Skip to main content Accessibility help

We use cookies to distinguish you from other users and to provide you with a better experience on our websites. Close this message to accept cookies or find out how to manage your cookie settings.

Close cookie message
×
  1. Home
  2. Search

Refine search

Refine search

Access:
Content type:
Publication date:
Apply   From and To filters
Subject: Show more
Journals Show more
Publishers: Show more
Societies Show more
Series: Show more
Collections: Show more

Actions for selected content:

Select all | Deselect all
  • View selected items
  • Export citations
  • Download PDF (zip)
  • Save to Kindle
  • Save to Dropbox
  • Save to Google Drive

Save Search

You can save your searches here and later view and run them again in "My saved searches".

Please provide a title, maximum of 40 characters.
Cancel
×

1 results

  • Chapter 28 - The Sister Arts

  • from Part III - Literary Contexts
  • Edited by Michael Griffin, University of Limerick, David O'Shaughnessy, University of Galway
  • Book:
    Oliver Goldsmith in Context
    Published online:
    28 November 2024
    Print publication:
    07 November 2024, pp 237-245

  • Summary

    The sister arts, a concept linking poetry to painting, flourished during Goldsmith’s lifetime. Stemming from the ekphrasis of the ancients, the idea of the sister arts owes to the continental academies of painting during the seicento. Goldsmith became heir to the idea when he was named Professor of Ancient History in the Royal Academy of Painting. Founding president Reynolds exhibited a portrait of Goldsmith at the academy in 1770, the same year that Goldsmith published The Deserted Village. Two years later Reynolds based an allegorical character sketch called Resignation on lines from the poem. From its illustrated title page to its stirring peroration The Deserted Village reflects a continuing appeal to the mind’s eye, an appeal not lost on illustrators from Thomas Bewick and James Gillray to Francis Wheatley and William Hamilton, and many others. Their sketches of Goldsmith’s villagers remain engraved on the imagination of generations. This chapter explores the milieux that link Goldsmith to the visual arts, from his affiliation with the Royal Academy to his cosmopolitan interests.