Richard Wrigley
Biographic Data
| ID | 259386 |
|---|---|
| NAME | Richard Wrigley |
| GIVEN NAMES | Richard |
| FAMILY NAME | Wrigley |
| SIGNATURE | WRIGLEY R |
| AFFILIATIONS | University of Nottingham |
| ORCID | 0000-0002-3959-1675 |
| VERIFIED | Yes |
| TOTAL WORKS | 22 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 22 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1978 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 1 |
On the Beaten Track
Journal Article On the Beaten Track Get access MaryAnne Stevens (curator), Julien Domecq (associate curator), with Chris Riopelle, After Impressionism: Inventing Modern Art (London: National Gallery, 2023), 25 March – 13 August. Richard Wrigley Richard Wrigley https://orcid.org/0000-0002-3959-1675 Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 46, Issue 2, August 2023, Pages 318–320, https://do…
« Fiez-vous donc aux apparences ! »
Un aspect de la culture politique révolutionnaire est l’utilisation de la tenue vestimentaire pour signifier les identités et les fidélités nouvelles. Cet usage a survécu à la Révolution et s’est perpétué jusqu’à nos jours sous la forme de l’écharpe tricolore municipale. Cependant, ce qui a également survécu, c’est une profonde dualité dans les idées sur la lisibilité des apparences : la volonté de reconnaître l’affiliation politique d’une person…
Man in the Middle
In a corner of room 60 on the second floor of the Louvre’s Sully Wing, Ingres’s Portrait of Louis-François Bertin hangs adjacent to his study for Angelica saved by Ruggiero (1819) (Fig. 1).1 In the absence of Ruggiero, Angelica seems to look over her right shoulder, not at the hippogriff-riding knight who despatches a sea monster prior to rescuing her, but at a plump male figure resolutely oblivious to his neighbour and her peril. The juxtapositi…
Boilly Scenes of Parisian Life
This is a modest catalogue of a curious but beguiling exhibition. Its curiousness arises from the provenance of eighteen of the works on show. Out of twenty-one exhibits, one was loaned by a dealer, Jean-Luc Baroni, another the National Gallery’s A Girl at a Window (for long banished to the lower ground floor reserve). A third work, The Meeting of Artists in Isabey’s Studio (1798), is the largest, most elaborate, and also probably Boilly’s most a…
Self-portrait of the Artist as a Dog
One of the paintings shown by Chardin in Paris at the 1728 exhibition in place Dauphine was the Le Buffet (Louvre). A large painting (194 x 129 cm),1 it attracted much attention, and contributed to the artist’s transition into the Académie royale de peinture et de sculpture, and a new world of artistic ideas and conduct. Ewa Lajer-Burcharth’s account of the picture exemplifies the way she proposes to engage with the art of the three artists about…
Writing off the Flâneur
Although repudiation of Benjaminian orthodoxy as regards the identity and significance of the figure of the flâneur is now commonplace, there has been little substantial work that places this Parisian phenomenon in a precisely delineated historical context. The three books in question here revisit the topic from different angles: flânerie as a genre of the essay; the flâneur as something largely irrelevant to late nineteenth-century visual cultur…
Unreliable Witness
The article shows that the well-established association of the flaneur with art, artists is mistaken by reviewing the major primary source texts. It offers an alternative reading of the invention of the flaneur, arguing that it is rooted in early 19th-century journaliastic practices, designed to deal with censorship, and to express political opposition through urban observation.
