Creators (39 page)

2.
The story about wife swapping is gossip. For the family see P. M. Young,
The Bachs 1500–1800
(London, 1970).

3.
F. Walker, “Some Notes on the Scarlattis,”
Musical Review
, XII (1951).

4.
New Grove
, 1995, XX, pp. 240–241.

5.
R. Hughes (ed.),
A Mozart Pilgrimage: Being the Travel Diaries of Vincent and Mary Novello in the Year 1829
(London, 1975).

6.
See the English translation (1978), of B. Schwendowins and W. Dömling (eds.),
J. S. Bach: Zeit, Leben, Werken
(Kassell, Germany, 1976).

7.
For a popular account of this episode, see J. R. Gaines,
Evening in the Palace of Reason
(New York, 2004).

8.
For a detailed list of works see
New Grove
, 1995, I, pp. 818–836.

9.
Grove
, 1929, III, pp. 765–767.

10.
E. H. Geer,
Organ Registration in Theory and Practice
(Glen Rock, New Jersey, 1957);
New Grove
, 1995, XV, pp. 684–689.

Chapter 6: Turner and Hokusai: Apocalypse Now and Then

1.
Quoted in Mary Lloyd, “A Memoir of J. M. W. Turner” (1880), in
Turner Studies
, IV, 1, summer 1984.

2.
Lives of Turner include A. Wilton (1979), J. Gage (1987), and J. Lindsay (1986).

3.
The catalogue raisonné of Turner’s oil paintings is published by Yale University Press in 2 volumes (2001).

4.
Quoted by Mary Lloyd in
Turner Studies
, IV, 1984.

5.
A. J. Finberg,
Life of J. M. W. Turner RA
(Oxford, 1961), p. 198.

6.
Ibid., pp. 201–202.

7.
John Gage,
Color in Turner
(London, 1969), p. 35.

8.
All four, plus three similar views of Lake Como done on the same trip, are reproduced in Lindsay Stainton,
Turner’s Venice
(London, 1985), plates 1–5.

9.
Gage, 1969, p. 35.

10.
Quotations from Finberg, 1961, pp. 198ff.

11.
Much of this appears in
Turner Studies
, 1982.

12.
Gage, 1969, pp. 56ff.

13.
Finberg, 1961, p. 289.

14.
R. B. Bennett (ed.),
John Constable’s Correspondence
, 6 vols. (Suffolk, UK, 1962–1968), letter to C. R. Leslie, 14 January 1832.

15.
William S. Rodner, “Turner and Steamboats on the Seine,”
Turner Studies
, VII, 2, winter 1987.

16.
Judy Egerton,
The Fighting Temeraire
(London, 1995).

17.
John Gage,
Turner: “Rain, Steam and Speed”
(London, 1972); John McCowbrey, “Turner’s Railway: Turner and the Great Western,”
Turner Studies
, VII, 1, summer 1986.

18.
Twain’s attack appeared in
A Tramp Abroad
, 2 vols. (New York, 1880), 1, p. 219; see also Jerrold Ziff, “Turner’s Slave Ship: What a Red Rag Is to a Bull,”
Turner Studies
, III, 2, winter 1984.

19.
By, for instance, Jerrold Ziff; see his “J. M. W. Turner’s Last Four Paintings,”
Turner Studies
, IV, 1, summer 1984.

20.
Quotation from
Turner Studies
, I, 1; and IV, 1, summer 1984.

21.
See Joyce Townsend,
Turner’s Painting Techniques
(London, 1996), chapter 2.

22.
Quoted in Finberg, 1961. See also
Turner Studies.

23.
Quoted in Finberg, 1961, p. 169.

24.
Ruskin,
Modern Painters
, 1, part II, chapter 7, note 249 (Library Edition).

25.
Joyce H. Townsend, “The Changing Appearance of Turner’s Paintings,”
Turner Studies
, X, 2, winter 1990.

26.
Ibid., p. 71.

27.
The list of his principal names as an artist is given in
Hokusai
, edited by Matthu Forrer with text by Edmond de Goncourt (New York, 1988), pp. 370–371.

28.
See Louis Gouse,
L’Art Japonais
, 2 vols. (Paris, 1883), 1, p. 286.

29.
For a detailed chronological table see Forrer, 1988, pp. 384–388.

30.
Jack Hillier,
The Art of Hokusai in Book Illustration
(London, 1980), gives an appendix with a chronological list of Hokusai’s illustrated books, pp. 263–280.

31.
See the chapter on waterfalls in Gian Carlo Calza (ed.),
Hokusai
(London, 2003), in which drawings by Hokusai are accompanied by photos of the actual waterfalls.

32.
For the evolution of the
Great Wave
, see the chapter in ibid., pp. 23–32.

33.
For pupils, see Forrer, 1988, pp. 372–373.

34.
For contents and chronology of the
Manga
see Hillier, 1980, pp. 97–111.

35.
J. A. Michener,
The Hokusai Sketchbooks: Selections from the Manga
(Rutland, Vermont, 1958).

36.
For Hokusai on crafts, see Hillier, 1980, pp. 181–189.

37.
For
Shungi
, see ibid., pp. 158–180; illustrations from
Nami Chiduri
are plates 149–153.

38.
The Pearl Diver and Two Octopuses
is from the album
Young Pines
(1814), 3 vols., an erotic tale written and illustrated by Hokusai but published anonymously. The original of the famous drawing is in the Gerhard Pulverer Collection.

39.
Quoted in Forrer, 1988, p. 32.

40.
For these final works see Forrer, 1988, pp. 353ff.

Chapter 7: Jane Austen: Shall We Join the Ladies?

