eds), Family and Friends: A Regional Survey of British Portraiture (London: HMSO, 1992), pp. 31-38

Montrose, Louis A., ‘Idols of the Queen: Policy, Gender and the Picturing of Elizabeth 1’, Representations, 68 (Autumn 1999), 108-161     

Munsterberg, M., ‘The Beginnings of British Art Criticism in the 1760s’, British Art Journal, 15:1 (2014), 82-94

Nicholson, Kathleen, ‘Practicing Portraiture: Mademoiselle de Clermont and J-M Nattier’, in Melissa Hyde and Jennifer Milam (eds), Women, Art and the Politics of Identity in Eighteenth-century Europe (Aldershot: Ashgate, 2003), pp. 64-90

Ousby, Ian, The Englishman's England (Cambridge: Cambridge University Press, 1990), pp. 58-91

Parry, Graham, ‘Van Dyck and the Caroline Court Poets’, Van Dyck 350 (Studies in the History of Art, 46), (Washington: National Gallery of Art, 1994), pp. 247-260

Parry, Graham, The Golden Age Restor’d: The Culture of the Stuart Court 1603-42 (Manchester: Manchester University Press, 1981), esp. pp. 184-229

Paulson, Ronald, Hogarth, his life, art and times (New Haven and London: Yale University Press, 1971), pp. 301-464

Peacock, John, ‘Van Dyck’s Scipio in its Contexts’, Art History, 23, no. 2 (June 2000), 262-289

Peacock, John, ‘The visual image of Charles I’, in Thomas N. Corns (ed.), The Royal Image: Representations of Charles I (Cambridge: Cambridge University Press, 1999), pp. 176-239

Peacock, John, ‘The Politics of Portraiture: Culture and Politics in Early Stuart England’, in Kevin Sharpe and Peter Lake (eds), Culture and Politics in Early Stuart England (London: Macmillan, 1994), pp. 199-228

Pears, Ian, The Discovery of Painting: the growth of interest in the arts in England 1680-1768 (London and New Haven: Yale University Press, 1988)

Pegum, Caroline, ‘The Schönheitengalerie by Charles Jervas for the first Hanoverian court in London, c1717/22’, The British Art Journal, XX, No. 1 (2019), 38-48

Penny, Nicholas, Reynolds (London: Royal Academy of Arts, 1986), pp. 17-69

Perry, Gill, Kate Retford and Jonathan Vibert, Placing Faces: The Portrait and the English Country House in the Long Eighteenth Century (Manchester: Manchester University Press, 2013), especially pp. 1-36

Perry, Gill, with Joseph Roach and Shearer West, The First Actresses: Nell Gwyn to Sarah Siddons (London: National Portrait Gallery, 2011)

Perry, Gill, ‘The Spectacle of the Muse: Exhibiting the Actress at the Royal Academy’, in David Solkin (ed.), Art on the Line: The Royal Academy Exhibitions at Somerset House 1780-1836 (New Haven and London: Yale University Press, 2001), pp. 111-125

Pointon, Marcia, Brilliant effects: a cultural history of gem stones and jewellery (New Haven and London: Yale University Press, 2009)

Pointon, Marcia, ‘Portrait! Portrait! Portrait!!!’, in David Solkin (ed.), Art on the Line: The Royal Academy Exhibitions at Somerset House 1780-1836 (New Haven and London: Yale University Press, 2001), pp. 93-109    Available as an Online Course Reading in Minerva 

Pointon, Marcia, Strategies for Showing. Women, Possession and Representation in English Visual Culture 1665-1800 (Oxford: Oxford University Press, 1997), pp. 15-57; 89-130; 173-227

Pointon, Marcia, Hanging the Head: Portraiture and Social Formation in Eighteenth-century England (New Haven and London: Yale University Press, 1993), pp. 13-36. See also pp. 227-244

Pointon, Marcia, ‘Portrait-painting as a Business Enterprise in London in the 1780s’, Art History, 7, no. 2 (1984), 187-205

Pomeroy, Elizabeth, Reading the Portraits of Queen Elizabeth I (Hamden: Arden Books, 1989)

Porter, Roy, English Society in the Eighteenth Century (Harmondsworth: Penguin, 1991)

Postle, Martin ed., Johan Zoffany RA: Society observed (New Haven and London: Yale University Press, 2011)

Redford, Bruce, Dilettanti: The Antic and the Antique in eighteenth-century England (Los Angeles: J. Paul Getty Museum, 2008)

Redford, Bruce, ‘’Seria Ludo’. George Knapton’s portraits of the Society of Dilettanti’, The British Art Journal, 3, no. 1 (Autumn 2001), 56-68

