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Varied and deliberately diverse, this group of essays provides a reassessment of the life and work of the popular nineteenth-century artist Samuel Palmer. While scholarly publications have been published recently which reassess Palmer's achievement, those works primarily consider the artist in isolation. This volume examines his work in relation to a wider art world and analyses areas of his life and output that have until now received little attention, reinstating the study of Palmer's work within broader debates about landscape and cultural history. In Samuel Palmer Revisited, the contributors provide a fresh perspective on Palmer's work, its context and its influence.
Excerpt from The Life and Letters of Samuel Palmer, Painter and Etcher About ten years ago, when I was writing a short memoir of my father, it occurred to me that a companion volume of his letters might be published. I knew that many of these were preserved by his friends, and esteemed not only on account of regard for the writer, but for what was thought considerable originality. Yet I was not prepared for the extent of the collection which was most courteously placed at my disposal, carrying with it, by virtue of its very existence, the evidence of some merit. The publication of the volume was postponed; but the delay was by no means unfortunate, inasmuch as it gave me leisure to sift the material and reject that which was unsuitable, while applying myself, at the same time, to a closer and more unprejudiced study of my father's life. There being an analogy between writing dashed off, for the most part, without the slightest thought of publicity, or of literary precision, and rapid sketches from nature done with a purpose and a will, I thought there would be as much danger in tampering in the one case as there always is in the other, and that it would be best to leave the selected letters to stand or fall on their own merits, without the manipulation such collections have sometimes received. Nevertheless I deemed it well to omit passages that were of no interest whatever except to my father's correspondents, the omissions being indicated in the usual way. A few explanatory comments were necessary; but I compressed these within the narrowest possible bounds. I was unable to fill up the gap between the years 1839 and 1848, having no letters of any interest at my disposal written within that period. Should any such exist I should be grateful for the loan of them. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
In this sequel to her 2000 anthology, Valerie Sanders again brings together an influential group of women whose autobiographical accounts of their childhoods show them making sense of the children they were and the women they have become. The fourteen women included juxtapose recollections of the bizarre with the quotidian and accounts of external events with the development of a complex inner life. Reading and acting are important themes, as is the precariousness of childhood, whether occasioned by a father's financial pressures or the early death of a parent. Significantly, most grew up expecting to earn their own living. The collection includes children's authors (Frances Hodgson Burnett and E. Nesbit), political figures (Emmeline Pankhurst and Louisa Twining), and well-known writers (Mary Elizabeth Braddon, Anne Thackeray Ritchie, Sarah Grand). Of relevance to scholars working in the fields of women’s autobiography, the history of childhood, and Victorian literature, this anthology includes a scholarly introduction and brief biographical sketches of each woman.
Blake in Our Time explores the work of British poet and artist William Blake in the context of the material culture of his era. In the 1960s, University of Toronto scholar G.E. Bentley, Jr almost singlehandedly shifted the focus of Blake criticism from formalism and symbolism to the materiality that contextualizes Blake's work. Following in the footsteps of Bentley's pioneering scholarship, this collection, richly illustrated, demonstrates that the locus of Blake's work lies in the elements that are historically particular to his place and time. Topics include the impact of the town of Chichester on Blake's imagination, the material processes of Blake's painting, the detection of a Blake forgery, and new biographical materials, using archives and online resources, on Blake's contemporaries, patrons, peers, and friends. Essays on the importance of Blake collections world-wide, on variant printings, and on the heirs of Blake in British painting extend the focus of this remarkable investigation to include chalcography and book history.