1 Andrew Hemingway, “Art Exhibitions as Leisure Class ... - Art History

1 Andrew Hemingway, “Art Exhibitions as Leisure Class Rituals in Early 19 th Century London,” in Towards a
Modern Art World: Studies in British Art. Brian Allen, ed. (London: Paul Mellon Centre, 1995).
2 Martin Hardie, Water-Colour Painting in Britain (Vol. 3). (London: B.T. Batsford Ltd., 1968) , 162.
3 Hardie, Water-Colour Painting in Britain, 162.
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Three examples of praise by art critics (in contemporary British periodicals:
Anonymous, “The Royal Society of Painters in Watercolors,” British Architect 29 (1888) 333-334.
Anonymous, “The Society of British Artists,” The Academy 205 (1876), 341-342.
Anonymous, “Art Cronicle,” Portfolio 24 (1893). No pagination.
5
Rachel Teukolsky, “Picturesque Signs, Picturing Science: Ruskin in the 1840’s,” in The Literate Eye: Victorian
Art, Writing, and Modernist Aesthetics (Oxford: Oxford University Press, 2009), 32.
6
Edmund Burke, A Philosophical Enquiry Into the Origins of Our Ideas of the Sublime and Beautiful (U.K.: R. and
J. Dodsley, 1757).
7
David Punter. “The Picturesque and the Sublime: two worldscapes,” in The Politics of the Picturesque: Literature,
Landscape and Aesthetics Since 1770. Edited by Stephen Copley and Peter Garside, (Cambridge: Cambridge
University Press, 1992), 220.
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8 Anonymous, “Sources of the Sublime” Dublin University Magazine 77 (1871), 227.
9 Anonymous, “Sources of the Sublime”, 230.
10 Anonymous, “The Sublime and Beautiful – Progress of Criticism” Dublin University Magazine 62 (1863), 159.
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11
Morillo, Stephen. The Battle of Hastings. (Woodbridge: The Boydell Press, 1995), xi-xvii.
12
Spencer Whiteman. Whiteman’s Guide to Hastings, St. Leonard’s, and the neighbourhood. (U.K.: Castle Library,
1874), 76.
13
Whiteman, Whiteman’s Guide to Hastings, 6-9.
14
Whiteman, Whiteman’s Guide to Hastings.
15
Whiteman, Whiteman’s Guide to Hastings, 5-6.
16
Whiteman, Whiteman’s Guide to Hastings, 21-22.
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17 Whiteman, Whiteman’s Guide to Hastings, 5.
18 Karl Baedeker. Great Britain: England, Scotland, and Wales as far as Loch Maree and Cromarty Firth:
handbook for travelers. (London: Karl Baedeker, 1887.), 32.
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19
Thomas Holwell Cole. The antiquities of Hastings and the battlefield: with maps, and a plan of the battle.
(Claremont: F.J. Parsons, 1884), 40.
20
Baedeker, Great Britain: England, Scotland, and Wales, 31.
21
Rebecca Bedell. “The History of the Earth: Darwin, Geology, and Landscape Art,” in Endless Forms Darwin
Natural Science and the Visual Arts. (New Haven: Yale University Press, 2009), 54-63.
22
Cole, The antiquities of Hastings, 15.
23
Whiteman, Whiteman’s Guide to Hastings, 12.
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24 Christopher Newhall. “ ‘The Innocence of the Eye’: Ruskin and the Landscape Watercolor,” in Victorian
Landscape Watercolors. (New Haven: Yale University Press, 1992), 35.
25 Newhall. “ ‘The Innocence of the Eye’: Ruskin,” 40.
26 John Ruskin, “Appendix,” in Ariadne Florentina: Six Lectures on Wood and Metal Engraving, with Appendix,
Given Before the University of Oxford, in Michaelmas Term, 1872. (New York: John Wiley and Sons, 1887).
27 Ruskin, “Appendix,” in Ariadne Florentina, 172.
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28 Newhall. “ ‘The Innocence of the Eye’: Ruskin,” 30-37.
29 Ruskin, “Appendix,” in Ariadne Florentina, 181.
30 Newhall. “ ‘The Innocence of the Eye’: Ruskin,” 30.
31 Newhall, “ ‘The Innocence of the Eye’: Ruskin,” 39.
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32 Newhall. “ ‘The Innocence of the Eye’: Ruskin,” 39.
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