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Highly innovative and long overdue, this study analyzes the visual culture of addiction produced in Britain during the long nineteenth century. The book examines well-known images such as William Hogarth's Gin Lane (1751), as well as lesser-known artworks including Alfred Priest's painting Cocaine (1919), in order to demonstrate how visual culture was both informed by, and contributed to, discourses of addiction in the period between 1751 and 1919. Through her analysis of more than 30 images, Julia Skelly deconstructs beliefs and stereotypes related to addicted individuals that remain entrenched in the popular imagination today. Drawing upon both feminist and queer methodologies, as well as upon extensive archival research, Addiction and British Visual Culture, 1751-1919 investigates and problematizes the long-held belief that addiction is legible from the body, thus positioning visual images as unreliable sources in attempts to identify alcoholics and drug addicts. Examining paintings, graphic satire, photographs, advertisements and architectural sites, Skelly explores such issues as ongoing anxieties about maternal drinking; the punishment and confinement of addicted individuals; the mobility of female alcoholics through the streets and spaces of nineteenth-century London; and soldiers' use of addictive substances such as cocaine and tobacco to cope with traumatic memories following the First World War.
Drawing upon the satirical prints of the eighteenth century, the author explores what made Londoners laugh and offers insight into the origins of modern attitudes toward sex, celebrity, and ridicule.
In the conclusion to the biography of the caricaturist and illustrator George Cruikshank, Robert Patten narrates the second half of the artist's long career. It is an examination of Cruikshank's co operations with some of the writers who are known as remakers of British fiction, particularly Harrison Ainsworth, Charles Dickens and William Makepeace Thackeray. Patten also examines Cruikshank's illustrated periodicals, especially the Comic Almernack, which preceded Punch, and which contains an invaluable record of three decades of London life in the artist's hundreds of etchings. Beginning in 1847, Cruikshank became a leading advocate of Temperance, producing two dramatic series of prints, a gigantic oil painting, and many other forms of propaganda. Patten provides the fullest account ever of Cruikshank's many friendships and contextualises his art, showing how the subjects, mediums, treatments, publishers and audiences affected the artist's productions. He is especially good at elucidating Dickens' very public quarrel with Cruikshank, a quarrel that severed twenty years of friendship. The artist's friendship with John Ruskin, who became for a time Cruikshank's patron and champion, is also illuminated by Patten. Cruikshank's later years were not successful either artistically or financially. He was bedevilled by economic crisis, inadequate commissions, and the upkeep of two households - one with his second wife and the other with his mistress and ten children. This volume of the biography foregrounds the changing image of the artist, as he refashioned himself and is refashioned by others to suit or to offend Victorian sensibilities. The intertwining of charity and art, Temperance and propaganda, children's imagination and adult's criticism, Scots heritage and English propriety, complicated and confused Cruikshank's declining years. Patten's engaging and energetic narrative sorts out the contradictory impulses within Cruikshank's life, times and art. Named as the Best Biography of the '90s by The Guardian.
During the 1790s in Vienna, German physician Franz Joseph Gall (1758-1828) came forth with a new doctrine dealing with mind, brain and behavior—one that could account for individual differences. He maintained that there are many independent faculties of mind, each associated with a separate part of the brain. He fine-tuned his ideas and published two sets of books presenting them after he and his assistant, Johann Gaspar Spurzheim, settled in Paris in 1807. Gall's ideas had many supporters but were controversial and unsettling to others. In particular, the opposition ridiculed his belief that skull features reflect the growth of specific, underlying cortical organs, and hence correlate with personality traits (i.e., his ‘bumpology’). Gall’s fundamental ideas about the mind and organization of the brain were debated across the globe, and they also began to be exploited by unscrupulous businessmen, ‘professors’ who ‘read skulls’ for a living. But, as some historians have shown, his ideas about mind, brain and behavior led to the modern neurosciences. The chapters collected in this volume provide new insights into Gall’s thinking and what Spurzheim did, and the faddish movement called ‘phrenology’, which originated as a science of humankind but became a popular source of entertainment. All chapters were originally published in various issues of the Journal of the History of the Neurosciences.
Each chapter of this stimulating book collects a wide variety of images show the different ways that historical events can be represented. Metal and wood engravings, lithographs, woodcuts, etchings, watercolors, and drawings all reflect changing attitudes towards gender, politics, the family, education, and industrialization. This revised second edition has many new illustrations which further assist the interpretation of popular graphic images from the 18th and 19th centuries.
An original study of the relationship between comic acting and the visual arts in late-Georgian and Regency England.
Sally Ledger offers substantial readings of the influences of radical writers on works from Pickwick to Little Dorrit.