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[caption id="attachment_5687" align="aligncenter" width="250"] FORSAITH Peter, Image, Identity, and John Wesley : A Study in Portraiture; Londres, Routledge, 2018, 210 p.[/caption]Présentation de l'éditeur :The face of John Wesley (1703–1791), the Methodist leader, became one of the most familiar images in the English-speaking and transatlantic worlds through the late eighteenth and nineteenth centuries. After the dozen or so painted portraits made during his lifetime came numbers of posthumous portraits and moralising ‘scene paintings’, and hundreds of variations of prints. It was calculated that six million copies were produced of one print alone—an 1827 portrait by John Jackson R.A. as frontispiece for a hymn book.Illustrated by nearly one hundred images, many in colour, with a comprehensive appendix listing known Wesley images, this book offers a much-needed comprehensive and critical survey of one of the most influential religious and public figures of eighteenth-century Britain. Besides chapters on portraits from the life and after, scene paintings and prints, it explores aspects of Wesley’s (and Methodism’s) attitudes to art and the personality cult which gathered around Wesley as Methodism expanded globally.Peter S. Forsaith is a historian of religion, culture and society in eighteenth-century Britain. He is Research Fellow of the Oxford Centre for Methodism and Church History, Oxford Brookes University, UK, and has written and lectured on many aspects of Methodist history. He gained his Ph.D. in 2003 for a scholarly edition of Rev. John Fletcher’s letters to Rev. Charles Wesley, later expanded and published as Unexampled Labours (2008). He is a Fellow of the Royal Historical Society.Table des matièresIntroduction1 ‘A Far Greater Genius than Sir Joshua’: Some Issues and Complexities around the Portraiture2 ‘This Melancholy Employment’: Portraits from the Life to 17803 ‘I Yielded to Importunity’: Portraits from the Life, 1781–914 Prints and Posthumous Portraits: Spreading and Selling the Image5 Scene Paintings6 Pottery and Sculpture: A Note7 No Striking Likeness? Images and Ambiguities8 ‘The Pious Preacher’: Satire9 ‘Of Pictures I Do Not Pretend To Be a Judge’: John Wesley and Art10 Image, Identity, and Institution: Constructing a Canon11 Conclusions: Visualising Mr. WesleyPlatesAppendix A: Iconography of Principal Paintings of John Wesley, with Selected PrintsAppendix B: References in John Wesley’s Journal and Diaries to Portraits and PaintersPlus d’informations sur le site de l’éditeur.