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Victorian Paintingis a comprehensive survey of one of the most fertile and varied eras in the history of painting. It embraces not just the United Kingdom, but also English-speaking countries linked to Britain by cultural ties of empire and emigration, such as the United States, Canada, Australia, New Zealand and Africa. Long regarded as a backwater of sentiment and outmoded academic convention that was bypassed by the mainstream of development in Western art, Victorian painting is now wholeheartedly enjoyed in its own right. Unfettered by old prejudices, Lionel Lambourne presents a vivid panorama of an age of unparalleled energy and creativity. Wealth, optimism, education and self-confidence created a huge demand for art, and a remarkable array of talent emerged to meet it. Producing works in a wide variety of styles, subjects and media, many artists became rich celebrities, while the profession as a whole enjoyed unprecedented public esteem. The author tackles this protean subject by dividing it into themes that reflect its richness and variety. Chapters are devoted to such topics as Mural/ History Painting, the Nude, the Portrait, Sporting Painting, Genre Scenes and Women Painters; and social themes such as the Fallen Woman, Social Realism, Travel and Emigration; as well as movements such as the Pre-Raphaelites. Written with a light touch, full of illuminating anecdotes, and with 600 color illustrations, Victorian Paintingis beautiful, highly entertaining and informative. It is also an invaluable reference work since, in addition to many famous and well-loved images, it presents a wealth of fine work by lesser-known artists, and explores the byways as well as highways of Victorian art, demonstrating the astounding range and depth of talent of the age.
The Victorian era and its aftermath were the backdrop to one of the great flowerings of British art. Taking the story of British art from the era of Romanticism to the formal and aesthetic breakthrough of Post-Impressionism, this book offers a definitive survey of the field.
Published to accompany exhibition held at The Royal Academy of Arts, London, 13/11/97 - 8/2/98.
First published in 1980. This anthology of fifty-three essays drawn from eleven weekly, monthly, and quarterly periodicals was assembled in order to reproduce in convenient form some of the more important articles on British painting published from 1832 to 1848 in Great Britain. Reviews of major exhibitions form a large part of the collection, but essays treating individual artists, discussions of the effect of state patronage of the arts and attempts to assess the uniqueness of the English tradition of painting are also included. This title will be of great interest to students of Art History
Looks at the experience of women painters within the oppressive confines of the Victorian patriarchy. Using biographies, journals and letters Cherry shows how their working lives were shaped by the social order of difference.
Welcome to an enchanting world populated by the little people — fairies, elves, and sprites — envisioned by such Victorian-era artists as Arthur Rackham, Richard Doyle, Edward Robert Hughes, Warwick Goble, and other masters of the genre. Set amid nature's loveliest scenes, the 30 fantasy illustrations will captivate any colorist.
William Powell Frith (1819-1909) was the greatest British painter of the social scene since Hogarth. His panoramas of nineteenth-century life broke new ground in their depiction of the diverse London crowd, and they are now icons of their age. Frith’s popularity in his lifetime was unprecedented; on six separate occasions special railings had to be built at the Royal Academy to protect his paintings from an admiring public. Derby Day and The Railway Station are nearly as well known today as a century ago, yet the artist who painted them is now neglected. This book explores Frith's place in the development of Victorian painting: the impact of his unconventional private life on his work, his relationships with Hogarth and Dickens, his influence on popular illustration, the place of costume in his paintings, his female models, his painting materials and practice, and much more. The book makes an important contribution to the literature on art in the Victorian era and to our understanding of the nineteenth century.
Printing and Painting the News in Victorian London offers a fresh perspective on Social Realism by contextualizing it within the burgeoning new media environment of Victorian London. Paintings labelled as Social Realist by Luke Fildes, Frank Holl and Hubert Herkomer are frequently considered to typify the sentimental Victorian genre painting that quickly became outdated with the development of modernism. Yet this book argues that the paintings must be considered as the result of the new experiences of modernity-the urban poverty that the paintings represent and, most importantly, the advent of the mass-produced illustrated news. Fildes, Holl and Herkomer worked for The Graphic, a publication launched in 1869 as a rival to the dominant Illustrated London News. The artists? illustrations, which featured the growing problem of urban poverty, became the basis for large-scale paintings that provoked controversy among their contemporaries and later became known as Social Realism. This first in-depth study of The Graphic and Social Realism uses the approach of media archaeology to unearth the modernity of these works, showing that they engaged with the changing notions of objectivity and immediacy that nineteenth-century new media cultivated. In doing so, this book proposes an alternative trajectory for the development of modernism that allows for a richer understanding of nineteenth-century visual culture.
This book is a wide-ranging exploration of the production of Victorian art autograph replicas, a painting’s subsequent versions created by the same artist who painted the first version. Autograph replicas were considered originals, not copies, and were highly valued by collectors in Britain, America, Japan, Australia, and South Africa. Motivated by complex combinations of aesthetic and commercial interests, replicas generated a global, and especially transatlantic, market between the 1870s and the 1940s, and almost all collected replicas were eventually donated to US public museums, giving replicas authority in matters of public taste and museums’ modern cultural roles. This book will be of interest to scholars in art history, museum studies, and economic history.