Retford, Kate, The Conversation Piece: Making Modern Art in Eighteenth-Century Britain (New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 2017)

Retford, Kate, The Art of Domestic Life: Family Portraiture in England, c.1740-90 (New Haven and London: Yale University Press, 2006), pp. 149-185

Rex, Richard, Henry VIII and the English Reformation (Basingstoke: Macmillan, 1993)

Reynolds, Joshua, Discourses on Art, ed. by Robert Wark (New Haven and London: Yale University Press, 1959/1981), Discourses 1, 3, 4, 9

Ribeiro, Aileen, Fashion and Fiction: Dress in Art and Literature in Stuart England (New Haven and London: Yale University Press, 2005)

Ribeiro, Aileen, The Art of Dress: Fashion in England and France 1750-1820 (New Haven and London: Yale University Press, 1995)

Ribeiro, Aileen, Dress in eighteenth-century Europe 1715-1789 (London: Batsford, 1989)

Ribeiro, Aileen, ‘Some evidence of the influence of the dress of the seventeenth century on costume in eighteenth-century female portraiture’, Burlington Magazine, 119, no. 897 (December 1977), pp. 832-840

Richardson, Jonathan, ‘An Essay on the whole art of criticism as it relates to painting’, Two Discourses (London, 1719), pp. 27-49     

Roberts, Jane, The King’s Head: Charles I King and Martyr (London: The Royal Collection, 1999)

Roberts, Jane, Holbein and the court of Henry VIII (Edinburgh: National Gallery of Scotland, 1993)

Roettgen, Steffi, Anton Raphael Mengs 1728-1779 and his British Patrons (London: Zwemmer Ltd., in association with English Heritage, 1993)

Rogers, Malcolm, ‘Van Dyck’s Portrait of Lord George Stuart, Seigneur d’Aubigny and some related works’, Van Dyck 350 (Studies in the History of Art, 46) (Washington: National Gallery of Art, 1994), pp. 263-279

Rogers, Malcolm, ‘’Golden Houses for Shadows’. Some Portraits of Thomas Killigrew and his Family’, in David Howarth (ed.), Art and Patronage in the Caroline Courts (Cambridge: Cambridge University Press, 1993), pp. 220-242

Rosand, David, Titian: His World and his Legacy (New York: Columbia University Press, 1972)

Rosand, David, ‘The Portrait, the Courtier, and Death’, in Robert W. Hanning and David Rosand (eds), Castiglione: The Ideal and the Real in Renaissance Culture (New Haven: Yale University Press, 1983), pp. 91-129

Rosenthal, Angela, ‘She’s got the look! Eighteenth-century female portrait painters and      the psychology of a potentially ‘dangerous employment’, in Joanna Woodall (ed.), Portraiture: Facing the subject (Manchester: Manchester University Press, 1997), pp. 147-166

Rosenthal, Michael, and Martin Myrone (eds), Gainsborough (London: Tate Gallery, 2002)

Rosenthal, Michael, The Art of Thomas Gainsborough (New Haven and London: Yale University Press, 1999), ch. 2-4

Roskill, Mark, and Oliver John (eds), Hans Holbein: Paintings, Prints and Reception, National Gallery of Art, Washington: Center for Advanced Study in the Visual Arts, Symposium Papers, 2001, XXXVII

Rowlands, John, Holbein: the paintings of Hans Holbein the Younger (Oxford: Phaidon, 1985)

Russell, Francis, ‘The Hanging and Display of Pictures, 1799-1850’, in Gervase Jackson-Stops, Gordon J. Schochet, Lena Cowen Orlin, Elisabeth Blair MacDougall (eds), The Fashioning and Functioning of the British Country House (Washington: National Gallery of Art, 1989), pp. 133-153

Russell, Francis, ‘The British Portraits of Anton Raphael Mengs’, National Trust Studies 1979 (London: The National Trust, 1978), pp. 9-19

Sánchez-Jáuregui, Maria Dolores, and Scott Wilcox (eds), The English Prize: The Capture of the Westmorland, An Episode of the Grand Tour (New Haven and Yale University Press, 2012)

Saumarez-Smith, Charles, Eighteenth-century decoration: design and the domestic interior in England (London: Weidenfeld and Nicolson, 1993)

Saward, Susan, The Golden Age of Marie de’ Medici (Ann Arbor: UMI Research Press, 1982)

Sharpe, Kevin, Image Wars: Promoting Kings and Commonwealths in England 1603-1660 (New Haven and London: Yale University Press, 2010), esp. pp. 58-70

