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"Smiles, Sam"
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Thomas Patch (1725–1782) and early Italian art
Painter Thomas Patch saved fragments of a fresco from the 1771 fire at the church of Sta Maria del Carmine in Florence, Italy. He attributed them to Giotto, but later scholars assigned them to Spinello Aretino. His interest in preserving these pieces is discussed, as is his involvement in early Italian Renaissance art.
Journal Article
Exhibition reviews : \In pursuit of art : Charles Eastlakes journey from Plymouth to the National Gallery\
The exhibition \"In pursuit of art : Charles Eastlakes journey from Plymouth to the National Gallery\" at the Plymouth City Museum and Art Gallery in England, from September 22 to December 15, 2012, is reviewed. It features Charles Lock Eastlakes pre-Raphaelite paintings.
Journal Article
Turner and the slave trade: Speculation and representation, 1805-40
English Although Turner is considered to have had liberal sympathies and supported the abolition of the slave trade, in 1805 he invested in a Jamaican speculation whose profits were entirely dependent on slave labor. This has a bearing on Turner's image of the black.
Journal Article
Better late than ever?
Artists aged over 50 years old are no longer considered past their peak. As the new exhibition \"Late Turner: Painting Set Free\" opens at Tate Britain in London (10 Sept. 2014-2 Jan. 2015), the curator Sam Smiles examines whether it is time art outgrew its obsession with age. (Quotes from original text)
Journal Article
Landscape Painting, c.1770–1840
Landscape painting in Britain in the later eighteenth and early nineteenth centuries represents one of the few occasions in a survey of world art where the omission of the British contribution would be seen as negligent. This chapter talks about some general considerations bearing on the questions (Why is it that landscape painting has achieved prominence, what are the cultural agencies that have collaborated to position landscape so centrally in the story of British art, and what are the presumed relations between landscape and a sense of national identity, as vested in the so‐called national school) before turning to four images that exemplify the variety of landscape painting practices in operation between the 1770s and the 1840s. The four images are Haymakers, The Decline of the Carthaginian Empire, The Valley Thick with Corn, and Salisbury Cathedral from the Meadows.
Book Chapter
G2: Better late than ever?: Artists over 50 are no longer considered past their peak. As a new Turner exhibition opens, curator Sam Smiles asks if it's time art outgrew its obsession with age
By 1880 a music critic could refer to \"the so-called 'late [Beethoven]'\" as an established reference point. And in 1878 Beethoven's example was invoked by one of Turner's champions, William Kingsley, to defend his last watercolours: \"These late Swiss drawings bear the same relation to his early work that Beethoven's Choral Symphony does to one of the simple movements of his early pianoforte sonatas.\" Goethe's last works were also highly admired as an example of radical invention in old age, leading to the formal identification of old-age style (Altersstil) as a specific aesthetic phenomenon. By the end of the 19th century \"late work\", \"late style\" and \"old-age style\" began to establish themselves within the lexicon. Then there's the problem with the term itself. \"The late work\" seems entirely innocuous, yet once one begins to question how it's used, let alone what it actually means, problems begin to multiply. How long is a late period? The last 10 years of a career? The last five? It seems to be an entirely arbitrary decision. It can't be attributed simply on the basis of age, either, for not every elderly artist is considered to have produced distinctive late works. And because people's experience of old age is highly varied, age itself tells you nothing about an artist's work.
Newspaper Article