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"Weeks, Emily M"
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Cultures crossed : John Frederick Lewis and the art of orientalism
\"John Frederick Lewis (1804-1876) is one of the best-known yet least understood British Orientalist painters of the 19th century. His numerous, highly detailed Orientalist images stand in dramatic contrast to the meager written archive of the years he spent in Egypt between 1841 and 1851; art historians have long puzzled over the details of this significant period and struggled for meaningful insight into his process of artful construction. This innovative book, the first critical monograph devoted to this acclaimed artist, draws on both newly uncovered historical data and imperial and post-colonial theory to propose a compelling new interpretation of Lewis's paintings and biography. In addition to offering formal, historical, and theoretical examinations of Lewis's highly nuanced subject matter, Weeks argues that Lewis crafted an ambiguous, cross-cultural identity that challenged viewers' understanding of fact and fiction and, along with his pictures, subverted systems of patriarchal power in England and abroad\"-- Provided by publisher.
Book
Inspired by the East: How the Islamic World Influenced Western Art
Inspired by the East: How the Islamic World Influenced Western Art, held at British Museum, London on Oct 10, 2019-Jan 26, 2020 is reviewed. For this exhibition, the curators have pulled from the stores books, maps, photographs, drawings, paintings and decorative art in order to illustrate the dialogue between Eastern and Western art and culture since the late fifteenth century.
Journal Article
Oil and Water: (Re)Discovering John Frederick Lewis (1804–76)
Buckley was a prominent collector in industrial Manchester, and had already amassed an impressive, if eclectic, collection of modern British art in his home, Ryecroft Hall. By 1887, it was attracting attention at Manchester’s Royal Jubilee Exhibition, an extraordinary celebration of that city’s modern art collections, and in particular, of watercolors in private hands. A regular lender to the Royal Academy, as well as to other venues, Holland lent the picture again in 1898, this time to a special exhibition at the Royal Water-Colour Society Art Club honoring present members and \"the late J. D. Harding and the late J. F. Lewis.\" Holland too had turned his attention to contemporary British art after making his money in business.
Journal Article
Oil and water: (re)discovering a watercolour by John Frederick Lewis (1804-76)
This article discusses a watercolour by John Frederick Lewis (1804-76) rediscovered in 2007. The work is a larger version of an oil painting entitled \"A Lady Receiving Visitors (The Reception)\" (1873), one of Lewis's most provocative late Orientalist works. A comparison of the two works allows for a more complete understanding of Lewis, and inspires a new set of questions regarding his technical process. (Quotes from original text)
Journal Article
New discoveries : oil and water : (re)discovering John Frederick Lewis (1804-1876)
Sometime in 1878, or perhaps a bit earlier, Abel Buckley (18351908) acquired a watercolor painting by John Frederick Lewis (1804-76). The decision was not in itself remarkable: Buckley was a prominent collector in industrial Manchester, and had already amassed an impressive, if eclectic, collection of modern British art in his home, Ryecroft Hall. And yet the particular picture that Buckley chose to purchase was noteworthy indeed. It was a larger version of an oil painting called \"A lady receiving visitors\" (\"The reception,\" 1873, Yale Center for British Art), one of Lewis's most provocative late Orientalist works. The rediscovery of this elusive watercolor in 2007, and its instructive potential vis-à-vis the Yale work, are the subjects of this article. [Publication Abstract]
Journal Article
John Frederick Lewis: Facing Fame
John Frederick Lewis: Facing Fame by Briony Llewellyn is reviewed.
Book Review
Multiple Wives, Multiple Pleasures: Representing the Harem, 1800-1875
Weeks reviews Multiple Wives, Multiple Pleasures: Representing the Harem, 1800-1875 by Joan DelPlato.
Book Review
The “reality effect”: The Orientalist paintings of John Frederick Lewis (1805–1876)
In this dissertation, I examine the life and later Orientalist painting of John Frederick Lewis (1805–1876). Though certain aspects of this artist's biography have become the stuff of legend—notably his adoption of Middle Eastern clothing and cultural habits during a ten-year period of residency in Egypt in the 1840s—and his jewel-like canvases have long been admired as decorative objects, neither Lewis nor his art have yet received the sort of sustained, scholarly attention they deserve. I will redress this point by suggesting that Lewis—one of the most sophisticated and challenging artists of the Victorian era—orchestrated a series of “reality effects” after 1841, which were meant to challenge viewers' modes of visual apprehension, to shift their understanding of truth and fiction, and, ultimately, to problematize systems of patriarchal power, both in England and abroad. As I move from Lewis's artful efforts at self-fashioning to the measured surfaces of his canvases, and from the Victorian drawing room to the harem and, finally, to the broader global political stage, Lewis emerges as a complicated, conflicted and highly attentive figure in nineteenth-century society. His pictures, moreover, are revealed not merely as technical wonders, but as the grounds on which topical and problematic issues are acknowledged by the artist in extraordinary, unique and unexpected ways. Chapters 1 and 2 focus on the figure of Lewis, both as a mythic presence in Victorian society and as the center of a distinguished group of Anglo-Egyptian intellectuals in Cairo in the 1840s. Chapter 3 examines the surfaces of Lewis's paintings, suggesting a correspondence between their conflicted, intertextual compositions, and the nature of the artist's biography itself. In chapters 4 through 6, I turn my attention to the ambivalent subtexts of Lewis's pictures, in order to suggest the astuteness of their politics and their tendency to transpose geographies. I then conclude the dissertation with the examination of a singular picture in Lewis's oeuvre that, I argue, acts as a précis for Lewis's artistic project.
Dissertation