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Sillars S., The Illustrated Shakespeare, 1709-1875 — 2008

Illustrations have been an important element of many of the most extensively read editions of Shakespeares plays, from the frontispieces to Nicholas Rowes 1709 edition to the multiple images placed within the text of Victorian editions. Through symbols the illustrations have explored language and character; by allusion to earlier paintings they have offered critical readings; and by gesture, setting and costume they have redesigned the plays within the visual vocabulary of their own times. In all these ways they offer important exchanges with contemporary social, aesthetic and critical concerns, and, despite being largely ignored by scholars, are central to the plays reception. Highly illustrated, including many images not previously reproduced, the book allows the reader to share the experience of early readers of the plays. Building on the authors earlier work in Painting Shakespeare it offers a fresh address to the tradition of visual criticism and assimilation of Shakespeares plays. A complete study of the history and tradition of illustrated editions of Shakespeare, containing 167 illustrative images from major editions.

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Sillars S., Painting Shakespeare. the artist as critic, 1720-1820 — 2006 (Cambridge)

Painting Shakespeare explores the tradition of critical and interpretive painting and engraving that developed when eighteenth-century artists rejected the depiction of Shakespeare's plays in performance to produce images based on the new scholarly editions. The opening chapter locates Shakespeare painting alongside contemporary performance, editing and criticism, and discusses its relation to art history and practice. The book proceeds to examine Hogarth's use of ironic allusion, and the development of this and other techniques of critical visualisation by artists of the succeeding decades. Later chapters discuss the arcane allusions and supernatural visions of Fuseli, the gestural immediacy of Romney, the fluid, critical mythologising of Blake, and the compound subtleties of Reynolds. The book concludes with a study of the Boydell Shakespeare Gallery and the radically new reading practices it constituted.

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