The artistic and literary career of Charles Jervas (c.1675-1739)

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http://eprints.org/relation/isVolatileVersionOf http://etheses.bham.ac.uk/id/document/2477 http://eprints.org/relation/ispreviewThumbnailVersionOf http://etheses.bham.ac.uk/id/document/2477 http://eprints.org/relation/isVersionOf http://etheses.bham.ac.uk/id/document/2477 archive 4031 disk0/00/00/09/99 2010-10-26 13:06:56 2019-01-23 09:53:17 2011-07-19 16:27:29 thesis show 0 Pegum Caroline carolinepegum@hotmail.com West Shearer Spencer-Longhurst Paul University of Birmingham The artistic and literary career of Charles Jervas (c.1675-1739) unpub ND PR D1 10col_artl Charles Jervas (c.1675-1739) was an Irish-born portrait painter who rose to the position of Principal Painter to King George I and II, succeeding his former teacher Sir Godfrey Kneller. His life and career have hitherto evaded a comprehensive study, possibly a legacy of the ridicule to which his person and oeuvre have long been subjected. The purpose of this study is to reassess the course and nature of Jervas’s career, and particularly in relation to three distinct patron groups; Sir Robert Walpole and his fellow-Whigs; the royal family and court; and William Digby, 5th Baron Digby of Geashill. In spite of his successful artistic career in London and Ireland, Jervas has often been remembered primarily for his friendships with literary contemporaries (most importantly Alexander Pope) rather than his artistic practice or his own writings. Jervas’s literary achievements, most famously his new translation into English of Cervantes’ Don Quixote (1742) are critically reassessed. A detailed biography, exploration of the artist’s extended period of training in continental Europe (1698-1708/09) and an illustrated catalogue raisonné of Jervas’s oeuvre are included in the scope of the present study. 2010-07 2009-10 graduation eng author unchecked This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. public 243 University of Birmingham School of Languages, Cultures, Art History and Music, Department of Art History, Curating and Visual Studies m_ph na 2010-07 graduation