Reverse Pygmalionism Art and Samuel Rogers’s Italy

Research output: Contribution to journalArticlepeer-review

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Reverse Pygmalionism Art and Samuel Rogers’s Italy. / McCue, M.
In: Romantic Textualities: Literature and Print Culture, 1780–1840, Vol. 21, 01.01.2013.

Research output: Contribution to journalArticlepeer-review

HarvardHarvard

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

APA

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

CBE

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

MLA

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

VancouverVancouver

McCue M. Reverse Pygmalionism Art and Samuel Rogers’s Italy. Romantic Textualities: Literature and Print Culture, 1780–1840. 2013 Jan 1;21.

Author

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

RIS

TY - JOUR

T1 - Reverse Pygmalionism Art and Samuel Rogers’s Italy

AU - McCue, M.

PY - 2013/1/1

Y1 - 2013/1/1

N2 - 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

AB - 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

UR - http://www.romtext.org.uk/articles/rt21_n06/

M3 - Article

VL - 21

JO - Romantic Textualities: Literature and Print Culture, 1780–1840

JF - Romantic Textualities: Literature and Print Culture, 1780–1840

SN - 1748-0116

ER -