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This illustrated gallery of Victorian and Edwardian art contains entries on the life and work of more than 350 artists of the era.
This companion is a collection of newly-commissioned essays written by leading scholars in the field, providing a comprehensive introduction to British art history. A generously-illustrated collection of newly-commissioned essays which provides a comprehensive introduction to the history of British art Combines original research with a survey of existing scholarship and the state of the field Touches on the whole of the history of British art, from 800-2000, with increasing attention paid to the periods after 1500 Provides the first comprehensive introduction to British art of the eighteenth, nineteenth, and twentieth centuries, one of the most lively and innovative areas of art-historical study Presents in depth the major preoccupations that have emerged from recent scholarship, including aesthetics, gender, British art’s relationship to Modernity, nationhood and nationality, and the institutions of the British art world
This is the twentieth in a series of occasional volumes devoted to studies in British art, published by the Yale Center for British Art and the Paul Mellon Centre for Studies in British Art and distributed by Yale University Press. --Book Jacket.
Women, Art and Money in England establishes the importance of women artists' commercial dealings to their professional identities and reputations in the late nineteenth and early twentieth centuries. Grounded in economic, social and art history, the book draws on and synthesises data from a broad range of documentary and archival sources to present a comprehensive history of women artists' professional status and business relationships within the complex and changing art market of late-Victorian England. By providing new insights into the routines and incomes of women artists, and the spaces where they created, exhibited and sold their art, this book challenges established ideas about what women had to do to be considered 'professional' artists. More important than a Royal Academy education or membership to exhibiting societies was a woman's ability to sell her work. This meant that women had strong incentive to paint in saleable, popular and 'middlebrow' genres, which reinforced prejudices towards women's 'naturally' inferior artistic ability – prejudices that continued far into the twentieth century. From shining a light on the difficult to trace pecuniary arrangements of little researched artists like Ethel Mortlock to offering new and direct comparisons between the incomes earned by male and female artists, and the genres, commissions and exhibitions that earned women the most money, Women, Art and Money is a timely contribution to the history of women's working lives that is relevant to a number of scholarly disciplines.
In the midst of a Victorian culture ingrained with strict social etiquette and societal norms, Wilkie Collins composed novels that contained asocial, even anarchic, impulses. A contemporary of Dickens, Collins creates a world more Kafkaesque than Dickensian, a world populated by doppelgangers, secret selves, oddballs, and grotesques. The essays of Reality's Dark Light: The Sensational Wilkie Collins purposefully work to expand Collins's legacy beyond The Woman in White and The Moonstone; they move well past the simplistic view of Collins's works as "sensation novels," "detective novels," or even "popular fiction," all labels that carry with them pejorative connotations. This collection represents the range of Collins's aesthetic project from various critical perspectives. New methodological and theoretical approaches are applied both to him most popular and to his lesser-known works, giving the reader a broader picture of this multifaceted and undervalued writer The Editors: Maria K. Bachman in an assistant professor of English at Coastal Carolina University. Her articles have appeared in Victorian Newsletter, Literature and Psychology, The Dickensian, and Dickens Studies Annual. Don Richard Cox is a professor of English and associate dean at the University of Tennessee. His books include Sexuality andVictorian Literature (Tennessee), Arthur Conan Doyle, and Charles Dickens's The Mystery of Edwin Drood: An Annotated Bibliography. He is the coeditor, with Maria Bachman, of an edition of Wilkie Collins's final novel, Blind Love
This 2004 Companion is designed for readers interested in the creation, production and interpretation of Victorian and Edwardian theatre, both in its own time and on the contemporary stage. The volume opens with a brief overview and introduction surveying the theatre of the time followed by an essay contextualizing the theatre within the frame of Victorian and Edwardian culture as a whole. Succeeding chapters examine specific aspects of performance, production, and theatre, including the music, the actors, stagecraft and the audiences themselves; plays and playwriting and issues of class and gender are also explored. Chapters also deal with comedy, farce and melodrama, while other essays bring forward new topics and approaches that cross the boundaries of traditional investigation, including analysis of the economics of theatre and of the theatricality of personal identity.
First Published in 1997. This book is intended as a resource for anyone interested in the artistic contributions and activities of women in nineteenth-century Britain. It is an index as well as an annotated bibliography and provides sources for information about women well known in their own time and about women who were little known then and are forgotten now
In the 1880s, George Grossmith was the dazzling comic star of Gilbert and Sullivan's immensely popular Savoy operas. London theatregoers waited excitedly for the next production, knowing that George would be cast in the lead role of the ‘patter man'. He was also many other things in his life, including Bow Street court reporter, piano entertainer for high society, and in the 1890s, with his brother Weedon, the author of the humorous classic work of fiction, The Diary of a Nobody, which has never been out of print and continues to inspire other writers. In this fascinating book, Stephen Wade tells the story of Grossmith’s life, from Penny Reading entertainer to self-styled ‘society clown.’ A Victorian Somebody places him firmly in context, recalls the many friends and colleagues who worked with George, and puts him once again centre stage, exactly where he should be.
The author investigates the points of contact between literature, visual arts and feminist criticism by offering fresh readings of selected Romantic and Victorian poems about women and a discussion of their wide-ranging visual history – a subject which has not yet been undertaken in a book-length study. The innovative feature of the project lies in its scope and merit: extensive readings of 19th century poetry, informed by carefully chosen critical approaches, are followed by a rich overview and analysis of visual renderings of the poems in question. Łuczyńska-Hołdys has succeeded in bringing to light previously unknown or undiscussed works, and reappraised many well-known paintings and illustrations.
In The Art of Adapting Victorian Literature, 1848-1920, Karen E. Laird alternates between readings of nineteenth-century stage and twentieth-century silent film adaptations to investigate the working practices of the first adapters of Victorian fiction. Laird’s juxtaposition between stage and screen brings to life the dynamic culture of literary adaptation as it developed throughout the long nineteenth-century. Focusing on Charlotte Brontë’s Jane Eyre, Charles Dickens’s David Copperfield, and Wilkie Collins’s The Woman in White, Laird demonstrates how adaptations performed the valuable cultural work of expanding the original novel’s readership across class and gender divides, exporting the English novel to America, and commemorating the novelists through adaptations that functioned as virtual literary tourism. Bridging the divide between literary criticism, film studies, and theatre history, Laird’s book reveals how the Victorian adapters set the stage for our contemporary film adaptation industry.