1.
See Deirdre le Faye (ed.),
Jane Austen’s Letters
(3rd edition, Oxford, 1995).

2.
For the wild side of her character in her youth, reflected in her juvenilia, see David Nokes,
Jane Austen
(London, 1997), pp. 115, 126–127, 141.

3.
The most recent life is Maria Fairweather,
Madame de Stael
(London, 2005); but see the review by Douglas Johnson,
Spectator
, 20 February 2005.

4.
See Griselda Pollock, “Women and Art History,” in
Grove’s Dictionary of Art
, XXXIII, pp. 307–316, with an excellent bibliography.

5.
I saw this myself in 1966; the women Royal Academicians were led by Dame Laura Knight.

6.
See Marion Kingston Stocking (ed.),
The Clairmont Correspondence
, 2 vols. (Baltimore, 1995).

7.
The best book about Jane Austen as a person is George Holbert Tucker,
Jane Austen the Woman
(London, 1994).

8.
Of the many biographies of George Sand, the one I prefer, mercifully short, is Donna Dickenson,
George Sand: A Brave Man, the Most Womanly Woman
(London, 1989); for the latest research see the special edition on George Sand of
Magazine Littéraire
(Paris, 2004). There is a recent life by Elizabeth Harlan,
George Sand
(New Haven, Connecticut, 2004).

9.
The standard life of George Eliot is Gordon S. Haight,
George Eliot
(Oxford, 1968); two recent lives, both good, are by Frederick Karl (1995) and Rosemary Ashton (1996).

10.
For details of Eliot’s writings, etc., see John Rignall (ed.),
A Reader’s Companion to George Eliot
(Oxford, 2000).

11.
Quoted ibid., pp. 412–413.

12.
For the influence of
Daniel Deronda
in Europe, see my
History of the Jews
(London, 1987), pp. 378–379.

13.
For Eliot and women, see Rignall,
A Reader’s Companion to George Eliot
, pp. 466–471.

14.
For the background to Austen’s novels provided by her circumstances, see Mary Lascelles,
Jane Austen and Her Art
(Oxford, 1939), pp. 1–40. This is the best book on Austen as a novelist.

15.
For the juvenilia, etc., see R. W. Chapman,
Minor Works
(Oxford, 1982), vol. IV of his
Works of Jane Austen
. This explains the various manuscripts.

16.
Jane Austen’s realism has often been challenged: why did she write so little about the great war that dominated so much of her life? I answer this in my annual address to the Jane Austen Society, 1996, “Jane Austen, Coleridge, and Geopolitics,” in Report of the Society (1997). See also Brian Southam,
Jane Austen and the Navy
(London, 2000).

Chapter 8: A. W. N. Pugin and Viollet-le-Duc: Goths for All Seasons

1.
There is no biography of the elder Pugin that I know of, though he figures in
Dictionary of National Biography
; Howard Colvin’s
Dictionary of British Architecture,
pp. 667–668, and
Grove’s Dictionary of Art
, XXV, pp. 710–711, with bibliography. There is an essay by F. G. Roe, “The Elder Pugin,”
Journal of the Old Watercolour Society Club
, XXXI, 1956.

2.
If you can get hold of it, the elder Pugin’s fine illustrations are found in the book he did with J. Britton,
Illustrations of the Public Buildings of London
, 2 vols. (London, 1825, 1828).

3.
For Pugin the man, see M. Trappes-Lomax,
Pugin: A Medieval Victorian
(London, 1932); and P. Stanton,
Pugin
(London, 1971).

4.
For early work, see Paul Atterbury and Clive Wainwright,
Pugin: A Gothic Passion
(London, 1994).

5.
Gothic Furniture in the Style of the Fifteenth Century, Designed and Etched by A. W. N. Pugin
(London, 1835).

6.
For items at the Victoria and Albert Museum see Atterbury and Wainwright, 1994.

7.
See Michael McCarthy,
The Origins of the Gothic Revival
(Yale, 1987).

8.
Quoted in Guy Williams,
Augustus Pugin v. Decimus Burton: A Victorian Architectural Duel
(London, 1990), p. 109.

9.
A list of Pugin’s writings is given in
Grove’s Dictionary of Art
, XXV, p. 716.

10.
For Pugin’s work, see P. Waterhouse, “The Life and Work of Welby Pugin,”
Architectural Review
, 1897–1898 (six parts).

11.
See M. H. Port (ed.),
The Houses of Parliament
(London, 1976); see also
The History of the King’s Works
, vol. 6 (London, 1973). E. W. Pugin, A. W. N. Pugin’s son, wrote a pamphlet on the subject, published in 1867, to which A. Barry replied in 1868.

12.
For Pugin’s craftsmen see Alexander Wedgwood,
A. W. N. Pugin and the Pugin Family
(London, 1985).

13.
Quoted ibid.

14.
Quoted in Atterbury and Wainwright, 1994.

15.
Kenneth Clark,
The Gothic Revival
(London, 1928), p. 95.

16.
Quoted in Atterbury and Wainwright, 1994.

17.
The best biography of Morris is Fiona MacCarthy,
William Morris
(London, 1994).

18.
For an overview of Morris see L. Parry (ed.),
William Morris
(exhibition catalog, Victoria and Albert Museum, London, 1996).

19.
Jean-Paul Midant,
Viollet-le-Duc and the French Gothic Revival
(Paris, 2002).

20.
For Viollet-le-Duc’s own houses see his
Habitations Modernes
, 2 vols. (Paris, 1877); there is a drawing in Midant, 2002, p. 161, of the villa at Lausanne.

21.
For Carcassone and Pierrefonds, and Viollet-le-Duc’s work there, see Midant, 2002, pp. 96ff, 110ff. See also
Grove’s Dictionary of Art
, V, pp. 726–728, with diagrams and bibliography of Carcassone.