The Museum of French Monuments 1795-1816. 'Killing art to make history
The Musée des Monuments Français was one of many unintended consequences of the French Revolution. The interweaving of arguments around politics, aesthetics, history and the evolving conventions of museum display which accompanied its formation, growth and eventual demise make for a rich topic in art-historical analysis. The very pungency of the debates which surrounded the museum have obscured a clearer picture of its history. There have been ma…
"Art, Theatre, and Opera in Paris, 1750-1850 "
Ends and Means
To mark the bicentenary of the French Revolution, Jacques-Louis David was accorded the honours, not of the Pantheon, but of the Louvre. Unlike most monographic commemorations, neither birth nor death was the cue: 200 years on, David and his art stood for Revolution. The venue was a reminder, if one was needed, that, as an artist, he was being treated as part of an elite community made up of great French artists. Even the fact that he rose to powe…
Charlotte Guichard Les amateurs d'art à Paris au XVIIIe siècle Seyssel, Champ Vallon, 2008, 387 p
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
Revolutionary Relics
(2002). Revolutionary Relics: Survival and Consecration. Fashion Theory: Vol. 6, No. 2, pp. 145-189
Ruination
Book reviewed in this article: Catharine Edwards (ed.), Roman Presences: Receptions of Rome in European Culture, 1789–1945
Pathologies of Travel
The essays in this volume, which range across Europe, America and Africa, and from the 18th to the 20th centuries, argue that the experience of travel, and the business of representing that experience, involved an obligatory engagement with the disturbing perception that travel's pleasures were inseparable from its dangers and ennuis. Despite the confidence of some medical authorities in their recommendations of the therapeutic benefits to be der…
For the Sake of Appearances
Siegfried, Susan L. The Art of Louis Léopold Boilly: Modern Life in Napoleonic France
Le Mode Français
Aux Armes et aux Arts! Les Arts de la Révolution 1788–1799 edited by Philippe Bordes and Régis Michel , Paris: Editions Adam Biro, 1988, 352 pp., 312 b. &w. and colour illus., FF620 (£77.50) hardback
Revolutionary relics
Engraved New World
French Caricature and the French Revolution, 1789–1799 , catalogue, by Cynthia Burlingham and James Cuno , with essays by James Cuno, Michel Melot, Lynn Hunt, Claude Langlois, Ronald Paulson, Albert Boime and Klaus Herding, Chicago: University of Chicago Press, 1988, 280 pp., 16 colour plates, over 200 b. & w. illus., $60.00 hardback, $29.95 paper. The exhibition took place at the Grunwald Center for the Graphic Arts, Wight Art Gallery, Universit…
Pictures at an Exhibition
Painters and Public Life in Eighteenth‐Century Paris by Thomas E. Crow , New Haven and London: Yale University Press, 1985, 290 pp., 6 col. plates, 123 b&w ills, £30
Mainly Monographs
Painting in Eighteenth‐century France by Philip Conisbee , Oxford: Phaidon, 1981, 223 pp., 171 ills, 16 colour pls, £20 Diderot, Critique d'Art, vol. 2, Diderot, les salonniers et les esthéticiens de son temps by Else Marie Bukdahl , Copenhagen: Rosenkilde & Bagger, 1982, 394 pp., 48 ills, £26.20 Gabriel Briard (1725–1777) by Marc Sandoz , Paris: Quatre Chemins – Editart, 163 pp., 2 pls, 25 figs and other unnumbered b & w ills, £42 Largillière an…
Ways of Seeing at the Salon
Diderot, Critique d'Art by Else Marie Bukdahl , vol. I, Copenhagen: Rosenkilde & Bagger, 1980, 558 pp., 127 ills, £13.75 Absorption and Theatricality: Painting and Beholder in the Age of Diderot by Michael Fried , Berkeley, Los Angeles and London: University of California Press, 1980, 249 pp., 70 ills, £16.35 La Critique des Salons en France du temps de Diderot (1759–89) by Helena Zmijewska , Warsaw: Wydamnictwa Universytetu Warsawskiego, 1980, 2…
English Baroque Architecture in Oxford
English Baroque Architecture in Oxford Get access RICHARD WRIGLEY RICHARD WRIGLEY Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 1, Issue 1, 1978, Pages 15–18, https://doi.org/10.1093/oxartj/1.1.15 Published: 01 March 1978
Unreliable Witness
The article shows that the well-established association of the flaneur with art, artists is mistaken by reviewing the major primary source texts. It offers an alternative reading of the invention of the flaneur, arguing that it is rooted in early 19th-century journaliastic practices, designed to deal with censorship, and to express political opposition through urban observation.
