List of Illustrations | 1.1 | William Hogarth, The Painter and his Pug, 1745. Oil on canvas; support: 900 × 699 mm frame: 1080 × 875 × 78 mm painting. | | 1.2 | Yinka Shonibare, MBE, Mr. and Mrs. Andrews without their Heads, 1998. Wax-print cotton costumes on mannequins, dog mannequin, painted metal bench, rifle 165 × 635 × 254 cm with plinth. | | 2.1 | Richard Payne Knight: Downton Castle, Herefordshire; print from Heaton’s of Tisbury. | | 2.2 | The De La Warr Pavilion, Bexhill-on-Sea, by Erich Mendelssohn. | | 3.1 | Gwen John, The Student. | | 3.2 | Roger Fry, Self-portrait, oil on canvas, 1928. | | 4.1 | The saloon, or “Heaven Room,” at Burghley, Lincolnshire, with painting by Antonio Verrio, c.1696 (north and west walls).80 | | 4.2 | The saloon, or “Heaven Room,” at Burghley, Lincolnshire, with painting by Antonio Verrio, c.1696 (north and east walls). | | 4.3 | Antonio Verrio, An Assembly of the Gods, sketch for the saloon ceiling at Burghley, c.1694. Oil on canvas, 90 × 118 cm. | | 4.4 | Paolo de’ Matteis, The Judgment of Hercules, 1712. Oil on canvas, 198 × 257 cm. | | 5.1 | George Scharf: Exhibition at the Royal Academy, London, watercolor, 1828, depicting the Great Room at Somerset House during the exhibition of 1828 where portraits by the President, Sir Thomas Lawrence, are exhibited and Benjamin Vulliamy’s “Great Lamp” hangs in the center. | | 5.2 | E. J. Brewtnall: A Party of Working Men at the National Gallery, London, engraving, 1870. | | 6.1 | G. F. Watts, Physical Energy, c.1883–1906. | | 6.2 | Charles Shannon: The Bath of Venus, oil on canvas, 1460 × 978 mm, 1898–1904. | | 6.3 | Charles Ricketts: Don Juan, oil on canvas, 1162 × 959 mm, c.1911. | | 6.4 | Augustus John: The Way Down to the Sea, 1909–1911, private collection. | | 7.1 | Derek Boshier: The Identi-Kit Man, oil on canvas, 1830 × 1832 mm, 1962. | | 8.1 | Anthony Caro: Twenty Four Hours, painted steel, 1384 × 2235 × 838 mm, 1960, Tate, London. | | 8.2 | Barry Flanagan: sand muslin, mixed media, 181 × 302 × 302 mm, 1966. | | 9.1 | Benjamin West: The Death of General Wolfe, oil on canvas, 1510 × 2135 mm, 1770. | | 9.2 | William Bromley after John Opie, Lady Elizabeth Gray Entreating Edward IV to Protect her Children, etching and engraving, 316 × 223 mm, 1800. | | 11.1 | Paul Nash: Image of Alfred the Great Monument, black and white negative, 69 × 113 mm, c.1935. | | 11.2 | Eileen Agar: Quadriga, 521 × 610 mm, 1935. | | 11.3 | Eduardo Paolozzi: St Sebastian, No. 2, bronze, 2203 × 711 × 508 mm, 1957. | | 11.4 | Susan Hiller: Witness, audio-sculpture, 400 speakers, wiring, steel structure, 10 CD players, switching equipment, lights; suspended from ceiling and walls; approx. dimensions 700 × 900 cm, 2000. Installation shot of the work at Artangel at the Chapel, Golbourne Road, London. | | 12.1 | Ron O’Donnell, The Great Divide, photograph from constructed set, 1987. | | 12.2 | Douglas Gordon: A Divided Self I and II, 1996; video installation, sponsored by Channel 4, Turner Prize 1996. | | 13.1 | Lubaina Himid: Study for a Memorial to Zong, acrylic on paper, 1991, Private Collection, from “Revenge: a Masque in Five Tableaux” first exhibited at Rochdale Art Gallery May 1992. | | 13.2 | Lubaina Himid: Five, 1991, collection of Griselda Pollock on permanent loan to Leeds City Art Gallery, from “Revenge: A Masque in Five.” | | 14.1 | Samuel Prout: Arch of Constantine, Rome. | | 14.2 | John Constable: The Hay Wain, 1821, oil on canvas, 1302 × 1854 mm. | | 14.3 | “In fig. 47 the trees are arranged in the gardenesque manner and in fig. 48 in the picturesque manner.” | | 14.4 | Shrubland, designed by Charles Barry. | | 14.6 | Alfred Parsons, Coombe in west country with PRIMROSES, KINGCUPS, and DAFFODILS.333 | | 14.7 | Gertrude Jekyll, Daffodils among Junipers where Garden joins Copse. | | 14.8 | J. M. W. Turner: The Fighting Temeraire Tugged to Her Last Berth to Be Broken Up, oil on canvas, 907 × 1216 mm, 1838. | | 15.1 | William Westall: Rievaulx Abbey from Duncombe Park, aquatint, hand colored, published 1819 by Hurst & Robinson, Cheapside, 10 × 13 in. | | 15.2 | J. C. Bentley, after Joseph Mallord William Turner: Rievaulx Abbey, from The Gallery of Modern British Artists, intaglio print on paper, 94 × 155 mm, 1836. | | 15.3 | Kedleston Hall from the south-west, taken from within the park. | | 15.4 | Kedleston Hall from the south-west, taken from a position 30 yards to the east of Figure 15.3. | | 15.5 | Scotney Castle; view over the garden from the viewing bastion.363 | | 15.6 | John Constable: The Vale of Dedham, Scottish National Gallery, Purchased with the aid of The Cowan Smith Bequest and the Art Fund 1944. | | 16.1 | John Constable: Wivenhoe Park, Essex, oil on canvas, 561 × 1012 mm, 1816. | | 16.2 | John Constable: Flatford Mill (“Scene on a Navigable River”), 1816–17. | | 17.1 | George Stubbs: Haymakers, 1785. | | 17.2 | J. M. W. Turner: The Decline of the Carthaginian Empire, painting, 170.2 × 238.8 cm, 1817. | | 17.3 | Samuel Palmer: Valley Thick with Corn, 1825. | | 17.4 | John Constable: Salisbury Cathedral from the Meadows, oil on canvas, 1831. | | 18.1 | Wellington Testimonial in the Phoenix Park Dublin, engraving c.1830. | | 18.2 | Laurie’s New Plan of London 1831 showing the Royal Parks in the west of the city. | | 18.3 | Thomas Shotter Boys, Hyde Park near Grosvenor Gate, 1843, lithograph. | | 18.4 | Plan of the Phoenix Park, Dublin 1830. | | 18.5 | Plan of the Phoenix Park, Dublin 1845. | | 19.1 | Nicholas Hilliard: Queen Elizabeth I, miniature painting, watercolor on vellum, 1595–1600. | | 19.2 | Nicholas Hilliard: Henry Wriothesley, 3rd Earl of Southampton, miniature painting,... |
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