Shakespeare in Art
"Shakespeare in Art" tells the remarkable story of how one of many Elizabethan dramatists, for centuries virtually unknown outside England, became a truly European author, inspiring German nationalist thinkers, French dramatists, Italian opera composers, Russian novelists and painters everywhere.
"Shakespeare in Art" looks especially at the many painters who made Shakespeare's extremes of passion, has evocations of nature, his spirit world and his eternally familiar characters the subjects of their own work.
The paintings and drawings range from depictions of famous actors in role by Hogarth and Zoffany; tragic visions by Fuseli and Blake; brooding character studies of Hamlet, the Romantic role model, by Delacroix; to vivid evocations of natural scenery by the Pre-Raphaelites. Also explored is the influence of Shakespeare on eighteenth- and nineteenth-century literature, theatre, music and printmaking. This book is essential reading for anyone interested in the history of Western culture.
Shakespeare Collection Highlights
This is the only known copy of the first edition of Titus Andronicus, published in 1594, and one of the earliest examples of a published Shakespeare play. For centuries, the first quarto of Titus was thought to be lost entirely. This copy surfaced in 1904, in Sweden, at the home of a postal clerk; he is said to have seen a newspaper article about the sale of an early English Bible for an impressive sum of money, and it made him think of the worn little English book he had in his own collection. Henry Folger bought the book on the off chance that it was authentic. Happily for him (and us!), it was.
This mahogany chair was designed by William Hogarth for noted 18th-century Shakespearean actor David Garrick. Garrick, in addition to being an actor, theater manager, and playwright, was the president of the Shakespeare Club, and even had a Temple to Shakespeare on the grounds of his home in Hampton. This chair, displayed by Garrick in his Temple, is ornately carved with symbols of literature, theater, and the arts. It has been described by Samuel Ireland as "rather surcharged with ornaments," and by others as "a kind of grim grotesque" and "demented baroque." Whatever your opinion of the style, the chair certainly is a conversation starter.
David Garrick commissioned a sculpture of Shakespeare to be included in his Shakespeare Temple. This terracotta study (about 22 inches high) was made by French sculptor Louis François Roubiliac in 1757 in preparation for the life-sized marble statue, with Garrick himself serving as the model for the dramatic pose. This statue is an excellent example of how Shakespeare the man has been romanticized over the centuries. Roubiliac clearly attempted to capture creative contemplation, with the figure posed, pen in hand, gazing thoughtfully into the distance. The final marble version that was carved for Garrick's home (and now at the British Library) is more tranquil: the eyes are less animated, and the left hand has moved so that it supports Shakespeare's chin rather than distorting his face.
This costume was worn by American actor Edwin Booth in the title role of Richard III, sometime in the 1870s. Booth came from one of the most noted (and notorious) theater families of the mid-19th century; his father, Junius Brutus Booth, was a noted tragedian in both England and the United States, and his brother, John Wilkes Booth, was a successful actor before becoming a household name as the assassin of President Lincoln. Edwin himself was one of the most noted and well-respected Shakespearean actors in the second half of the 19th century. Although he became most well known for his portrayal of Hamlet, Edwin played most of the Shakespearean tragic roles. In keeping with the period's drive for historical accuracy in theatrical costumes, this garment incorporates Richard's royal coat of arms.
This watercolor sketch shows the set design for Act 3, scene 2 of The Tempest from Charles Kean's 1857 production at the Royal Princess's Theatre London. Kean was one of the great Shakespearean actor/managers in London during the mid-19th century; he also produced Shakespeare plays at Windsor Castle for Queen Victoria. A "souvenir promptbook," such as the one this watercolor is from, was produced to commemorate a particular production; it would include set and costume designs, staging directions, and possibly notes about the well-known actors.
Useful links:
1. An Art Blog "Shakespeare 450" http://shakespeare450.blogspot.com
2. The Shakespeare Art Museum http://shakespeare-art-museum.com/Museum.html
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