Acknowledgements

This course was written by Dr Linda Walsh and Professor Tony Lentin

This free course is an adapted extract from the course A207 From Enlightenment to Romanticism c.1780-1830, which is currently out of presentation

Except for third party materials and otherwise stated (see terms and conditions [Tip: hold Ctrl and click a link to open it in a new tab. (Hide tip)] ), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence

Grateful acknowledgement is made to the following sources for permission to reproduce material in this course:

Course image: Rachael in Wikimedia available in the public domain.

Figure 1 Jean-Antoine Houdon, Voltaire, 1778, bronze, 45 x 20.8 x 21.2cm, Louvre, Paris. © Photo: RMN/© Jean-Gilles Berizzi;

Figure 2 Jean-Baptiste Pigalle, Denis Diderot, 1777, bronze, 52 x 34.5 x 25.5cm, Louvre, Paris. © Photo: RMN/© Gerard Blot/ Christian Jean;

Figure 3 Photograph of: Anicet Charles Gabriel Lemonnier, "A Reading in the Salon of Mme Geoffrin", 1775, oil on canvas, 129 x 196cm. © Photo: RMN/ Daniel Arnaudet;

Figure 4 Henry Fuseli (Johann Heinrich Fussli), The Artist Moved By the Grandeur of Antique Fragments, 1778-80, red chalk and sepia wash on paper, 42 x 35.5cm, Kunsthaus, Zurich. Photo: Lauros/ Giraudon/ Bridgeman Art Library;

Figure 5 F.G.Adam, marble statues of Apollo and Venus, 1740, Frederick the Great’s Palace, Sans-Souci. Photo: Paul Kafno;

Figure 6 Lady Diana Beauclerk, caricature of Edward Gibbon, c. 1770, pen drawing, British Museum, London. Photo: by courtesy of the Trustees of the British Museum;

Figure 7 Nicolas Poussin, The Holy Family in Egypt (1655-7), 105 x 145.5cm, State Hermitage Museum. Photo: Bridgeman Art Library;

Figure 8 Michel-Ange Houasse, The Drawing Academy c 1725, 61 x 72.5cm, oil on canvas, Royal Palace, Madrid. Photo © Patrimonio Nacional;

Figure 9 François Boucher, The Triumph of Venus, 1740, oil on canvas, 130 x 162cm, National Museum of Fine Arts, Stockholm. Photo: National Museum of Fine Arts;

Figure 10 Springsguth after Krik, Rousseau Contemplating the Wild Beauties of Switzerland, 1797, engraving. Photo: Mary Evans Picture Library;

Figure 11 Etienne Aubry, Paternal Love, 1775, oil on canvas, 78.7 x 101.5cm, Barber Institute of Fine Arts, University of Birmingham. Photo: Bridgeman Art Library;

Figure 12 Thomas Rowlandson, The Triumph of Sentiment (Butcher Weeping Over Werther), 1787, Goethe Museum, Dusseldorf;

Figure 13 Anonymous, Supreme Being, Sovereign People, French Republic, 1794, Musee Carnavalet, Paris. Photo: © PMVP/ Ladet;

Figure 14 Anonymous, "Exercise of the Rights of Man and French Citizen", 1792, engraving, Bibliothèque nationale de France, Paris;

Figure 15 Anonymous, La chute en masse (They all fall down), caricature print, Musee Carnavalet, Paris. Photo: © RMN/© Bulloz;

Figure 16 B.T.Pouncy, after T.Hearne, engravings from R. Payne Knight, The Landscape, A Didactic Poem, 1794. © The British Library. All Rights Reserved.

The content acknowledged below is Proprietary and is used under licence.

Figure V1.1 A.J.Deferht, "The Art of Writing", engraving from the Encyclopédie, Bodleian Library, University of Oxford, shelfmark: fol.BS 477 Pl. III.

Figure V1.2 Lithotomy operation (cutting for the stone), from the article 'Surgery' in the Encyclopédie, 1763, facsimile edn, New York, Dover Publications;

Figure V1.3 Canaletto, Ruins of the Forum, Looking Towards The Capitol, 1740, drawing, 191 x 106cm, The Royal collection © 2006, Her Majesty Queen Elizabeth II. Photo: reproduced by gracious permission of Her Majesty the Queen.

Figure V1.4 Sir Joshua Reynolds, Portrait of Omai, c. 1775, oil on canvas, 225 x 143 cm, private collection. Photo: Sothebys, London

Figure V1.5 J.H.C. Franke, Frederick the great, 1764, oil on canvas, Cambridge University Library. Photo: by permission of the Syndics of Cambridge University Library.

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