English Baroque Architecture in Oxford
English Baroque Architecture in Oxford Get access RICHARD WRIGLEY RICHARD WRIGLEY Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 1, Issue 1, 1978, Pages 15–18, https://doi.org/10.1093/oxartj/1.1.15 Published: 01 March 1978
Ways of Seeing at the Salon
Diderot, Critique d'Art by Else Marie Bukdahl , vol. I, Copenhagen: Rosenkilde & Bagger, 1980, 558 pp., 127 ills, £13.75 Absorption and Theatricality: Painting and Beholder in the Age of Diderot by Michael Fried , Berkeley, Los Angeles and London: University of California Press, 1980, 249 pp., 70 ills, £16.35 La Critique des Salons en France du temps de Diderot (1759–89) by Helena Zmijewska , Warsaw: Wydamnictwa Universytetu Warsawskiego, 1980, 2…
Mainly Monographs
Painting in Eighteenth‐century France by Philip Conisbee , Oxford: Phaidon, 1981, 223 pp., 171 ills, 16 colour pls, £20 Diderot, Critique d'Art, vol. 2, Diderot, les salonniers et les esthéticiens de son temps by Else Marie Bukdahl , Copenhagen: Rosenkilde & Bagger, 1982, 394 pp., 48 ills, £26.20 Gabriel Briard (1725–1777) by Marc Sandoz , Paris: Quatre Chemins – Editart, 163 pp., 2 pls, 25 figs and other unnumbered b & w ills, £42 Largillière an…
Pictures at an Exhibition
Painters and Public Life in Eighteenth‐Century Paris by Thomas E. Crow , New Haven and London: Yale University Press, 1985, 290 pp., 6 col. plates, 123 b&w ills, £30
Revolutionary relics
Engraved New World
French Caricature and the French Revolution, 1789–1799 , catalogue, by Cynthia Burlingham and James Cuno , with essays by James Cuno, Michel Melot, Lynn Hunt, Claude Langlois, Ronald Paulson, Albert Boime and Klaus Herding, Chicago: University of Chicago Press, 1988, 280 pp., 16 colour plates, over 200 b. & w. illus., $60.00 hardback, $29.95 paper. The exhibition took place at the Grunwald Center for the Graphic Arts, Wight Art Gallery, Universit…
Le Mode Français
Aux Armes et aux Arts! Les Arts de la Révolution 1788–1799 edited by Philippe Bordes and Régis Michel , Paris: Editions Adam Biro, 1988, 352 pp., 312 b. &w. and colour illus., FF620 (£77.50) hardback
For the Sake of Appearances
Siegfried, Susan L. The Art of Louis Léopold Boilly: Modern Life in Napoleonic France
Pathologies of Travel
The essays in this volume, which range across Europe, America and Africa, and from the 18th to the 20th centuries, argue that the experience of travel, and the business of representing that experience, involved an obligatory engagement with the disturbing perception that travel's pleasures were inseparable from its dangers and ennuis. Despite the confidence of some medical authorities in their recommendations of the therapeutic benefits to be der…
Ruination
Book reviewed in this article: Catharine Edwards (ed.), Roman Presences: Receptions of Rome in European Culture, 1789–1945
Revolutionary Relics
(2002). Revolutionary Relics: Survival and Consecration. Fashion Theory: Vol. 6, No. 2, pp. 145-189
Ends and Means
To mark the bicentenary of the French Revolution, Jacques-Louis David was accorded the honours, not of the Pantheon, but of the Louvre. Unlike most monographic commemorations, neither birth nor death was the cue: 200 years on, David and his art stood for Revolution. The venue was a reminder, if one was needed, that, as an artist, he was being treated as part of an elite community made up of great French artists. Even the fact that he rose to powe…
Charlotte Guichard Les amateurs d'art à Paris au XVIIIe siècle Seyssel, Champ Vallon, 2008, 387 p
An abstract is not available for this content so a preview has been provided. Please use the Get access link above for information on how to access this content
"Art, Theatre, and Opera in Paris, 1750-1850 "
The Museum of French Monuments 1795-1816. 'Killing art to make history
The Musée des Monuments Français was one of many unintended consequences of the French Revolution. The interweaving of arguments around politics, aesthetics, history and the evolving conventions of museum display which accompanied its formation, growth and eventual demise make for a rich topic in art-historical analysis. The very pungency of the debates which surrounded the museum have obscured a clearer picture of its history. There have been ma…
Unreliable Witness
The article shows that the well-established association of the flaneur with art, artists is mistaken by reviewing the major primary source texts. It offers an alternative reading of the invention of the flaneur, arguing that it is rooted in early 19th-century journaliastic practices, designed to deal with censorship, and to express political opposition through urban observation.
