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This edited collection explores the intersection of historical
studies and the artistic representation of the past in the long
nineteenth century. The case studies provide not just an account of
the pursuit of history in art within Western Europe but also
examples from beyond that sphere. These cover canonical and
conventional examples of history painting as well as more
inclusive, ‘popular’ and vernacular visual cultural phenomena.
General themes explored include the problematics internal to the
theory and practice of academic history painting and historical
genre painting, including compositional devices and the
authenticity of artefacts depicted; relationships of power and
purpose in historical art; the use of historical art for
alternative Liberal and authoritarian ideals; the international
cross-fertilisation of ideas about historical art; and exploration
of the diverse influences of socioeconomic and geopolitical
factors. This book will be of particular interest to scholars of
the histories of nineteenth-century art and culture.
Traditional postcolonial scholarship on art and imperialism
emphasises tensions between colonising cores and subjugated
peripheries. The ties between London and British white settler
colonies have been comparatively neglected. Artworks not only
reveal the controlling intentions of imperialist artists in their
creation but also the uses to which they were put by others in
their afterlives. In many cases they were used to fuel contests
over cultural identity which expose a mixture of rifts and
consensuses within the British ranks which were frequently assumed
to be homogeneous. British Art for Australia, 1860-1953: The
Acquisition of Artworks from the United Kingdom by Australian
National Galleries represents the first systematic and comparative
study of collecting British art in Australia between 1860 and 1953
using the archives of the Australian national galleries and other
key Australian and UK institutions. Multiple audiences in the
disciplines of art history, cultural history, and museology are
addressed by analysing how Australians used British art to carve a
distinct identity, which artworks were desirable, economically
attainable, and why, and how the acquisition of British art fits
into a broader cultural context of the British world. It considers
the often competing roles of the British Old Masters (e.g. Romney
and Constable), Victorian (e.g. Madox Brown and Millais), and
modern artists (e.g. Nash and Spencer) alongside political and
economic factors, including the developing global art market,
imperial commerce, Australian Federation, the First World War, and
the coming of age of the Commonwealth.
A novel investigation into art pedagogy and constructions of
national identities in Britain and Ireland, this collection
explores the student-master relationship in case studies ranging
chronologically from 1770 to 2013, and geographically over the
national art schools of England, Ireland, Scotland and Wales.
Essays explore the manner in which the Old Masters were deployed in
education; fuelled the individual creativity of art teachers and
students; were used as a rhetorical tool for promoting cultural
projects in the core and periphery of the British Isles; and united
as well as divided opinions in response to changing expectations in
discourse on art and education. Case studies examined in this book
include the sophisticated tradition of 'academic' inquiry of
establishment figures, like Joshua Reynolds and Frederic Leighton,
as well as examples of radical reform undertaken by key individuals
in the history of art education, such as Edward Poynter and William
Coldstream. The role of 'Modern Masters' (like William Orpen,
Augustus John, Gwen John and Jeff Wall) is also discussed along
with the need for students and teachers to master the realm of art
theory in their studio-based learning environments, and the
ultimate pedagogical repercussions of postmodern assaults on the
academic bastions of the Old Masters.
A novel investigation into art pedagogy and constructions of
national identities in Britain and Ireland, this collection
explores the student-master relationship in case studies ranging
chronologically from 1770 to 2013, and geographically over the
national art schools of England, Ireland, Scotland and Wales.
Essays explore the manner in which the Old Masters were deployed in
education; fuelled the individual creativity of art teachers and
students; were used as a rhetorical tool for promoting cultural
projects in the core and periphery of the British Isles; and united
as well as divided opinions in response to changing expectations in
discourse on art and education. Case studies examined in this book
include the sophisticated tradition of 'academic' inquiry of
establishment figures, like Joshua Reynolds and Frederic Leighton,
as well as examples of radical reform undertaken by key individuals
in the history of art education, such as Edward Poynter and William
Coldstream. The role of 'Modern Masters' (like William Orpen,
Augustus John, Gwen John and Jeff Wall) is also discussed along
with the need for students and teachers to master the realm of art
theory in their studio-based learning environments, and the
ultimate pedagogical repercussions of postmodern assaults on the
academic bastions of the Old Masters.
This edited collection explores the intersection of historical
studies and the artistic representation of the past in the long
nineteenth century. The case studies provide not just an account of
the pursuit of history in art within Western Europe but also
examples from beyond that sphere. These cover canonical and
conventional examples of history painting as well as more
inclusive, 'popular' and vernacular visual cultural phenomena.
General themes explored include the problematics internal to the
theory and practice of academic history painting and historical
genre painting, including compositional devices and the
authenticity of artefacts depicted; relationships of power and
purpose in historical art; the use of historical art for
alternative Liberal and authoritarian ideals; the international
cross-fertilisation of ideas about historical art; and exploration
of the diverse influences of socioeconomic and geopolitical
factors. This book will be of particular interest to scholars of
the histories of nineteenth-century art and culture.
Traditional postcolonial scholarship on art and imperialism
emphasises tensions between colonising cores and subjugated
peripheries. The ties between London and British white settler
colonies have been comparatively neglected. Artworks not only
reveal the controlling intentions of imperialist artists in their
creation but also the uses to which they were put by others in
their afterlives. In many cases they were used to fuel contests
over cultural identity which expose a mixture of rifts and
consensuses within the British ranks which were frequently assumed
to be homogeneous. British Art for Australia, 1860-1953: The
Acquisition of Artworks from the United Kingdom by Australian
National Galleries represents the first systematic and comparative
study of collecting British art in Australia between 1860 and 1953
using the archives of the Australian national galleries and other
key Australian and UK institutions. Multiple audiences in the
disciplines of art history, cultural history, and museology are
addressed by analysing how Australians used British art to carve a
distinct identity, which artworks were desirable, economically
attainable, and why, and how the acquisition of British art fits
into a broader cultural context of the British world. It considers
the often competing roles of the British Old Masters (e.g. Romney
and Constable), Victorian (e.g. Madox Brown and Millais), and
modern artists (e.g. Nash and Spencer) alongside political and
economic factors, including the developing global art market,
imperial commerce, Australian Federation, the First World War, and
the coming of age of the Commonwealth.
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