This was first published in 2000: A study of John Ruskin's engagement with art and architecture as a critic, a patron and a teacher. It offers insights into both his writings and the visual economy of the Victorian world. Each essay examines Ruskin's relationship with an individual artist or a distinct aspect of art practice. J.M.W. Turner, D.G. Rossetti, W. Holman Hunt and E. Burne-Jones are among those artists discussed whose personal relationships with Ruskin affected his critical writing. Ruskin's attitude to women artists and his approach to the teaching of art are given special attention.

This is a collection of sporting prints lampooning the work of expert draughtsmen such as Stubbs, Rowlandson, Fernley and Pollard. Thelwell, the creator of the cartoon character Penelope, has a superb eye for detail and for the relationship between humans and animals.

Hailed as one of the key theoreticians of modernism, Eugene-Emmanuel Viollet-le-Duc was also the most renowned restoration architect of his age, a celebrated medieval archaeologist and a fervent champion of Gothic revivalism. He published some of the most influential texts in the history of modern architecture such as the Dictionnaire raisonne de l'architecture franAaise du XIe au XVIe siecle and Entretiens sur l'architecture, but also studies on warfare, geology and racial history. Martin Bressani expertly traces Viollet-le-Duc's complex intellectual development, mapping the attitudes he adopted toward the past, showing how restoration, in all its layered meaning, shaped his outlook. Through his life journey, we follow the route by which the technological subject was born out of nineteenth-century historicism.

The fin de siecle not only designated the end of the Victorian epoch but also marked a significant turn toward modernism. Extraordinary Aesthetes critically examines literary and visual artists from England, Ireland, and Scotland whose careers in poetry, fiction, and illustration flourished during the concluding years of the nineteenth century. This collection draws special attention to the exceptional contributions that artists, poets, and novelists made to the cultural world of the late 1880s and 1890s. The essays illuminate a range of established, increasingly acknowledged, and lesser-known figures whose contributions to this brief but remarkably intense cultural period warrant close attention. Such figures include the critically neglected Mabel Dearmer, whose stunning illustrations appear in Evelyn Sharp's radical fairy tales for children. Equally noteworthy is the uncompromising short fiction of Ella D'Arcy, who played a pivotal role in editing the most famous journal of the 1890s, the Yellow Book. The discussion extends to a range of legendary writers, including Max Beerbohm, Oscar Wilde, and W.B. Yeats, whose works are placed in dialogue with authors who gained prominence during this period. Bringing women's writing to the fore, Extraordinary Aesthetes rebalances the achievements of artists and writers during the rapidly transforming cultural world of the fin de siecle.

Vilified by leading architectural modernists and Victorian critics alike, mass-produced architectural ornament in iron has received little sustained study since the 1960s; yet it proliferated in Britain in the half century after the building of the Crystal Palace in 1851 - a time when some architects, engineers, manufacturers, and theorists believed that the fusion of iron and ornament would reconcile art and technology and create a new, modern architectural language. Comprehensively illustrated and richly researched, Iron, Ornament and Architecture in Victorian Britain presents the most sustained study to date of the development of mechanised architectural ornament in iron in nineteenth-century architecture, its reception and theorisation by architects, critics and engineers, and the contexts in which it flourished, including industrial buildings, retail and seaside architecture, railway stations, buildings for export and exhibition, and street furniture. Appealing to architects, conservationists, historians and students of nineteenth-century visual culture and the built environment, this book offers new ways of understanding the notion of modernity in Victorian architecture by questioning and re-evaluating both Victorian and modernist understandings of the ideological split between historicism and functionalism, and ornament and structure.

This book explores how popular photography influenced the representation of travel in Britain in the period from the Kodak-led emergence of compact cameras in 1888, to 1939. The book examines the implications of people's increasing familiarity with the language and possibilities of photography on the representation of travel as educational concerns gave way to commercial imperatives. Sara Dominici takes as a touchstone the first fifty years of activity of the Polytechnic Touring Association (PTA), a London-based philanthropic-turned-commercial travel firm. As the book reveals, the relationship between popular photography and travel marketing was shaped by the different desires and expectations that consumers and institutions bestowed on photography: this was the struggle for the interpretation of the travel image.

First published in 1929. This title explores the early work of five Victorian Romantics; Dante Gabriel Rossetti, William Morris, Edward Burne Jones, Algernon Charles Swinburne, and Simeon Solomon, and exhibits them at or soon after the moment of entry into the movement. This title will be of interest to students of literature and art history.

