Joseph Kendrick (sculptor)

In this article we are going to delve into the topic of Joseph Kendrick (sculptor), analyzing its different aspects and repercussions in today's society. Joseph Kendrick (sculptor) has been the subject of debate and controversy in recent times, arousing the interest of researchers, academics and citizens. Throughout the next lines, we will explore its origin, evolution and its influence in different areas, as well as the possible implications it has for the future. From its origins to the present day, Joseph Kendrick (sculptor) has played a fundamental role in shaping the world we know, and it is important to understand its scope and consequences in order to address it appropriately.

Joseph Kendrick
Born(1755-06-04)4 June 1755
NationalityBritish
OccupationSculptor

Joseph Kendrick (born 4 June 1755) was a British sculptor.

Life

Joseph Kendrick was born on 4 June 1755. In 1771 he attended the Royal Academy Schools, and then followed a career as a sculptor. He was also active in music in London, and was described as an Alto in Doane's Musical Directory on 1794. Kendrick seems to have moved to Portsmouth after 1805.[1] In December 1813 the Royal Academy of Arts granted Kendrick the gold medal and a prize of fifty guineas for the best historical basso relievo.[2] In 1811 he made a monument to Colonel Sir William Myers, borrowing from the composition of Louis-François Roubiliac's tribute to Admiral Warren, but with the attendant female in a defiant rather than melancholy pose.[3] In 1829 the Royal Academy exhibited a bust of the organist Augustus Frederic Christopher Kollmann by Kendrick.[4]

Kendrick married a Miss Crow of Wateringbury.[5] Kendrick's older daughter Josephia Jane Mary Kendrick was an accomplished harpist who performed in public and later gave lessons in the harp.[6] His other children included Emma Kendrick (1788-1871), the miniaturist, and Josephus John Pinnix Kendrick, also a sculptor.[1] Emma won several prizes from the Society of Arts, and exhibited at the Royal Academy and other locations between 1811 and 1840.[7] In 1834 the Royal Academy exhibited a painting of Joanna Kollmann by Emma Kendrick.[6]

References

Citations

  1. ^ a b Highfill, Burnim & Langhans 1982, p. 409.
  2. ^ Intelligence - New Monthly 1814, p. 67.
  3. ^ Bonehill & Quilley 2005, p. 47.
  4. ^ Kassler 2008, p. 145.
  5. ^ Gunnis 1949, p. 73.
  6. ^ a b Kassler 2008, p. 146.
  7. ^ Schidlof 1964, p. 423.

Sources

  • Bonehill, John; Quilley, Geoff (2005). Conflicting Visions: War And Visual Culture In Britain And France C. 1700-1830. Ashgate Publishing, Ltd. ISBN 978-0-7546-0575-1. Retrieved 1 February 2013.
  • Gunnis, Rupert (1949). "Signed Monuments in Kentish Churches". Archaeologia Cantiana. 62. Kent Archaeological Society: 73. Retrieved 1 February 2013. Open access icon
  • Highfill, Philip H.; Burnim, Kalman A.; Langhans, Edward A. (1982). A Biographical Dictionary of Actors, Actresses, Musicians, Dancers, Managers & and Other Stage Personnel in London: 1660-1800. SIU Press. p. 409. ISBN 978-0-8093-0919-1. Retrieved 1 February 2013.
  • "Intelligence". The New Monthly Magazine. 1814. Retrieved 1 February 2013.
  • Kassler, Michael (15 December 2008). A.F.C. Kollmann's Quarterly Musical Register (1812): An Annotated Edition With an Introduction to His Life and Works. Ashgate Publishing, Ltd. ISBN 978-0-7546-6064-4. Retrieved 1 February 2013.
  • Schidlof, Leo R. (1964). The miniature in Europe in the 16th, 17th, 18th, and 19th centuries. Akademische Druck- u. Verlagsanstalt. Retrieved 1 February 2013.
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