Originally published in 1999, Victorian Culture and the Idea of the Grotesque is the first fully interdisciplinary study of the subject and examines a wide range of sources and materials to provide new readings between 'style' and 'concept'. The book provides an original analysis of key articulations of the Grotesque in the literary culture of Ruskin, Browning and Dickens, where represents the eruptions, intensities, confusions and disturbed vitality of modern cultural experience such as the scientific revolution associated with Darwin and the nature of industrial society.

This book argues that Ford Madox Brown's murals in the Great Hall of Manchester Town Hall (1878-93) were the most important public art works of their day. Brown's twelve designs on the history of Manchester, remarkable exercises in the making of historical vision, were semi-forgotten by academics until the 1980s, partly because of Brown's unusually muscular conception of what history painting should set out to achieve. This ground-breaking book explains the thinking behind the programme and indicates how each mural contributes to a radical vision of social and cultural life. It shows the important link between Brown and Thomas Carlyle, the most iconoclastic of Victorian intellectuals, and reveals how Brown set about questioning the verities of British liberalism. -- .

A fresh new approach to Victorian medievalism, showing it to be far from the preserve of the elite. This book offers a challenge to the current study of nineteenth-century British medievalism, re-examining its general perception as an elite and conservative tendency, the imposition of order from above evidenced in the work of Walter Scott, in the Eglinton Tournament, and in endless Victorian depictions of armour-clad knights. Whilst some previous scholars have warned that medievalism should not be reduced to the role of an ideologically conservative discourse which always and everywhere had the role of either obscuring, ignoring, or forgetting the ugly truths of an industrialised modernity by appealing to a green and ordered Merrie England, there has been remarkably little exploration of liberal or radical medievalisms, still less of working-class medievalisms. Essays in this book question a number of orthodoxies. Can it be imagined that in the world of Ivanhoe, the Eglinton Tournament, Dante Gabriel Rossetti, Alfred Tennyson, the working class remained largely oblivious to, or at best uninterested in, medievalism? What, if any, was the working-class medievalist counter-blast to conservatism? How did feminism and socialismdeploy the medieval past? The contributions here range beyond the usual canonical cultural sources to investigate the ephemera: the occasional poetry, the forgotten novels, the newspapers, short-lived cultural journals, fugitive Chartist publications. A picture is created of a richly varied and subtle understanding of the medieval past on the part of socialists, radicals, feminists and working-class thinkers of all kinds, a set of dreams of the Middle Agesto counter what many saw as the disorder of the times.

Originally published in 2004. Once the most popular Victorian artist, G. F. Watts was also a complex and elusive figure. Influenced by evolutionary theory, he reinterpreted the tradition of the classical body, while his philanthropic and educational interests informed projects for a more affective public art. This book is the first modern account of the full range of Watts's different artistic interests and practices. Offering fresh approaches to his historical, allegorical and mythological paintings, it also traces his increasingly radical approach to portraiture and sculpture and examines the institutional and biographical factors behind his immense public profile. Together the essays present a comprehensive analysis of Watts's work and his vital relationship to the intellectual, cultural and social forces of his time.

Originally published in 2004. Once the most popular Victorian artist, G. F. Watts was also a complex and elusive figure. Influenced by evolutionary theory, he reinterpreted the tradition of the classical body, while his philanthropic and educational interests informed projects for a more affective public art. This book is the first modern account of the full range of Watts's different artistic interests and practices. Offering fresh approaches to his historical, allegorical and mythological paintings, it also traces his increasingly radical approach to portraiture and sculpture and examines the institutional and biographical factors behind his immense public profile. Together the essays present a comprehensive analysis of Watts's work and his vital relationship to the intellectual, cultural and social forces of his time.

This title was first published in 2000. London in the nineteenth century saw the founding of the National Gallery, the National Portrait Gallery, the Victoria and Albert Museum and the Whitechapel Art Gallery. Other, less permanent, organisations flourished, among them the British Institution, water-colour societies and the Society of Female Artists. These worked alongside the schools such as the Royal Academy and the Slade School of Art. In this volume, eleven scholars, experts on the individual institutions, analyse their complex histories to investigate such issues as: How did they generate and redesign their publics? What identities did they create? What practice of art making, connoisseurship and spectatorship did they enshrine? These reports elucidate the values associated with the key institutions and describe the responses and adaptation over time to major cultural developments: new movements, political change and the development of the Empire. The volume as a whole offers a fascinating account of the interconnections between these key institutions. Challenging conventional readings of the subject, the Introduction, by Paul Barlow and Colin Trodd, offers a definition of public art during the Victorian period.

Originally published in 1999, Victorian Culture and the Idea of the Grotesque is the first fully interdisciplinary study of the subject and examines a wide range of sources and materials to provide new readings between 'style' and 'concept'. The book provides an original analysis of key articulations of the Grotesque in the literary culture of Ruskin, Browning and Dickens, where represents the eruptions, intensities, confusions and disturbed vitality of modern cultural experience such as the scientific revolution associated with Darwin and the nature of industrial society.

This title was first published in 2000. London in the nineteenth century saw the founding of the National Gallery, the National Portrait Gallery, the Victoria and Albert Museum and the Whitechapel Art Gallery. Other, less permanent, organisations flourished, among them the British Institution, water-colour societies and the Society of Female Artists. These worked alongside the schools such as the Royal Academy and the Slade School of Art. In this volume, eleven scholars, experts on the individual institutions, analyse their complex histories to investigate such issues as: How did they generate and redesign their publics? What identities did they create? What practice of art making, connoisseurship and spectatorship did they enshrine? These reports elucidate the values associated with the key institutions and describe the responses and adaptation over time to major cultural developments: new movements, political change and the development of the Empire. The volume as a whole offers a fascinating account of the interconnections between these key institutions. Challenging conventional readings of the subject, the Introduction, by Paul Barlow and Colin Trodd, offers a definition of public art during the Victorian period.

Prophet, poet, painter, engraver - William Blake (1757-1827) was an artist of uniquely powerful imagination and far-reaching creative gifts. His work expresses the spiritual drama of the English national being, integrating poetry and visual art in a sustained work of visionary creativity unparalleled in English art history. Revealing Blake to be far more than a revolutionary social radical, this classic study reshapes our understanding of the artist's achievement. Kathleen Raine details the enriching effect of mystical, alchemical and gnostic philosophy on Blake's art. She unravels the complex, deeply felt symbolism expressed in his paintings and prints, and describes the powerful impact of his reading of Dante, Milton and the Bible. Raine's compelling text guides the reader through the life and thought of this extraordinary artist. Fully alive to the uniqueness of Blake's art - which has 'a reality, a coherence, a climate' all its own - she introduces famous work such as Jerusalem, Songs of Innocence and of Experience, The Four Zoas and The Book of Job, relating them to Blake's world view and explaining their prophetic qualities, their fierce energy, and their central place in British Romantic art. With 185 illustrations in colour