Reverse Pygmalionism Art and Samuel Rogers’s Italy

McCue, M. (2013) Reverse Pygmalionism Art and Samuel Rogers’s Italy. Romantic Textualities: Literature and Print Culture, 1780–1840, 21.

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Pictures are for use, for solace, for ornament, for parade;�as invested wealth, as an appendage of rank. Some people love pictures as they love friends; some, as they love music; some, as they love money. There are those who collect them for instruction, as a student collects grammars, dictionaries, and commentaries;�these are artists; such were the collections of Rubens, of Sir Peter Lely, of the President West, of Lawrence, of Sir Joshua Reynolds. There are those who collect pictures around them as a king assembles his court�as significant of state, as subservient to ornament or pride; such were Buckingham and Talleyrand. There are those who collect pictures as a man speculates in the funds;�picture-fanciers, like bird-fanciers, or flower-fanciers�amateur picture-dealers, who buy, sell, exchange, bargain; with whom a glorious Cuyp represents 800l. sterling, and a celebrated Claude is 3000l. securely invested�safe as in a bank; and his is not the right spirit, surely. Lastly, there are those who collect pictures for love, for companionship, for communion; to whom each picture, well-chosen at first, unfolds new beauties�becomes dearer every day; such a one was Sir George Beaumont�such a one is Mr. Rogers

Item Type: Article
Subjects: Research Publications
Departments: College of Arts and Humanities > School of English Literature
Date Deposited: 02 Oct 2015 02:10
Last Modified: 12 Feb 2016 03:44
ISSN: 1748-0116
URI: http://e.bangor.ac.uk/id/eprint/5523
Publisher: Cardiff University
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