Art, Theatre, and Opera in Paris, 1750-1850: Exchanges and Tensions maps some of the many complex and vivid connections between art, theatre, and opera in a period of dramatic and challenging historical change, thereby deepening an understanding of familiar (and less familiar) artworks, practices, and critical strategies in the eighteenth and nineteenth centuries. Throughout this period, new types of subject matter were shared, fostering both creative connections and reflection on matters of decorum, legibility, pictorial, and dramatic structure. Correspondances were at work on several levels: conception, design, and critical judgement. In a time of vigorous social, political, and cultural contestation, the status and role of the arts and their interrelation came to be a matter of passionate public scrutiny. Scholars from art history, French theatre studies, and musicology trace some of those connections and clashes, making visible the intimately interwoven and entangled world of the arts. Protagonists include Diderot, Sedaine, Jacques-Louis David, Ignace-Eugene-Marie Degotti, Marie Malibran, Paul Delaroche, Casimir Delavigne, Marie Dorval, the 'Bleeding Nun' from Lewis's The Monk, the Comedie-Francaise and Etienne-Jean Delecluze.

This title was first published in 2000. The nineteenth century saw the emergence of numerous artistic brotherhoods - groups of artists bound together in communal production, sharing spiritual and aesthetic aims. Although it is widely acknowledged that this is an unique feature of the period, there has not previously been a separate study of the phenomenon. This collection of essays provides a thorough and wide-ranging exploration of the issue. Situating artistic brotherhoods within their historical context, it offers unique insights into the social, political, economic and cultural milieu of the nineteenth century. It focuses on the most celebrated and influential brotherhoods, while also bringing to light lesser-known or forgotten artists. The essays explore the artistic fraternity from a wide variety of perspectives, probing issues of gender, identity, professional practices and artistic formation in Europe and the United States. This book investigates the Nazarenes, the Pre-Raphaelites, the Russian Abramatsova, the Primitifs, the Nabis as well as other leading groups. The book contains a substantial introduction, which establishes the key questions and issues surrounding the phenomena of the artistic brotherhood, including their relation to the larger artistic community, their association with other social and political organizations of the period, and the ways in which mythologies have been built around them in subsequent histories and recollections of the period.

Despite the increased visibility of Victorian women artists in museum exhibitions and historical studies, the art produced by Victorian women has been viewed through a restrictive lens. Scholars have focused on works produced for the marketplace, but have overlooked art created and displayed outside of established venues and institutions of higher learning. Drawing upon sketches, paintings, and photographs, Intrepid Women: Victorian Artists Travel is a groundbreaking study that examines the art that women produced whilst traveling, as well as the circumstances that took these artists - both amateurs and professionals - far beyond the reaches of the traditional Grand Tour. Traveling throughout the British Empire, including the Middle East, India, Canada, and North Africa, and even to the Americas, the artists adapted to new climes and foreign cultures partially by documenting the unfamiliar through their art, sometimes at great physical risk. This volume of essays offers fresh evidence that through their travel and art, women extended both geographic and social boundaries. Each author presents evidence that women overcame institutional as well as cultural obstacles to improve their artistic skills and to use their art to convey worlds most British citizens would never see for themselves.

Antebellum American Pendant Paintings: New Ways of Looking marks the first sustained study of pendant paintings: discrete images designed as a pair. It opens with a broad overview that anchors the form in the medieval diptych, religious history, and aesthetic theory and explores its cultural and historical resonance in the 19th-century United States. Three case studies examine how antebellum American artists used the pendant format in ways revelatory of their historical moment and the aesthetic and cultural developments in which they partook. The case studies on John Quidor's Rip Van Winkle and His Companions at the Inn Door of Nicholas Vedder (1839) and The Return of Rip Van Winkle (1849) and Thomas Cole's Departure and Return (1837) shed new light on canonical antebellum American artists and their practices. The chapter on Titian Ramsay Peale's Kilauea by Day and Kilauea by Night (1842) presents new material that pushes the geographical boundaries of American art studies toward the Pacific Rim. The book contributes to American art history the study of a characteristic but as yet overlooked format and models for the discipline a new and productive framework of analysis focused on the fundamental yet complex way images work back and forth with one another.

