- A History of British ArtOur PickBy Andrew Graham-Dixon
- British Art in the 20th Century: The Modern MovementBy Royal Academy of Arts and Susan Compton
- The Story of ArtBy E.H. Gombrich
- What Are You Looking At?: The Surprising, Shocking, and Sometimes Strange Story of 150 Years of Modern ArtBy Will Gompertz
The Most Important Art in British Art
This devotional piece has been described as the "most beautiful dream of heaven to survive in all British art". The work was created as a portable altarpiece for Richard II, who ruled England from 1377 to 1399. Named after Wilton House in Wiltshire, where it was housed for more than two centuries, the diptych depicts Richard II kneeling and robed in anticipation of holding the Christ Child. Behind him stand Saint John the Baptist, Saint Edward the Confessor and Saint Edmund. The work is finely adorned, with golden crowns, finery and gowns. The right panel shows the Virgin Mary holding the outstretched Jesus as she hands him to the king. Mary is surrounded by eleven winged angels in blue, standing amid flowers. The work is rich with symbolism: St George's flag flies in the background; the white harts pinned to the angels' gowns act as the king's badge; and the rosemary of the grassy meadow is thought to be presented in remembrance of Richard's dead wife, Anne of Bohemia.
The work is most significant because it stands alone in the canon of early art history, argued art historian Andrew Graham-Dixon, and it marks the point at which the nation cut itself off from the continent. The reformation saw England isolated from the rest of Europe, artistically as well as politically. Indeed, The Wilton Diptych is the lone British piece in the Renaissance wing of the National Gallery. As Graham-Dixon, noted it "hangs among Sienese paintings of the fourteenths and fifteenth centuries and it is the only British painting in this section [...] There was to be no British Titian, no Tintoretto, no Raphael, no Michelangelo, no Caravaggio, no Velázquez."
In a sunny patch beneath an oak tree, a couple sits informally for a painting celebrating their marriage. Behind them stretches the English countryside, with well-managed farmland and hills beyond. The work acts as a triple portrait, showing not just Robert Andrews and his new wife Frances, but their sprawling 3,000-acre estate.
The Rococo influence can be seen in the ornate curvature of the bench on which Mrs Andrews sits and the couple's status as wealthy landowners can be seen in their fine clothing. And while landscape painting was not given the status of history painting, Reynolds used his technical excellence in his depiction of the Essex countryside so as to emphasize the painting's "Englishness". The row of corn, which would not have likely existed so close to the sitters' location, symbolized harmony between humankind and nature, and the fertility of land - an important factor in a marriage portrait.
A leading portraitist, Joshua Reynolds believed that the Italian Renaissance masters were the brave men of art, and he sought to bring the lessons of their technical excellence into British painting. Indeed, his works mimicked the grand Renaissance style and brought a new gravity to society portraiture. As art historian Wendy Beckett noted: "Reynolds, as befitted a poor boy, responded enthusiastically to the romance of the British aristocracy. He understood the need of upper-class personages - frequently undistinguished in either intellect or appearance - to seem far more interesting than they actually were."
This is the final work in an eight-part cautionary tale series about the demise of the fictional Tom Rakewell, a hapless and greedy young man who has come to London to find his fortune. The plates tell the story of how this arrogant man who thought he could become a member of the aristocracy squandered all his money on drinking, prostitution and gambling, and ended up in debtors' prison and finally Bethlem Hospital (or "Bedlam") a notorious mental asylum. The protagonist lies in the front of the frame, shackled at the ankle, bald and denuded of the fine clothes he had been trying on in plate I. Surrounding him are other patients, ghoulish in their hallucinations to highlight Tom's own delusions of grandeur that brought him down. The walls, covered in art in previous plates, here are unadorned and gloomy, as light from the denied world streams through barred windows. In William Hogarth's times, members of the aristocracy were permitted into such institutions to gawp at the victims for their own amusement. This finale sees two finely-dressed women looking on and whispering in gruesome delight at the stricken Tom.
A portraitist and history painter, Englishman Hogarth's work was groundbreaking in a number of ways. It was he who first created the idea of a British school (of art), he was one of the first self-made artists (producing works independently of direct patronage) and he was considered the creator of satire. His work held up a mirror to a rapidly-changing England and all the social ills that were the downside of industrialization. Previously, lessons in art came from religious teaching, but Hogarth's modern moral tales had important messages for the public about greed, excess, and hypocrisy.