MARC Record from Library of Congress

LEADER: 02137cam a22003254a 4500
001 2010047257
003 DLC
005 20111020130556.0
008 101104s2011 ctua b 001 0 eng
010 $a 2010047257
015 $aGBB098291$2bnb
016 7 $a015629546$2Uk
020 $a9780300162783 (cloth : alk. paper)
020 $a0300162782 (cloth : alk. paper)
035 $a(OCoLC)ocn642214247
040 $aDLC$cDLC$dYDX$dERASA$dYDXCP$dUKM$dBWX$dYDX$dGZM$dDLC
043 $ae-uk-en
050 00 $aND497.Z6$bW43 2011
082 00 $a759.2$aB$222
100 1 $aWebster, Mary.
245 10 $aJohan Zoffany, 1733-1810 /$cMary Webster.
260 $aNew Haven [Conn.] :$bYale University Press,$cc2011.
300 $axi, 708 p. :$bill. (chiefly col.) ;$c30 cm.
500 $aPublished for the Paul Mellon Centre for Studies in British Art.
504 $aIncludes bibliographical references (p. 653-683) and indexes.
520 8 $aUniversally recognised as a brilliant and gifted eighteenth-century artist, Zoffany was regarded by Horace Walpole as one of the three greatest painters in England, along with his friends Reynolds and Gainsborough. He has remained without a detailed study of his life and works owing to the fascinating and complex vicissitudes of his career, now established from widely scattered sources. Starting out as a late-baroque painter at a German princely court, he moved to London in 1760 and soon became a leading portraitist. A loyal patron was the great actor David Garrick through whom Zoffany became admired as the unrivalled interpreter of the Georgian stage. The delightful inventions of his conversation pieces proved, then as now, fashionably successful images of private lives and led to his swift rise into the royal patronage of George III and Queen Charlotte. Zoffany set foot in so many worlds that their contrast alone gives a constantly changing interest to the history of his life and work.
600 10 $aZoffany, Johann,$d1733-1810$xCriticism and interpretation.
600 10 $aZoffany, Johann,$d1733-1810.
650 0 $aPainters$zEngland$vBiography.
700 1 $aZoffany, Johann,$d1733-1810.