Echoing Joseph Paxton's question at the close of the Great Exhibition, 'What is to become of the Crystal Palace?', this interdisciplinary essay collection argues that there is considerable potential in studying this unique architectural and art-historical document after 1851, when it was rebuilt in the South London suburb of Sydenham. It brings together research on objects, materials and subjects as diverse as those represented under the glass roof of the Sydenham Palace itself; from the Venus de Milo to Sheffield steel, souvenir 'peep eggs' to war memorials, portrait busts to imperial pageants, tropical plants to cartoons made by artists on the spot, copies of paintings from ancient caves in India to 1950s film. Essays do not simply catalogue and collect this eclectic congregation, but provide new ways for assessing the significance of the Sydenham Crystal Palace for both nineteenth- and twentieth-century studies. The volume will be of particular interest to researchers and students of British cultural history, museum studies, and art history. -- .

Providing a fresh perspective on an important but underappreciated group of late nineteenth-century French painters, this is the first book to provide an in-depth account of the Nabis' practice of the decorative, and its significance for twentieth-century modernism. Over the course of the ten years that define the Nabi movement (1890-1900), its principal artists included Edouard Vuillard, Pierre Bonnard, Maurice Denis, Paul Serusier, and Paul Ranson. The author reconstructs the Nabis' relationship to Impressionism, mass culture, literary Symbolism, Art Nouveau, Wagnerianism, and a revolutionary artistic tradition in order to show how their painterly practice emerges out of the pressing questions defining modernism around 1900. She shows that the Nabis were engaged, nonetheless, with issues that are always at stake in accounts of nineteenth-century modernist painting, issues such as the relationship of high and low art, of individual sensibility and collective identity, of the public and private spheres. The Nabis and Intimate Modernism is a rigorous study of the intellectual and artistic endeavors that inform the Nabis' decorative domestic paintings in the 1890s, and argues for their centrality to painterly modernism. The book ends up not only re-positioning the Nabis to occupy a crucial place in modernism's development from 1860 to 1914, but also challenges that narrative to place more emphasis on notions of decoration, totality and interiority.

The 'beauties' - women of note - who were welcomed to the National Portrait Gallery's early collection were those whose lives and portraits were recognized as significant to the 'civil, ecclesiastical and literary history of the nation'. This brief was interpreted to include figures as diverse as the devout Lady Margaret Beaufort, and the entertaining Lady Emma Hamilton. History's Beauties, the first detailed study of this collection, maps a culture of femininity that reframes the Victorian fascination with women's domestic and sentimental presence by locating it within a Parliament-centred 'national' culture. Including an essay on the Gallery's Trustees, the book traces the translation of their governors' culture to a public institution through discussions of three themes in the National Portrait Gallery's collection of women's portraits: portraits of the Royal family and the cult of legitimacy in antiquities and in national identity; the educated woman as model of domestic and national cultivation; and finally the role of female beauty in defining social and artistic power in nineteenth-century Britain. The first monograph study of gender in a major museum, History's Beauties engages themes of gender, national identity, class cultures, and aesthetics in Victorian England to interpret the National Portrait Gallery's fascinating collection.

Examining the complex intersections between art and scientific approaches to the natural world, Biocentrism and Modernism reveals another side to the development of Modernism. While many historians have framed this movement as being mechanistic and "against" nature, the essays in this collection illuminate the role that nature-centric ideologies played in late-nineteenth to mid-twentieth-century Modernism. The essays in Biocentrism and Modernism contend that it is no accident that Modernism arose at the same time as the field of modern biology. From nineteenth-century discoveries, to the emergence of the current environmentalist movement during the 1960s, artists, architects, and urban planners have responded to currents in the scientific world. Sections of the volume treat both philosophic worldviews and their applications in theory, historiography, and urban design. This collection also features specific case studies of individual artists, including Raymond Duchamp-Villon, Paul Klee, Wassily Kandinsky, and Jackson Pollock.

Focusing specifically on portraiture as a genre, this volume challenges scholarly assumptions that regard interior spaces as uniquely feminine. Contributors analyze portraits of men in domestic and studio spaces in France during the long nineteenth century; the preponderance of such portraits alone supports the book's premise that the alignment of men with public life is oversimplified and more myth than reality. The volume offers analysis of works by a mix of artists, from familiar names such as David, Delacroix, Courbet, Manet, Rodin, and Matisse to less well-known image makers including Dominique Doncre, Constance Mayer, Anders Zorn and Lucien-Etienne Melingue. The essays cover a range of media from paintings and prints to photographs and sculpture that allows exploration of the relation between masculinity and interiority across the visual culture of the period. The home and other interior spaces emerge from these studies as rich and complex locations for both masculine self-expression and artistic creativity. Interior Portraiture and Masculine Identity in France, 1789-1914 provides a much-needed rethinking of modern masculinity in this period.

