In:Landscapes of Realism: Rethinking literary realism in comparative perspectives
Edited by Dirk Göttsche, Rosa Mucignat and Robert Weninger
[Comparative History of Literatures in European Languages XXXII] 2021
► pp. xiii–xiv
Published online: 21 April 2021
https://doi.org/10.1075/chlel.xxxii.loi
https://doi.org/10.1075/chlel.xxxii.loi
List of illustrations
Figure 1.Johan Zoffany, The Academicians of the Royal Academy, 1771–1772. Oil on canvas, 101.1 × 147.5 cm, Royal Collection Trust / © Her Majesty Queen Elizabeth II 2020.
Figure 2.Gustave Courbet, L’atelier du peintre. Allégorie réelle déterminant une phase de sept années de ma vie artistique et morale [The painter’s studio. Real allegory defining seven years of my artistic and moral life], 1854–1855. Oil on canvas, 361 × 598 cm, Paris, Musée d’Orsay. © RMN-Grand Palais (Musée d’Orsay)/ Hervé Lewandowski.
Figure 3.Jean-Siméon Chardin, The House of Cards, c. 1736–1737. Oil on canvas, 60.3 × 71.8 cm, © The National Gallery, London. Bequeathed by Mrs Edith Cragg, as part of the John Webb Bequest, 1925. (Exhibited in Salon of 1741 as Le fils du M. Le Noir s’amusant à faire un Chateau de Cartes.)
Figure 4.Jean-Baptiste Greuze, La malédiction paternelle. Le fils ingrat [The father’s curse. The ungrateful son], 1777. Oil on canvas, 130 × 162 cm, Photo © RMN- Grand Palais (Musée du Louvre) / Michel Urtado.
Figure 5.William Hogarth, The painter and his pug, 1745. Oil on canvas, 90 × 69.9 cm, Photo © Tate, London.
Figure 6.Joseph Wright ‘of Derby’, An Experiment on a Bird in the Air Pump, 1768. Oil on canvas, 183 × 244 cm, © The National Gallery, London. Presented by Edward Tyrrell, 1863.
Figure 7.Jacques-Louis David, Antoine Laurent Lavoisier and his Wife, 1788. Oil on canvas, 259.7 × 194.6 cm, Metropolitan Museum of Art, New York. Mr. and Mrs. Charles Wrightsman gift, in honour of Everett Fahy.
Figure 8.Francisco Goya, Para eso habeis nacido [This is what you were born for]. Etching, lavis, drypoint and burin, 16 × 23 cm. Plate 12 from Los Desastres de la Guerra [The Disasters of War], from bound album of working proofs presented by the artist to Ceán Bermudez, c. 1810–1813. © The trustees of the British Museum, London.
Figure 9.Theodore Géricault, Cuirassier blessé quittant le feu [Wounded Cuirassier leaving the field of battle], 1814. Oil on canvas, 358 × 294 cm, Photo © RMN- Grand Palais (Musée du Louvre) / Franck Raux.
Figure 10.Caspar David Friedrich, Kreidefelsen auf Rügen [Chalk Cliffs on Rügen], c. 1818/1819. Oil on canvas, 90 × 70 cm, Kunst Museum, Winterthur, Stiftung Oskar Reinhart © SIK-ISEA, Zürich (Philipp Hitz).
Figure 11.John Constable, The White Horse, 1819. Oil on canvas, 131.4 × 188.3 cm, The Frick Collection, New York. Accession no. 1943.1.147.
Figure 12.Anthony Trollope, A Map of Barsetshire. From Michael Sadleir, Trollope: A Commentary. London: Oxford University Press, 1927.
Figure 13.Thomas Hardy, Hardy’s map of Egdon Heath, the setting of “The Return of the Native.” Frontispiece of The Return of the Native. London: Smith, Elder, 1878.
Figure 14.Robert Louis Stevenson, Map of Treasure Island. Frontispiece of Treasure Island. London: Cassell & Company, 1883.
Figure 15.Émile Zola, Manuscript Draft of Germinal. Bibliothèque Nationale de France, folio 109 (call number: NAF 10308).
Figure 16.Mark Twain, Mark Twain’s Map of Paris. From Galaxy (November 1870).
Figure 17.Thomas Hardy, Map of the Wessex Novels and Poems drawn by Thomas Hardy. © Dorset County Museum.
