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    <title><string language="fre"><![CDATA[‘As Whimsical and Chimearical as their Forms Are’ : Ornamental and Fanciful Motives in English Drawing Books / Bénédicte Miyamoto]]></string></title>
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        <string language="fre"><![CDATA[‘As Whimsical and Chimearical as their Forms Are’ : Ornamental and Fanciful Motives in English Drawing Books / Bénédicte Miyamoto, in colloque international organisé, sous la responsabilité scientifique de Muriel Adrien, Melissa Percival et Axel Hémery, par l’Université Toulouse Jean Jaurès et l’Université d’Exeter. Toulouse, Musée Paul-Dupuy, 3-4 décembre 2015.
In 1715, Jonathan Richardson recommended in his Essay on the Theory of Painting
 “that all creatures of the Imagination ought to have Airs and Actions 
given ‘em as Whimsical and Chimaerical as their Forms are,” and his 
personal collection of drawing dispersed upon his death had many an 
example of such “Grotesques.” This collection advertised what his 
writings on art had recommended – that lovers of art should train their 
connoisseurship by becoming familiar with drawing, and the fruitful 
comparison between ancient and modern master’s drawings. The production 
of drawing books and drawing manuals in England was not entirely devoted
 to the reproduction of European norms – and indeed, the translations of
 Lomazzo or de Lairesse’s works in England were transformed, purged and 
English’d sometimes with considerable freedom. Increasingly, such 
manuals become repositories of patterns and “Whimsical and Chimearical“ 
forms, distancing themselves from repetitive anatomical sketches to 
present variations of figures and creatures to be freely associated in 
amateur composition or in decorative motives. Creativity thus engaged 
the readers of such manuals to diverge from the norms and rules offered 
by the translated texts, and to focus instead on the increasingly 
abounding picture plates, and their seemingly never-ending narrative 
possibilities. My study will engage with the recurring motives that 
criss-cross British drawing manuals and fancy pictures. Advertisements 
for drawing academies and trade cards for drawing masters – which could not display the wealth of examples a full drawing manual 
could – often chose the chimerical, ornamental or fanciful motives to 
best advertise their talents. Thus it indicated a certain formalisation 
of amateur draughtsmanship, of its methods and of its appropriate and 
most popular subjects – a formalisation that was also reflected in the 
limited scope of cheap drawing books.]]></string></description>
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NOTE:Bénédicte Miyamoto   is a Senior Lecturer in British Studies at Université Sorbonne Nouvelle–Paris 3 (France). Her PhD researched how neither moral nor aesthetic values   could account entirely for the value of painting as construed by the   British eighteenth-century consumer. She has participated in a research   group on European Art Markets 1300-1800, by CNRS / Université Lille 3. She has published her research in Marketing Art in the British Isles, 1700 to the Present (Gould &amp; Mesplede, Ashgate, 2012) and Moving Pictures: Intra-European Trade in Images, 16th-18th Centuries (de Marchi &amp; Raux, BREPOLS 2014).  &gt; Voir sa page personnelle (Univ Sorbonne Nouvelle).   
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