| 001 | $ 03/2427 | ||
| 003 | $ UK-LoRAA | ||
| 005 | $ 20220113122332.9 | ||
| 041 | 0 | # | $a eng |
| 044 | # | # | $a uk |
| 100 | 1 | # | $a Richardson, Jonathan |
| 240 | 1 | 1 | $a [Works. $f 1773.] |
| 245 | 1 | 4 | $a The Works Of Mr Jonathan Richardson. Consisting of I. The Theory Of Painting. II. Essay On The Art Of Criticism, so far as it relates to Painting. III. The Science Of A Connoisseur. All corrected and prepared for the Press By his Son Mr. J. Richardson. |
| 246 | 3 | # | $a Theory of painting |
| 246 | 3 | # | $a Essay on the art of criticism |
| 246 | 3 | # | $a Science of a connoisseur |
| 246 | 3 | # | $a Essay on the theory of painting |
| 246 | 3 | # | $a Essay on the whole art of criticism as it relates to painting |
| 260 | # | # | $a London: $b Printed for T. Davies, in Russel-Street, Covent-Garden; Bookseller to the Royal Academy. $c MDCCLXXIII. $c [1773] |
| 300 | # | # | $a [8], xix, [i], 346, [2] p.; $c 207 mm. (Octavo.) |
| 505 | 0 | # | $a [Half-t., t.p., dedic.] - [Text] - [advertisement]. |
| 508 | # | # | $a The publication is dedicated by 'The Editor' to Sir Joshua Reynolds. |
| 510 | 0 | # | $a C. Gibson-Wood, Jonathan Richardson: art theorist ( 2000); C. Gibson Wood, Studies in the theory of connoisseurship from Vasari to Morelli (1988); I. Pears, The discovery of painting: the growth of interest in the arts in England 1680-1768 (1988); L. Lipkine, The ordering of the arts in 18th-century England (1970), p. 109-26; S. H. Monk, The sublime: a study of critical theories in eighteenth-century England (Rev. ed. 1960). |
| 510 | 4 | # | $a ESTC $c T147769 |
| 520 | 2 | # |
$a Richardson's An essay on the theory of painting was originally published in 1715; and was followed in 1719 by his An essay on the whole art of criticism as it relates to painting and an argument in behalf of the science of the connoisseur. In the second edition of his Essay on the theory of painting (1725) Richardson added a chapter on the sublime. In the introduction to his Theory of painting the author characterises painting as not only a source of pleasure but also a mental stimulus. The artist must have knowledge of many disciplines and of human character. Richardson's argument on the science of a connoisseur includes a plea for raising the standing of the artist and of general taste in Britain - concerns which would be taken up by others and lead eventually to the forming of the Royal Academy of Arts. These theoretic works had great influence - Reynolds, indeed, declaring that reading the 'Theory' had encouraged him to take up painting as a career. An account of some of the statues, bas-reliefs, drawings and pictures in Italy (1722), which Richardson wrote with his son, was also widely used by art-lovers and scholars, including Winckelmann and Mengs. A French translation of Richardson's works was published in Amsterdam in 1728. |
| 561 | # | # | $a Bought by the Academy July 1773 (RAA Cashbook 1773). |
| 562 | # | # | $a Imperfect: lacks the final leaf of advertisement. |
| 563 | # | # | $a 19th-century half calf, red cloth-covered boards stamped in blind with plant motif; rebacked in 20th century, retaining spine-piece lettered 'R.A.' and '1773' and red morocco spine-label lettered 'Richardson's Works'. |
| 653 | # | # | $a Painting - Painters - Theory |
| 653 | # | # | $a Art criticism - Connoisseurship |
| 655 | # | 4 | $a Essays - Treatises - Great Britain - 18th century |
| 700 | 1 | # | $a Richardson, Jonathan $e editor |
| 700 | 1 | # | $a Davies, Thomas $e publisher $e bookseller |
| 700 | 1 | # | $a Reynolds, Joshua $e dedicatee |
| 852 | 8 | # | $d 1802: D-2-01; 1821: B-2-18. |