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The works of Mr. Jonathan Richardson. Consisting - RICHARDSON (Jonathan) - 1773. 
1773 1 pleine basane de l'Ã©poque, dos Ã nerfs, petite tache sur le plat inf.. in-8 de (8)-XIX-(1)-346-(2) pp. ; London, T. Davies, 1773, 1Ã¨re Ã©dition collective.E.S.T.C. T 147769 ; Getty Research Institut 84 - B 7439."Essay I with caption-title "An essay on the theory of painting" first published under that title in 1715. Essay II with section-title "An essay on the whole art of criticism as it relates to painting..." first published under that title and under "The connoisseur, an essay on the whole art of criticism..." in the author's Two discourses, 1719. Essay III with section-title "A discourse on the dignity, certainty, pleasure and advantage of the science of a connoisseur" first published in the same collection under that title and under "An argument in behalf of the science of a connoisseur." Jonathan Richardson (1665-1745) "Collector, artist and art writer ; first to use the term "connoisseur"." (Getty)."Richardson's principal vocation was as a portrait painter. His early writing focused on art theory, such as An Essay on the Theory of Painting (1715). It is today considered the first important treatise on the subject by an English writer. In 1719 he wrote An Essay on the Whole Art of Criticism as it Relates to Painting and an Argument in Behalf of the Science of the Connoisseur. Richardson's son, also named Jonathan (1694-1771), traveled to Italy in 1721 where he made copious and careful notes of the monuments he saw. The elder Richardson compiled these into a major early art history and travel guide, useful for much of the English speaking world taking the "grand tour" : An Account of Some of the Statues, Bas-Reliefs, Drawings, and Picture in Italy (1722). The treatise was republished with other works by the Richardsons in a French language edition in 1728. Johann Joachim Winckelmann (q.v.) and the painter theorist Anton Raphael Mengs (1728-1779) mention it as an inspirational work. The work became so popular among the wealthy class that it virtually function as a "wish list" for those assembling collections. (Dictionary of Art Historians).
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