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Drawing on primary and secondary materials, this is a sociological
interpretation of the rise of metropolitan art institutions and
their role in modernism and the modernization of art in England. It
explores the complex relationships between the artist as creator,
notions of class and taste, and the power of institutions
(academies, museums, workshops, exhibitions, art dealers and
publishing houses) to enable or constrain creativity, and to
reflect and shape artistic expression. In particular, it looks at
the experiences of submerged artists (for example, reproductive
engravers and the Chantrey artists) and their interpretations of
the changing art world. The radicalism of engravers and their claim
to be artists is an important and neglected aspect of the
19th-century art world; and the aesthetic dispute over the Chantrey
Bequest epitomized conflicts of taste, cultural dependence and
interdependence between opposed art institutions and the Treasury.
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