The premise of Anna Green's timely and original book, is that nineteenth-century representations of childhood and adolescence-in paintings, but also in other forms of visual culture and in diverse written discourses of the period-are critical for understanding modernity. Whilst such well-worn signifiers for modernity as the city, the dandy and the prostitute have been well mined, childhood and adolescence have not. Paintings of the young produced in France from 1848 to 1886, Green contends, inform not only our understanding of modern life but also our perception of modernist or avant-garde painting. Figuring largely are Manet and the Impressionists, as well as a gamut of more traditional painters of children who are crucial in providing context for the avant garde. Because modernity is an essentially urban phenomenon, Green's focus is primarily on the city, usually Parisian, child. The painted youth of her study are organized initially by class and gender. Then the chapters are structured according to themes (parent-child relations, modes of discipline, work, education, and play, the spectacle, sexuality) that straddle the congruences among the book's triple trajectory: the young, their modernist representations, and the experience of modernity. Green's interdisciplinary approach ensures that this book will be of interest not only to art historians but to all those concerned with the cultural and social history of childhood.

An important and critical re-evaluation of the Galerie Espagnole, this book presents new interpretations of the special collection of Spanish (or purportedly Spanish) paintings formed under Louis-Philippe and exhibited in the Louvre from 1838 through 1848. Alisa Luxenberg undertakes a new examination of the Parisian collection in relation to its lesser-known Spanish homologue, the Museo Nacional in Madrid, a collection of mostly old master Spanish paintings and sculptures that was formed at the very same time. Revealing the political agendas behind each museum, and the different manners in which their goals were pursued, Luxenberg analyzes the critical and visual reception of the collections as well as their intersection with contemporary debates about aesthetics and patrimony, the role of the art museum, and national and international politics.

Capturing Japan in Nineteenth-Century New England Photography Collections examines the evidence left behind from a famous first encounter-that of prominent New England Americans with the remnants of feudal Japan in the 1870s and 1880s. The study reveals that, despite these Americans' varied reasons for traveling to Japan and studying its culture, a common desire united all of their collecting activities: to gather photographic documentation of a Japan they believed was disappearing under the pressures of trade and industrialization. Eleanor Hight focuses on the case studies of six New Englanders, whose travel and photograph collecting influenced the flowering of Japonism in the late nineteenth-century Boston area-still visible today in institutions such as the Boston Museum of Fine Arts, the Peabody Essex Museum, and the Isabella Stewart Gardner Museum. The book also explores the history of Japanese photography and its main themes, from images of travel and historic sites, to exotic subjects such as geisha and samurai. The first history of its kind, this study makes fundamental points about the ways photographs, seeming conveyors of fact, imprint mental images and suppositions on their viewers.

The Victorian period witnessed the beginning of a debate on the status of animals that continues today. This volume explicitly acknowledges the way twenty-first-century deliberations about animal rights and the fact of past and prospective animal extinction haunt the discussion of the Victorians' obsession with animals. Combining close attention to historical detail with a sophisticated analytical framework, the contributors examine the various forms of human dominion over animals, including imaginative possession of animals in the realms of fiction, performance, and the visual arts, as well as physical control as manifest in hunting, killing, vivisection and zookeeping. The diverse range of topics, analyzed from a contemporary perspective, makes the volume a significant contribution to Victorian studies. The conclusion by Harriet Ritvo, the pre-eminent authority in the field of Victorian/animal studies, provides valuable insight into the burgeoning field of animal studies and points toward future studies of animals in the Victorian period.

An overdue study of a groundbreaking event, this is the first book-length examination of the Manchester Art Treasures Exhibition of 1857. Intended to rehabilitate Manchester's image at a heady time of economic prosperity, the Exhibition became a touchstone for aesthetic, social, and economic issues of the mid-nineteenth century. Reverberations of this moment can be followed to the present day in the discipline of art history and its practice in public museums of Europe and America. Highlighting the tension between art and commerce, philanthropy and profit, the book examines the Exhibition's organization and the presentation of the works of art in the purpose-built Art Treasures Palace. Pergam places the Exhibition in the context of contemporary debates about museum architecture and display. With an analysis of the reception of both "Ancient" and "Modern" paintings, the book questions the function of exhibitions in the construction of an art historical canon. The book also provides an essential reference tool: a compiled list of all of the paintings exhibited in 1857 that are now in public collections throughout the world, with an analysis of the collecting trends manifest in their provenance.