Writing off the Flâneur
Although repudiation of Benjaminian orthodoxy as regards the identity and significance of the figure of the flâneur is now commonplace, there has been little substantial work that places this Parisian phenomenon in a precisely delineated historical context. The three books in question here revisit the topic from different angles: flânerie as a genre of the essay; the flâneur as something largely irrelevant to late nineteenth-century visual cultur…
Boilly Scenes of Parisian Life
This is a modest catalogue of a curious but beguiling exhibition. Its curiousness arises from the provenance of eighteen of the works on show. Out of twenty-one exhibits, one was loaned by a dealer, Jean-Luc Baroni, another the National Gallery’s A Girl at a Window (for long banished to the lower ground floor reserve). A third work, The Meeting of Artists in Isabey’s Studio (1798), is the largest, most elaborate, and also probably Boilly’s most a…
Self-portrait of the Artist as a Dog
One of the paintings shown by Chardin in Paris at the 1728 exhibition in place Dauphine was the Le Buffet (Louvre). A large painting (194 x 129 cm),1 it attracted much attention, and contributed to the artist’s transition into the Académie royale de peinture et de sculpture, and a new world of artistic ideas and conduct. Ewa Lajer-Burcharth’s account of the picture exemplifies the way she proposes to engage with the art of the three artists about…
Man in the Middle
In a corner of room 60 on the second floor of the Louvre’s Sully Wing, Ingres’s Portrait of Louis-François Bertin hangs adjacent to his study for Angelica saved by Ruggiero (1819) (Fig. 1).1 In the absence of Ruggiero, Angelica seems to look over her right shoulder, not at the hippogriff-riding knight who despatches a sea monster prior to rescuing her, but at a plump male figure resolutely oblivious to his neighbour and her peril. The juxtapositi…
« Fiez-vous donc aux apparences ! »
Un aspect de la culture politique révolutionnaire est l’utilisation de la tenue vestimentaire pour signifier les identités et les fidélités nouvelles. Cet usage a survécu à la Révolution et s’est perpétué jusqu’à nos jours sous la forme de l’écharpe tricolore municipale. Cependant, ce qui a également survécu, c’est une profonde dualité dans les idées sur la lisibilité des apparences : la volonté de reconnaître l’affiliation politique d’une person…
On the Beaten Track
Journal Article On the Beaten Track Get access MaryAnne Stevens (curator), Julien Domecq (associate curator), with Chris Riopelle, After Impressionism: Inventing Modern Art (London: National Gallery, 2023), 25 March – 13 August. Richard Wrigley Richard Wrigley https://orcid.org/0000-0002-3959-1675 Search for other works by this author on: Oxford Academic Google Scholar Oxford Art Journal, Volume 46, Issue 2, August 2023, Pages 318–320, https://do…
Art (21 works) · Art history (17 works) · History (11 works) · Visual arts (9 works) · Historical Art and Culture Studies (8 works) · Humanities (7 works) · Historical Studies and Socio-cultural Analysis (6 works) · Painting (6 works) · Exhibition (5 works) · Epistemology (3 works)