Remembered by history as a man of extravagant bad taste, this book reassesses the reputation of James Brydges, first Duke of Chandos (1674-1744). Through a close examination of the documentary sources and contemporary accounts a picture is instead created of an influential figure at the centre of a web of patronage, a builder of a celebrated house and supporter of public architectural projects, who played a leading role in establishing a taste for Palladianism in England which was to define the Georgian period.
Autorentext
Dr Susan Jenkins was awarded a history scholarship to Gonville & Caius College, Cambridge, followed by an MA in Art History with Distinction, from the Courtauld Institute, London. She has worked as a curator at the V&A, Historic Royal Palaces and the J. Paul Getty Museum and has published on the history of taste and collecting.
Zusammenfassung
Once described as 'England's Apollo' James Brydges, first Duke of Chandos (1674-1744) was an outstanding patron of the arts during the first half of the eighteenth century. Having acquired great wealth and influence as Paymaster-General of Queen Anne's forces abroad, Chandos commissioned work from leading artists, architects, poets and composers including Godfrey Kneller, William Talman, Sir John Vanbrugh, Sir James Thornhill, John Gay and George Frederick Handel. Despite his associations with such renowned figures, Chandos soon gained a reputation for tasteless extravagance. This reputation was not helped by the publication in 1731 of Alexander Pope's poem 'Of Taste' which was widely regarded as a satire upon Chandos and Cannons, the new house he was building near Edgware. The poem destroyed Chandos's reputation as a patron of the arts and ensured that he was remembered as a man lacking in taste. Yet, as this book shows, such a judgement is plainly unfair when the Duke's patronage is considered in more depth and understood within the artistic context of his age. By investigating the patronage and collections of the Duke, through an examination of documentary sources and contemporary accounts, it is possible to paint a very different picture of the man. Rather than the epitome of bad taste described by his enemies, it is clear that Chandos was an enlightened patron who embraced new ideas, and strove to establish a taste for the Palladian in England, which was to define the Georgian era.
Inhalt
Contents: Introduction; Curriculum vitae: ambitions, achievements, politics; Architectural patronage: the building of Cannons; Cannons: the interior decoration; The grounds of Cannons; After the crash: architectural and other projects; Collecting in context: collectors and collections; The Duke of Chandos as a collector; The Duke as 'Apollo of the Arts'; Death and disposal; Appendices; Select bibliography; Index.