John Everett Millais (1829-1896) is undoubtedly among the most important of Victorian artists. In his day, and our own, he remains also the most controversial. While, during his lifetime, controversy centred around his early Pre-Raphaelite paintings, in particular Christ in the house of his Parents (1850), during the twentieth century the most intense criticism has been directed towards Millais's later works, such as Bubbles (1886), which has been widely condemned as sentimental 'kitsch'. These later paintings have been held up as the epitome of the degradation of art, against which avant-garde and Modernist pioneers struggled. None of the existing literature on Millais addresses the fundamental problem that this double-identity reveals. While there is extensive material on the Pre-Raphaelite movement in general, Millais's own work after the 1850s is rarely discussed in detail, despite the fact that he lived and worked for another 30 years after his abandonment of the Pre-Raphaelite style. Time Present and Time Past: The Art of John Everett Millais presents the first comprehensive account of Millais's artistic career from beginning to end. The book considers the question of 'high' and 'low' cultural status in debates during Millais's own day, and in subsequent critical thinking, situating Millais's art as a whole within this cultural framework.

This book reveals a great untold story of enterprise and innovation based on the relationship between the Victoria and Albert Museum, and Elkington & Co., the renowned industrial art and design manufacturer of the 19th-century. The Birmingham-based company pioneered and patented the industrial art of electro-metallurgy to create original artworks, perfect replicas, and mass-reproduced luxury consumer goods that used electricity to 'grow' metal into shape at a molecular level. This technological revolution created a profound legacy, which continues to influence the way modern material culture looks and operates today. Elkington's syntheses of science and art into industrial manufacturing processes revolutionized the design and production, replication and reproduction of precious metalwork, metal sculpture, and ornamental art metalwork. Elkington & Co. gained huge public acclaim at the Great Exhibition of 1851. They subsequently produced artworks and luxury goods, including world-renowned sports trophies like the Wimbledon Singles Trophies, as well as luxury dining services for great steamships and railways, including tableware that sank with the Titanic. Elkington played a crucial role in shaping and building the V&A's permanent collection from its foundation in 1852 (following the Great Exhibition) until the First World War. The V&A's collections in turn had a profound influence on Elkington's output. The great success of their relationship cemented both the museum's status as a leading cultural institution, and the E&Co 'makers-mark' as one of the world's first truly multinational designer brands. Elkington's electrical alchemy helped spark the electrical revolution that founded the modern world.

The British School of Sculpture, c. 1760-1832 represents the first edited collection exploring one of the most significant moments in British art history, returning to centre stage a wide range of sculpture considered for the first time by some of the most important scholars in the field. Following a historical and historiographical introduction by the editors, situating British sculpture in relation to key events and developments in the period, and the broader scholarship on British art more generally in the period and beyond, the book contains nine wide-ranging case studies that consider the place of antique and modern sculpture in British country houses in the period, monuments to heroes of commerce and the Napoleonic Wars, the key debates fought around ideal sculpture at the Royal Academy, the reception of British sculpture across Europe, the reception of Hindu sculpture deriving from India in Britain, and the relationship of sculpture to emerging industrial markets, both at home and abroad. Challenging characterisations of the period as 'neoclassical', the volume reveals British sculpture to be a much more eclectic and various field of endeavour, both in service of the state and challenging it, and open to sources ranging from the newly arrived Parthenon Frieze to contemporary print culture.

Nineteenth-century Iran was an ocularcentered society predicated on visuality and what was seen and unseen, and photographs became liminal sites of desire that maneuvered "betwixt and between" various social spaces-public, private, seen, unseen, accessible, and forbidden-thus mapping, graphing, and even transgressing those spaces, especially in light of increasing modernization and global contact during the nineteenth and early twentieth centuries. Of primary interest is how photographs negotiated and coded gender, sexuality, and desire, becoming strategies of empowerment, of domination, of expression, and of being seen. Hence, the photograph became a vehicle to traverse multiple locations that various gendered physical bodies could not, and it was also the social and political relations that had preceded the photograph that determined those ideological spaces of (im)mobility. In identifying these notions in photographs, one may glean information about how modern Iran metamorphosed throughout its own long duree or resisted those societal transformations as a result of modernization.