Shawe-Taylor, Desmond, ‘Ruling a Free Nation’ and ‘’An Honour to our Nation’: The Rise of a British School’ in The First Georgians. Art & Monarchy 1714-1760, ed. by Desmond Shawe-Taylor (London: Royal Collection Trust, 2014), pp. 13-51, 342-393

Simon, Jacob, The art of the picture frame: artists, patrons and the framing of portraits in Britain (London: National Portrait Gallery, 1996)

Simon, Robin, The Portrait in Britain and America (Oxford: Phaidon, 1987), pp. 56-59

Smart, Alastair, Allan Ramsay. A Complete Catalogue of his Paintings, ed. by John Ingamells (New Haven and London: Yale University Press for the Paul Mellon Centre for Studies in British Art, 1999), esp. pp. 88-91, 111-122    

Smith, David R., ‘Portrait and Counter-Portrait in Holbein’s ‘The Family of Sir Thomas More’’, Art Bulletin, 87, no. 3 (September 2005), 484-506

Smuts, R. Malcolm, ‘Art and the Material Culture of Majesty in Early Stuart England’, in R. Malcolm Smuts (ed.), The Stuart Court and Europe (Cambridge: Cambridge University Press, 1996), pp. 86-112

Smuts, R. Malcolm, Court Culture and the Origins of a Royalist Tradition in Early Stuart England, (Philadelphia: University of Pennsylvania Press, 1987), esp. pp. 117-136, 183-213

Smuts, R. Malcolm, The Culture of Absolutism at the Court of Charles I (Ann Arbor and London: PhD thesis, 1980) 

Solkin, David, Art on the Line: The Royal Academy Exhibitions at Somerset House (New Haven and London: Yale University Press, 2001), pp. 9-37

Solkin, David, Painting for Money (New Haven and London: Yale University Press, 1992), chapter entitled ‘Kit-cats, Commerce and Conversation’

Solkin, David, ‘Great Pictures or Great Men? Reynolds, male portraiture, and the power of art’, Oxford Art Journal, 9, no. 2 (1986), 42-49     

Strong, Roy, The Elizabethan Image. An Introduction to English Portraiture 1558 to 1603 (New Haven and London: Yale University Press, 2019), pp. 26-61

Strong, Roy, The Tudor and Stuart Monarchy: pageantry, painting, iconography, 3 vols (Woodbridge: Boydell Press, 1995, 1998), esp. 3, pp. 159-199

Strong, Roy, Gloriana: The Portraits of Queen Elizabeth I (London: Thames and Hudson, 1987)

Strong, Roy, The Cult of Elizabeth: Elizabethan portraiture and pageantry (London: Thames and Hudson, 1977)

Strong, Roy, Charles I on Horseback (London: Allen Lane, 1972)

Strong, Roy, The English Icon: Elizabethan and Jacobean portraiture (London: Routledge and Kegan Paul, 1969)

Strong, Roy, Holbein and Henry VIII (London: Routledge and Kegan Paul, 1967)

Strong, Roy, Portraits of Queen Elizabeth I (Oxford: Clarendon Press, 1963)

Taylor, Paul, Condition: The Ageing of Art (London: Paul Holberton, 2015)

Wendorf, Richard, The Elements of Life: Biography and Portrait Painting in Stuart and Georgian England (Oxford: Clarendon Press, 1990)

Thomas, Werner, and Luc Duerloo (eds.), Albert and Isabella 1598-1621 (Turnhout: Brepols, 1998)

Thornton, Peter, Seventeenth Century Interior Decoration in England, France and Holland (New Haven and London: Yale University Press, 1978)

Thornton, Peter, Authentic decor: The domestic interior 1620-1920 (London: Weidenfeld and Nicolson, 1993)

von Erffa, Helmut, and Allen Staley (eds), The Paintings of Benjamin West (New Haven and London: Yale University Press, 1986)

Warren, Maureen, ‘Fame’s Two Trumpets; Portrait Prints and Politics in Early Modern Europe’, in Victoria Sancho Lobis (ed.), Van Dyck, Rembrandt and the Portrait Print (Chicago: Art Institute of Chicago, 2016), pp. 73-85

Wassyng Rowarth, Wendy (ed.), Angelica Kaufmann: a continental artist in Georgian England (London: Reaktion, 1992)

Webster, Mary, Johan Zoffany 1733-1810 (New Haven and London: Yale University Press, 2011)

Wendorf, Richard, The Elements of Life: Biography and Portrait-Painting in Stuart and Georgian England (Oxford: Clarendon Press, 1990)

West, Shearer, Portraiture (Oxford: Oxford University Press, 2004)

This list was last updated on 17/07/2020